{
  "boards": [
    {
      "id": "00",
      "title": "海面、四次快闪与 Hawaii",
      "time": "00:00.00–00:42.70",
      "device": "无人机＋旅行照片＋后期遮罩文字",
      "location": "全程机动合法海岸；10/2 17:30–17:50 Tantalus／Puʻu ʻUalakāʻa 日落前暖光城市全景；其余快闪照片顺路采集",
      "description": "俯拍海面前行；约 00:13 四个强鼓点各快闪一张照片：双子岛日出、古兰尼山谷、Tantalus 日落前暖光城市全景、星空。随后接回同一航拍继续抬到平视。艺术手写字 Hawaii 从山体或建筑后方由下向上浮现，右下角淡入 2026/10。九格是时间推进示意，照片在成片中逐张全屏出现；精确鼓点与标题时间按音轨微调。",
      "prompt": "Use case: photorealistic-natural / cinematic storyboard.\nCreate ONE polished photographic storyboard sheet for the opening of a personal Hawaii travel film. Landscape 16:9 overall canvas. EXACTLY NINE equal landscape film frames in a precise 3-column by 3-row grid. Very thin clean off-white gutters. Reading order left-to-right across each row, then down. No panel numbers, no captions, no timecodes, no arrows, no other lettering except the exact film title and date explicitly required in the final frames. Photorealistic live-action, natural Hawaiian ocean cyan and lush greens, subtle cinematic grain, restrained contrast. Not a drawing, cartoon, UI, poster collage or 3D render.\n\nThe nine frames represent TIME, not simultaneous split-screen editing. A continuous ocean drone shot is interrupted around 00:13 by FOUR very quick full-screen photographs on four drum hits, then resumes. The last frames show a title animation revealing letters upward from BEHIND the silhouette of a mountain ridge. Match sea, mountain, sky, viewpoint and daylight between frames 6, 7, 8 and 9.\n\nROW 1:\nFrame 1, upper left: Opening drone camera pointed straight down over turquoise Hawaiian sea, textured ripples and soft foam fill the whole frame, no sky, no title. Camera flying forward. No drone visible.\nFrame 2, upper center: Drum hit 1, a single beautiful full-frame travel photograph of Lanikai's two offshore Mokulua islands silhouetted against dawn light, ocean and pale peach clouds, recognizable two island shapes. This is a full landscape photo, not a printed picture, no border within the frame, no title.\nFrame 3, upper right: Drum hit 2, a single full-frame iconic photo of Kualoa's folded green mountain valley, emerald ridges and soft morning clouds. No title, no inset.\n\nROW 2:\nFrame 4, middle left: Drum hit 3, a single full-frame late-afternoon photograph from Tantalus / Puʻu ʻUalakāʻa Lookout on Oʻahu: Honolulu and the coastline spread below, warm PRE-SUNSET afternoon daylight and soft cloud layers; city and green slopes still naturally illuminated, with open ocean behind, no text or title. This is a Day 1 photograph taken during the 17:30–17:50 pre-sunset stop, not a generic mountain scene. Do not show blue hour, night lights, a sun setting into the sea, or afterglow; the itinerary leaves before sunset.\nFrame 5, middle center: Drum hit 4, a single full-frame nighttime photo of a small warmly dressed traveler silhouette under realistic tiny stars, dark rocky foreground near the Mauna Kea visitor-station area. No observatory domes or buildings. No title.\nFrame 6, middle right: Return to the original moving ocean drone shot, gimbal now raised to level. Turquoise sea in lower half, a dark-green coastal mountain ridge across lower-middle, ample pale blue sky above. Coastline recedes naturally. No text yet. This is the same daylight and location used in frames 7, 8 and 9.\n\nROW 3 — THREE SUCCESSIVE STAGES OF THE SAME TITLE REVEAL:\nFrame 7, lower left: EXACT same coastal aerial scene and same framing as frame 6. The cream-white handwritten calligraphic word Hawaii is starting to rise from behind the mountain ridge. Only the UPPER portions of its letters are visible in the sky, the LOWER portions are physically occluded by the foreground mountain silhouette. CRITICAL DEPTH ORDER: sky at back, lettering in the middle, mountain in front. The mountain hides the bottom of the word. Do not paint text on the mountain and do not put text over the front of the mountain. This frame illustrates an incomplete upward reveal, not fading the entire word in.\nFrame 8, lower center: Same coastal scene and framing. The word Hawaii has risen farther upward and is now fully visible just ABOVE the mountain silhouette in the sky, smoothly elegant connected hand-lettering with thick-thin strokes and a restrained vintage island travel feel. Exact case and spelling: Hawaii. Warm ivory color, high legibility, not block capitals. A small subtle date begins to fade in at the bottom-right of THIS frame: 2026/10, low opacity, simple refined sans serif, 6 percent inset from right and bottom edges.\nFrame 9, lower right: Same coastal scene, mountain, ocean, sky and lettering as frame 8. Hawaii now comfortably holds above the mountain, elegant large cream-white script fully readable. The small date 2026/10 is fully readable at the bottom-right, 6 percent inset, much smaller than the title. Ocean remains visible, image not darkened. This is the finished travel-film title frame.\n\nIMPORTANT: EXACTLY 9 equal frames, not 4 or 8. Four flash photographs occupy frames 2,3,4,5 separately. All text is absent from frames 1–6. Hawaii appears only in 7–9; date appears only in 8–9. Exact required lettering: Hawaii and 2026/10. Frame 7 must visibly demonstrate the mountain occluding the lower part of the letters; frames 8–9 show the title above the ridge. No repeated titles elsewhere, no watermarks, no logos, no ornamental foliage, no extra captions. The title is a post-production graphic in an otherwise photographic frame. Deliver only the nine-panel storyboard sheet.\nPreserve the exact nine-panel layout. In panel 4, make the warm late-afternoon city and sea panorama visibly different from panel 3's green mountain valley. No after-dark city lights in panel 4. Accurate geographic details are illustrative because real-site reference photographs could not be retrieved. Output ONE complete nine-panel storyboard sheet."
    },
    {
      "id": "01",
      "title": "早餐之后，海边咖啡",
      "time": "00:42.70–00:52.68",
      "device": "微单或手机",
      "location": "10/3 Lanikai 已有海滩停留＋Kailua 早餐；咖啡先拍、剪辑时早餐先出；微单或手机",
      "description": "成片约 4 秒普通早餐＋6 秒海边站着喝咖啡。实际采集顺序为先在 Lanikai 带好咖啡拍海边段，再到 Kailua 吃早餐；不依赖临海餐厅或固定长椅。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: 早餐之后，海边咖啡\nThe film order is breakfast first, then seaside coffee, even though the seaside coffee may be captured earlier at Lanikai to fit the itinerary.\nFour frames:\n1. Morning medium shot at a simple Kailua breakfast table, fictional beige-shirt traveler reaches for an ordinary local breakfast, fruit and eggs in foreground; no luxury oceanfront restaurant, no Diamond Head requirement.\n2. Same table and daylight, traveler takes a small bite, natural unposed action.\n3. Cut to Lanikai beach during the existing dawn stop, traveler stands near the water holding a takeaway coffee already prepared, ocean and Mokulua islands in the distance; no invented bench, no restaurant table.\n4. Same seaside camera, traveler takes one sip while looking toward the water; keep this a quiet standing moment, not a staged advertisement.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "02",
      "title": "E-bike 途中停下来望山",
      "time": "00:52.68–01:02.65",
      "device": "微单",
      "location": "10/3 Kualoa Ranch 新手 E-bike 项目允许的停靠点；微单或手机",
      "description": "一个约 10 秒安静镜头：戴好头盔，在真实停靠点扶住 E-bike、喝水、抬头望山；不为取景脱队或反复重骑。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: E-bike 途中停下来望山\nFour frames:\n1. Wide fixed shot at a permitted Kualoa Ranch beginner E-bike tour rest point, towering folded green ridges dominate; fictional traveler wears a real cycling helmet and stands beside a stationary e-bike with the bike grounded on the route.\n2. Same camera, traveler rests one hand on the handlebar and takes a brief drink of water; a small hint of other tour riders may remain in the background, making this feel like a real guided activity.\n3. Same camera, traveler lowers the bottle and looks up toward the valley, helmet and bike clearly visible.\n4. Same quiet wide composition holds for contemplation, person and bicycle small below the ridges. No glove performance, no snow, no balcony, no motorcycle, no empty staged wilderness, no riding in these panels.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "03",
      "title": "人群旁的自己，烟花升起",
      "time": "01:02.65–01:12.75",
      "device": "微单或手机",
      "location": "10/2 19:30 起 Fort DeRussy 海滩，面向 Hilton Hawaiian Village；约 19:45 烟花",
      "description": "10/2 19:30 起在 Fort DeRussy Beach 面向 Hilton Hawaiian Village。成片前 5.12 秒拍等待人群，01:07.77 切到边缘人物仰望烟花，后 4.98 秒在同一构图里升空、绽放；四格是动作推进示意，只切一次。烟花约 19:45，以当天公告为准。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: 人群旁的自己，烟花升起\nThe upper row takes place around 19:30 while waiting; the lower row shows the scheduled fireworks around 19:45 at night. The edit uses one cut: about 5 seconds of waiting then about 5 seconds of the traveler and fireworks in one composition. All panels are on Fort DeRussy Beach looking toward Hilton Hawaiian Village to the northwest/west along the coast. Do not show Diamond Head in this viewing direction. Do not render sunset, blue-hour sky, or warm daylight.\nFour frames:\n1. Wide night beach view near Fort DeRussy, small groups of visitors face the dark ocean while waiting; nearby path lights and a few phone screens softly outline people, sky already deep navy.\n2. Continuation from the same camera position, the fictional traveler stands at the edge of the gathering and looks in the same direction as everyone else, separated by a little negative space.\n3. Cut to a side wide angle from Fort DeRussy: the traveler stands near the right margin while groups remain smaller on the left background; everyone begins looking upward toward the dark sky, with the first distant firework rising above the ocean in the direction of Hilton Hawaiian Village.\n4. Hold the same side angle as the scheduled fireworks bloom clearly over the dark ocean; people are small silhouettes looking up, Waikiki lights low on the horizon, realistic brief bursts rather than a giant festival spectacle. The sky is deep navy and the beach remains naturally dark; no sunset, no blue hour, no bright stage.\nDeliver only the four-frame photographic storyboard image.\nFinal constraints: same fictional traveler in beige shirt with black daypack. The fireworks viewpoint faces Hilton Hawaiian Village, not Diamond Head. Show fireworks in BOTH bottom panels: ascending trail in the lower-left, then a full gold-white bloom with modest red accents in the lower-right. Keep camera, traveler position and crowd layout identical between the bottom two panels. Leave most upper sky available for fireworks. Location geometry is illustrative rather than a surveyed replica. Output ONE complete four-panel image."
    },
    {
      "id": "04",
      "title": "敞篷海风，北岸日落散步",
      "time": "01:12.75–01:22.75",
      "device": "手机／固定 360、微单",
      "location": "10/3 欧胡岛沿海车程＋Haleʻiwa Aliʻi Beach 17:40–18:40 北岸日落；手机／固定 360＋微单",
      "description": "前两格为 Oʻahu 沿海 BMW 4 Series 敞篷海风，后两格接 10/3 Haleʻiwa Aliʻi Beach 的北岸日落（约 18:18）。成片可选 3–4 秒车内素材接海边；司机正常看路，人物特写用乘客。银色仅作示意。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\nVehicle continuity: On Oahu only, a silver BMW 4 Series two-door convertible, roof fully stowed, recognizable low elegant four-seat convertible proportions. On the Big Island only, a dark charcoal Jeep Wrangler with enclosed roof and doors, upright windows, boxy body and rear-mounted spare wheel. These colors are illustrative placeholders. Never substitute a BMW SUV, Jeep pickup, generic sedan or open-top Jeep. No added brand captions or prominent logo closeups. Ordinary travel cinematography, not a car advertisement.\n\nScene purpose: 敞篷海风，北岸日落散步\nFour frames:\n1. Restrained cinematic view from a securely mounted camera behind the front seats INSIDE a silver BMW 4 Series two-door convertible with its roof fully lowered, driving normally on an existing paved coastal road on Oahu. A fictional short-haired East Asian traveler in a beige shirt is the belted FRONT PASSENGER on the right side of the car. A companion driver at left keeps eyes forward and hands on the steering wheel. Show open sky, ocean glimpses, black headrests and a little silver body edge. Rear three-quarter passenger view, no visible camera hardware.\n2. Same car, same belted passenger, same coastal journey. Closer side-rear view of the passenger's relaxed shoulder and short hair stirred gently by sea breeze, gaze toward the ocean. Driver remains focused on road, no standing or leaning outside. Natural late-afternoon light, graceful convertible silhouette and open sky.\n3. Cut to the same beige-shirt traveler now walking on the safe dry edge of Haleʻiwa Aliʻi Beach on Oahu's North Shore at sunset, in a plausible sunset light study for the planned 10/3 sunset around 18:18; an open North Shore sea horizon, modest low coastal greenery and occasional palm silhouettes. Rear three-quarter ground-level wide shot, no car on sand, ocean and golden sky beyond.\n4. Same beach camera. Traveler has stopped to look at the sea, small at the edge of a wide quiet composition. This is a two-location editorial sequence: convertible breeze, then the real Haleʻiwa North Shore sunset walk and pause. The last two frames must clearly read as the same sunset session, not generic daylight beach footage.\nDeliver only the four-frame photographic storyboard image.\nFinal constraints: keep one consistent fictional traveler and the BMW 4 Series convertible in the upper two panels. The bottom two panels show a cohesive Haleʻiwa Aliʻi Beach sunset session: same camera and sky, walking then stopping, sun low near the sea horizon, spacious beach foreground and ocean, restrained warm light. Avoid dramatic cliffs, offshore twin islands or Diamond Head at this North Shore location. This is a location-inspired filming concept, not a surveyed replica. Output ONE complete four-panel image."
    },
    {
      "id": "05",
      "title": "雨林洞口的朦胧",
      "time": "01:22.75–01:32.79",
      "device": "微单",
      "location": "10/6 Nāhuku（Thurston Lava Tube）既有步行段；微单；海岸浪特写仅作天气或时间不足时的备用",
      "description": "约 10 秒：前 3 秒湿润蕨叶与树荫近景，后 7 秒沿已开放步道走向洞口；不进水、不摆拍，不再使用车窗或室内视角。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: 雨林洞口的朦胧\nFour frames:\n1. Close ground-level view of wet tropical fern leaves, dark tree shade and a real paved visitor path at Nāhuku (Thurston Lava Tube), subdued daylight after moisture in the rainforest; no artificial rain.\n2. Same walk-through location, camera widens slightly as the fictional traveler enters from the side and walks normally along the visitor path toward the lava-tube entrance, carrying no staged prop.\n3. Same direction of movement, traveler becomes a small back-facing figure approaching the dark opening while wet green leaves frame the path; do not show dangerous climbing or blocking other visitors.\n4. Hold the calm transition from green shade to the cave entrance, soft natural contrast and humid atmosphere. No car window, no hotel interior, no lake, no cliff edge, no fabricated underground set. The panels show one short walk, not four separate setups.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "06",
      "title": "星空与城市",
      "time": "01:32.79–01:42.70",
      "device": "微单＋手机",
      "location": "10/4 VIS，或 10/5 备用观星；10/2 Waikiki 夜街；微单＋手机",
      "description": "人物仰望星空，到 01:37.73 左右切城市灯光与行人。星空可用照片缓慢推近；阴天则用夜色中抬头的剪影。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: 星空与城市\nFour frames:\n1. Ground-level night shot near the Mauna Kea visitor station, not the summit. Traveler in a plain dark warm jacket, side silhouette, looking upward against a modest realistic star field.\n2. Wider night composition, still person and sparse lava foreground below dark blue sky with realistic tiny stars, subtle moonless exposure, no fantasy galaxy.\n3. Clear scene change to Waikiki street at night. Warm storefront windows and passing people, tropical palms, traveler at the side walking slowly.\n4. Medium street view of traveler in soft shop-light reflections and distant traffic bokeh, realistic tourist district, quiet rather than cyberpunk. No readable signs.\nDeliver only the four-frame photographic storyboard image.\nCRITICAL CORRECTION: The first two panels show ONLY a standing bundled-up person, dark lava foreground, and starry sky. Absolutely NO observatory domes, telescopes, white buildings, towers or other man-made structures in either night-sky panel. The setting is a safe visitor-station-area viewpoint, not the summit. Last two panels remain normal Waikiki street scenes. EXACTLY four panels, two above two."
    },
    {
      "id": "07",
      "title": "Kahuku 逛摊与虾车",
      "time": "01:42.70–01:52.80",
      "device": "手机",
      "location": "10/3 Kahuku 13:30–14:30 实际虾车／店面；手机",
      "description": "约 5 秒沿路浏览实际店面与菜单，约 5 秒接过虾盘吃一口；现场没有连续摊街时就拍单个虾车和周边小店，不虚构夜市。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: Kahuku 逛摊与虾车\nFour frames:\n1. Medium-wide rear-side view of the traveler walking through the actual daytime Kahuku food-truck area, modest roadside storefronts and a few customers, ordinary tropical light.\n2. Same area, traveler pauses by a real ordering window and studies a menu board; text need not be legible, no invented continuous market street.\n3. Cut to an outdoor picnic table near the food truck. A vendor hand passes a simple paper tray of garlic shrimp, no indoor restaurant and no glossy food advertisement.\n4. Same table angle, traveler takes the first bite and relaxes into a small smile. Keep the sequence candid and practical, with no simulated subway or lost-in-city scene.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "08",
      "title": "拉着行李走向住处",
      "time": "01:52.80–02:02.69",
      "device": "手机或微单固定",
      "location": "大岛民宿实际停车位与户外通道；手机或微单固定；10/4 抵达顺手拍或其他白天补拍",
      "description": "全组室外，约 3 秒箱轮与脚步，接约 7 秒从车旁拉箱走向实际住处；不拍室内、开后备厢或坐下。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: 拉着行李走向住处\nFour frames:\n1. Outdoor low detail shot beside the parked dark charcoal Jeep Wrangler at whatever real paved or compacted driveway is available, suitcase wheels and walking shoes begin moving; no idealized rental architecture required.\n2. Same low camera, suitcase rolls past and the traveler’s feet continue toward the actual accommodation path.\n3. Cut to an exterior wide view from a safe spot outside: the traveler pulls the same suitcase away from the camera along the real short path, with tropical vegetation or the rental exterior only if actually present.\n4. Same outdoor wide camera, traveler and suitcase continue out of frame toward the entrance. ALL FOUR PANELS outdoors. No interior, no doorway viewpoint, no open trunk, no unpacking, no sitting, no airport fiction.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "15",
      "title": "走向牧马人，再次出发",
      "time": "02:02.69–02:08.34",
      "device": "手机或固定 360",
      "location": "大岛原行程中的合法停车点；手机或固定 360；主图牧马人，另拍 BMW 版备用并与 16 同车配对",
      "description": "5.65 秒固定侧后方镜头，从人物已接近驾驶门开始：伸手、开门、坐入；牧马人和 BMW 两版都拍，最终与 16 按车型、光线和衣服匹配择优。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: 走向牧马人，再次出发\nFour frames:\n1. Fixed exterior rear three-quarter view of the driver side of a PARKED dark charcoal Jeep Wrangler at a lawful existing parking spot, roof and doors installed. The fictional traveler is already close to the driver door and reaches for the handle; do not spend the short take on a long approach.\n2. EXACT same camera and car, traveler opens the driver door normally.\n3. Same camera, traveler begins sitting into the driver seat, one foot still on ground.\n4. Same camera, traveler settles inside and draws the door toward closed position, vehicle remains stationary. One realistic entry action lasting 5.65 seconds, immediately cutting to the matching 16 Jeep aerial. A separate BMW 4 Series convertible version should be captured with the same action, clothing continuity and light, then paired with 16 BMW if selected. No suitcase, no trunk, no interior viewpoint, no driving yet.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "16",
      "title": "公路画下曲线（两车择优）",
      "time": "02:08.34–02:12.69",
      "device": "无人机",
      "location": "16A 大岛牧马人；16B 欧胡岛 BMW 4 Series 敞篷；分别选择原行程沿途适合合法航拍的铺装弯道。",
      "description": "原地图镜头已替换为公路航拍。两种车都拍，后期按构图、光线、车辆辨识度及与 15、17 的衔接择优；4.35 秒只用一辆车的一条连续镜头。每车目标 25–30 秒 × 2 条，单条最低 20 秒。下面缩略图是 16A，仅作索引，不代表最终选车。\n\n[查看 16A 牧马人与 16B 敞篷双版本对照](/Users/dxm/Documents/Subil/hawaii-storyboards/output/16-options.md)",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic photographic storyboard sheet for a personal Hawaii travel film. Landscape 16:9 overall canvas. EXACTLY FOUR equal landscape 16:9 panels in a 2 by 2 grid, with thin neutral white gutters, reading upper left, upper right, lower left, lower right. These are FOUR successive moments of ONE continuous 4.35-second aerial shot, not different angles. No text, captions, numbers, arrows, route lines, maps, UI, logos, watermarks, inset frames or drone visible. Natural live-action travel cinematography, restrained contrast, subtle film grain, credible Hawaiian landscape, realistic car and road geometry. Not a car advertisement or illustration.\n\nCAMERA AND CONTINUITY: Drone hovers offshore or safely to the side of the road, offset behind the moving car, oblique downward view rather than straight overhead. A distant wide landscape composition, road winds gently from the lower-left foreground toward upper-right distance. The car is SMALL BUT CLEARLY RECOGNIZABLE, about 5-7 percent of panel width, never a tiny lost speck. Show a real paved two-lane road with plausible lane markings. Camera position, focal length, horizon, landforms, road geometry and light remain EXACTLY THE SAME across all four panels. Only the car advances a modest realistic distance at normal speed in its proper lane. Do not show huge jumps in position. A gentle curved road visually expresses a journey drawing a curve. No off-road driving, no parked traffic, no overtaking or stunts, no drone chasing immediately behind car.\n\nVEHICLE AND LANDSCAPE: One dark charcoal Jeep Wrangler, recognizable boxy enclosed body, all doors and roof attached, rear-mounted spare wheel, no pickup bed. Late-afternoon soft side light on an open Big Island coastal road, natural grassy shoulders, scattered dark volcanic rock outside the paved road and distant blue ocean. This is a plausible compositional reference, not a named or verified location; no national park landmarks, crater roads, snowy summit or observatory. Open low vegetation allows a clear view of the road. Car color illustrative only.\nFOUR FRAMES:\n1. Same wide aerial setup: Wrangler viewed from behind and from the side, in the lower-left part of the visible road, approaching the gentle bend. Landscape occupies most of the image.\n2. Exactly same camera and background; the same Wrangler advances slightly into the bend, still clearly legible and same proportions.\n3. Same camera; Wrangler follows the road curve farther toward center-right, stable light and lane position.\n4. Same camera; Wrangler progresses a little farther toward the distance, still recognizable. Road continues ahead into open scenery. This is a quiet journey-away shot, not a dramatic pull-away or orbit.\n\nDeliver only the four-panel photographic storyboard sheet."
    },
    {
      "id": "17",
      "title": "回到旧的城市",
      "time": "02:12.69–02:23.00",
      "device": "手机",
      "location": "10/7 候机、10/8 北京与家中；手机",
      "description": "候机窗外 → 02:15.88 左右北京夜路 → 02:18.35 左右箱子进家门。最后停住，进入回忆间奏。赶航班时只留一个舷窗镜头，回家段可补拍。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: 回到旧的城市\nFour frames:\n1. Quiet airport waiting-area view, traveler seen from behind looking through a large terminal window toward a parked passenger plane in daylight, small dark suitcase nearby.\n2. Close passenger-window view from inside plane: clouds and ocean below, wing tip at the edge, calm travel transition.\n3. Nighttime arrival in Beijing, passenger view through a car window of an ordinary familiar urban street, realistic apartment buildings and warm streetlights, no landmark montage.\n4. Fixed low view inside a modest home entrance as the same dark suitcase is pulled through the door and comes to rest, soft interior light. No visible boarding passes or private details.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "09",
      "title": "火山大地里的行走",
      "time": "02:23.00–02:33.00（暂定）",
      "device": "微单",
      "location": "10/6 Kīlauea Iki；微单",
      "description": "从家门切辽阔火山地面远景，你沿允许的步道走，人物很小。约 10 秒保持一个镜头，让空间重新展开。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: 火山大地里的行走\nFour frames:\n1. Ground-level wide landscape of Kilauea Iki crater floor, gray cracked lava plain and green crater walls far behind. Traveler tiny on the designated walking route, daytime.\n2. Same fixed camera and wide composition. Traveler walks a few steps forward along the visible permitted route.\n3. Same camera. Traveler keeps walking, backpack small against immense textured gray lava and green ridgeline.\n4. Hold the same wide ground-level scene, human very small in the landscape, quiet scale. No drone viewpoint, lava eruption, red molten rock, or off-trail hiking.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "10",
      "title": "山谷中的骑行",
      "time": "02:33.00–02:43.00（暂定）",
      "device": "360",
      "location": "10/3 古兰尼 E-bike；360",
      "description": "经运营方允许牢固安装，录顺路骑行，后期缓慢转构图露出山谷。无法安装则用活动停靠点步行画面；不手持操作骑车。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: 山谷中的骑行\nFour frames:\n1. Stabilized normal-perspective view of traveler riding an e-bike along an authorized Kualoa Ranch gravel tour route, wearing fitted helmet and closed shoes, both hands on handlebars.\n2. Same forward ride, three-quarter rear view, green ridges rise around the trail, camera feels securely mounted, no camera stick visible.\n3. Framing gently rotates away from the rider toward a broad valley opening, straight horizon, ordinary lens perspective.\n4. Wide forward view into emerald valley while rider stays small at one side. No speed stunt, no handheld device, no tiny-planet or fisheye distortion.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "11",
      "title": "瀑布旁停一会儿",
      "time": "02:43.00–02:53.00（暂定）",
      "device": "微单",
      "location": "10/5 ʻAkaka Falls，A/B 路线均可；微单",
      "description": "湿叶前景、栏杆边的人、远处瀑布，约 10 秒安静停留。未进入则用已拍湿叶或海边素材。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: 瀑布旁停一会儿\nFour frames:\n1. Ground-level shot on the Akaka Falls visitor walkway, wet tropical leaves in foreground, traveler inside the visitor railing, waterfall in a lush ravine behind.\n2. Same locked camera. Traveler stops at railing and looks toward distant waterfall, standing safely on the path.\n3. Same composition, traveler remains still, soft waterfall mist and leaf highlights provide motion cues.\n4. Hold same quiet view of person, leaves and waterfall. Subdued rain-forest daylight, no lake, no standing at cliff edge or in the water.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "12",
      "title": "山顶日落，记住这个夜晚",
      "time": "02:53.00–03:03.00（暂定）",
      "device": "微单地面录像；照片或延时为可选替代",
      "location": "10/4 Mauna Kea 山顶日落时段；微单地面机位；实际天气、道路和现场规定允许时拍摄",
      "description": "用 Mauna Kea 日落替代第二次星空：厚外套中的人物、山脊和远处天文台轮廓组成约 10 秒安静镜头；VIS 星空保留给 06，火山红光只作备用。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: 山顶日落，记住这个夜晚\nFour frames:\n1. Grounded wide view at a safe permitted Mauna Kea summit viewpoint during the actual late-afternoon sunset window, fictional traveler in a dark warm jacket stands small in the lower third, wind moving the jacket, layered volcanic ridges and distant observatory silhouettes under a fading sky.\n2. Same camera, traveler turns slightly toward the ridgeline; cold high-altitude light shifts from pale gold to blue, no tropical beach elements.\n3. Same composition, traveler settles still while the last light traces the mountain and observatory shapes; keep the person on an established viewing area, no climbing or road center.\n4. Hold the quiet mountain sunset as the color cools. No second star field, no oversized moon, no aurora, no fantasy nebula, no guaranteed volcanic glow. If the summit is inaccessible or clouded, this board is replaced in the edit by the separately captured VIS night sky or actual Halemaʻumaʻu glow.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "13",
      "title": "Dole Whip 的笑脸",
      "time": "03:03.00–03:13.00（暂定）",
      "device": "手机",
      "location": "10/3 Dole Plantation 16:15–16:45 正式停靠；手机；Makuʻu Farmers Market仅作可选补充",
      "description": "与 07 的虾车区分：接过 Dole Whip、观察菠萝质感、尝一口后自然笑；不把 10/7 赶飞机前的市场作为必拍。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\n\nScene purpose: Dole Whip 的笑脸\nFour frames:\n1. Daylight exterior at the real Dole Plantation shop stop, traveler receives a small cup of Dole Whip or pineapple treat at an ordinary counter; no train, maze or invented market street required.\n2. Same medium shot, traveler looks briefly at the pale pineapple texture and spoon, relaxed shoulders and candid travel gesture.\n3. Same camera, traveler takes one bite while standing or walking just outside the shop, tropical greenery and a few visitors in soft background.\n4. The taste turns into a spontaneous genuine smile, eyes relaxed, no fashion pose. Keep this as a distinct small pleasure from the garlic-shrimp sequence in 07. If Makuʻu Farmers Market is actually visited, a short vendor or fruit detail may replace one panel, but it is optional.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "14",
      "title": "敞篷里的笑脸变成纸质照片",
      "time": "03:13.00–03:22.71（暂定）",
      "device": "手机、微单",
      "location": "欧胡岛停车后的 BMW 4 Series 敞篷＋回家桌边相册；微单／手机",
      "description": "停车后的敞篷里自然微笑，从视频截出清晰一帧打印，匹配切到相册中同一张照片。银色仅示意；不通过手机屏幕过渡。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\nVehicle continuity: On Oahu only, a silver BMW 4 Series two-door convertible, roof fully stowed, recognizable low elegant four-seat convertible proportions. On the Big Island only, a dark charcoal Jeep Wrangler with enclosed roof and doors, upright windows, boxy body and rear-mounted spare wheel. These colors are illustrative placeholders. Never substitute a BMW SUV, Jeep pickup, generic sedan or open-top Jeep. No added brand captions or prominent logo closeups. Ordinary travel cinematography, not a car advertisement.\n\nScene purpose: 敞篷里的笑脸变成纸质照片\nFour frames:\n1. Direct full-frame live-action medium close shot of the fictional short-haired East Asian traveler in a sand-beige short sleeve shirt, seated relaxed in the FRONT PASSENGER seat of a PARKED silver BMW 4 Series convertible, roof completely stowed. Camera from outside the passenger side at eye level, black seat and headrest, a little silver body and open blue sky, distant turquoise Oahu sea and palms. Soft natural afternoon light. Traveler starts a spontaneous smile during a friendly off-camera conversation. Car stationary in a lawful coastal parking space, not on beach. No steering wheel in front of passenger.\n2. EXACT same camera, person, seat, car, clothes and background as panel 1. Smile opens into a relaxed natural laugh. Eyes sharp, real skin texture. This is directly the moving travel scene, not an image inside a device.\n3. Match cut: the EXACT smile image from panel 2, including black convertible seat, silver body edge, blue sky and ocean, is now a physical matte printed photograph mounted on the RIGHT cream page of an open beige linen album on warm wood table. A smaller ocean-and-palms photo sits on LEFT page. Fixed 45-degree view from above, soft window side light, real paper edges and shadows. The smiling car portrait is clear and recognizable.\n4. Same table camera and album layout as panel 3. A hand rests at lower outside edge of right page without covering the printed car portrait. Same printed image. CRITICAL: no phone, tablet, electronic screen or digital photo frame anywhere. Exactly two settings: parked BMW smile, then printed paper album. No standalone beach portrait substitution.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "18",
      "title": "翻看相册里的敞篷笑脸",
      "time": "03:22.71–03:28.77",
      "device": "微单",
      "location": "回家后，同 14 的桌边纸质相册；微单",
      "description": "相册中的主照片与 14 一致：欧胡岛停稳的 BMW 敞篷里自然微笑；旁边配海景。手停下后离开照片边缘，相册保持打开。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\nVehicle continuity: On Oahu only, a silver BMW 4 Series two-door convertible, roof fully stowed, recognizable low elegant four-seat convertible proportions. On the Big Island only, a dark charcoal Jeep Wrangler with enclosed roof and doors, upright windows, boxy body and rear-mounted spare wheel. These colors are illustrative placeholders. Never substitute a BMW SUV, Jeep pickup, generic sedan or open-top Jeep. No added brand captions or prominent logo closeups. Ordinary travel cinematography, not a car advertisement.\n\nScene purpose: 翻看相册里的敞篷笑脸\nFour frames:\n1. Fixed 45-degree above-table close view of an open beige linen photo album with cream paper pages on a warm wood table in soft window side light. A hand finishes turning a page to reveal on the RIGHT page a matte printed photograph of one short-haired East Asian traveler in a beige shirt naturally smiling in the FRONT PASSENGER seat of a PARKED silver BMW 4 Series convertible, roof stowed; black seat/headrest, little silver body edge, open sky, distant turquoise Oahu ocean and palms visible INSIDE that photo. LEFT page has a smaller ocean-and-palms photograph. Only hands and album in home scene.\n2. Same locked camera, page now flat. The smiling BMW passenger portrait is clear, print edges and paper texture visible. Hand pauses at bottom right page corner without covering photograph. Keep exact same photo and page layout.\n3. Same album and camera. Fingertips gently move away from the portrait edge, leaving the printed face and convertible seat visible and sharp.\n4. Same camera. Open album stays still, car-smile portrait and smaller sea picture remain clear, hand relaxed away from photos. Album OPEN in all four panels. No phone, cigarette, screen, loose photo floating in air, or face outside photo. The smiling picture is not a standalone beach portrait.\nDeliver only the four-frame photographic storyboard image."
    },
    {
      "id": "19",
      "title": "合上敞篷笑脸的相册，缓缓失焦",
      "time": "03:28.77–约 03:46.07",
      "device": "微单固定、手动对焦",
      "location": "回家后，延续 18 同机位；微单固定、手动对焦",
      "description": "03:28.77–03:35.46 保持敞篷笑脸照片清晰，最后一句结束后，在 03:35.46 END 标记后的尾奏中才合上相册；手退出，封面清晰短停后缓缓失焦，最后淡黑。",
      "prompt": "Use case: photorealistic-natural. Create ONE cinematic storyboard contact sheet for a personal Hawaii travel film. The single output image is landscape 16:9. It contains EXACTLY FOUR equally sized landscape 16:9 film frames arranged in a precise 2 by 2 grid, separated only by very thin neutral-white gutters. Reading order: upper left, upper right, lower left, lower right. These are four moments within a shot sequence, not four unrelated alternative designs. No titles, captions, labels, numbers, arrows, logos, watermarks, camera gear or decorative borders.\nNatural live-action cinematography, plausible scenes one could film on holiday, subtle fine film grain, realistic skin and natural texture, restrained contrast and restrained warm highlights, ocean cyan and lush greens without oversaturation. No animation, drawing, 3D rendering, fantasy, commercial stock-photo staging, teal-orange exaggeration or fake lens flare. Respect the described time of day rather than making everything golden hour.\nWhen a traveler appears, use a fictional adult East Asian traveler with short dark hair, ordinary androgynous appearance, plain sand-beige short-sleeve shirt, dark olive trousers and a small black daypack where relevant. Keep face, clothing, suitcase and props consistent within this board. This is a composition stand-in, not a portrait of a real user. For cold night scenes add the described dark warm jacket; for cycling add helmet. Photos in the album depict that same fictional traveler. Keep continuity of lens, camera position and objects whenever a fixed camera is specified. No extra people except background visitors, vendor or server where the panel explicitly requires them.\nVehicle continuity: On Oahu only, a silver BMW 4 Series two-door convertible, roof fully stowed, recognizable low elegant four-seat convertible proportions. On the Big Island only, a dark charcoal Jeep Wrangler with enclosed roof and doors, upright windows, boxy body and rear-mounted spare wheel. These colors are illustrative placeholders. Never substitute a BMW SUV, Jeep pickup, generic sedan or open-top Jeep. No added brand captions or prominent logo closeups. Ordinary travel cinematography, not a car advertisement.\n\nScene purpose: 合上敞篷笑脸的相册，缓缓失焦\nFour frames:\n1. Fixed 45-degree above-table view of the same open beige linen album on a warm wood table. RIGHT cream page holds matte photo of short-haired East Asian traveler in beige shirt smiling in front passenger seat of a parked silver BMW 4 Series convertible with roof stowed, black seat and headrest, little silver body, blue sky and distant turquoise sea. LEFT page holds a smaller sea-and-palms print. Soft window side light. Only album and a hand visible. Portrait clear, no screens.\n2. EXACTLY same camera, table and album location. Hand slowly closes the right beige linen front cover over the pages, natural credible hinge motion. Photo still partly visible inside the narrowing opening. Cover plain with no writing.\n3. Same camera. Album fully closed, beige woven cover crisply focused, hand has left frame. Quiet pause, background gently soft, table unchanged.\n4. Same fully closed album and camera, no hands. Entire scene optically defocused: album outline faintly recognizable, warm wood and background merge into soft color shapes, no sharp area, no motion blur, fog or artificial glow. This is the final blurry hold, not a black screen. No phone, screen, cigarette, outdoor face closeup or new scene.\nDeliver only the four-frame photographic storyboard image."
    }
  ]
}