short-drama-storyboard

Compare original and translation side by side

🇺🇸

Original

English

🇨🇳

Translation

Chinese

短剧分镜与冻结关键帧

Short-Drama Storyboard and Frozen Keyframes

把剧本和视觉事实转成有镜头职责、空间连续性和可冻结起点的

剧集/<EP>/分镜.md

。每镜使用二级标题

## SHOT-...

，同镜下用

### 冻结关键帧提示词

写起始帧正文；需要时另加

### 收尾关键帧提示词

写终点正文。

Transform the script and visual facts into

剧集/<EP>/分镜.md

with shot responsibilities, spatial continuity, and a freezable starting point. Each shot uses a second-level heading

## SHOT-...

; within the same shot, use

### Frozen Keyframe Prompt

to write the starting-frame text; when needed, add

### Ending Keyframe Prompt

for the ending-frame text.

Quick Start

text

用 $short-drama-storyboard 完成 EP001 的正式分镜和每镜冻结关键帧

text

用 $short-drama-storyboard 完成 EP001 的正式分镜和每镜冻结关键帧

入口

Entry Point

当前剧本加必要视觉事实即可直接进入。资产图片提示词与分镜是兄弟分支，不互相等待。只有关键场次真的存在多个成立导演方案时，才在上下文比较覆盖方案；普通场次直接设计。

创作者可读说明跟随项目语言；冻结关键帧的可复制正文跟随

short-drama.json#/format/prompt_language

。没有

short-drama.json

时正文默认使用

en

。分配镜头时长前读取

short-drama.json#/creator_authority/production_profile/choices/native_duration_seconds

。已声明目标模型但没有原生时长时先补这一个选择；目标模型也未声明时照常按叙事节奏设计，不猜供应商限制。

冻结关键帧写完之前，谁会出现在这一格画面里还没有定下来。所以三条依据都在关键帧之后回填，读的是成稿画面，不是镜头意图。

用户没有手工点名参考图，不等于选择文生视频。冻结关键帧后先根据本镜可见人物、地点、关键道具与起始构图判断一致性需求，再检查项目中已有的真实图片。只有当前可读、内容与用途可核对的图片才能自动绑定；文件名像某个角色但内容未核对时，仍视为未准备好。

项目里一张都没有时，创作者有三条路，一次把三条都说清楚再让他选，不要只给「先生成参考图」和「改成文生视频」两个：把手上已有的图片放进项目再绑成

REF-...

；在自己的工具里出图、本轮先用

PLAN-...

写出挂图计划；或者明确改走文生视频。用本套件的生产技能出图只是第一条路的一种做法，需要项目外的 adapter 与凭据，不是唯一入口。

开始分镜前读

剧集/<EP>/剧本.md

的当前内容。创作者说「剧本已确认采用」指的是那个文件，不是对话里更早的草稿；两者不一致时以文件为准，并把差异说出来。

The current script plus the necessary visual facts is enough to enter directly. Asset image prompts and the storyboard are sibling branches and do not wait for each other. Only when a key scene genuinely has multiple valid director approaches do you compare coverage alternatives in context; for ordinary scenes, design directly.

Creator-readable notes follow the project language; the copyable text of frozen keyframes follows

short-drama.json#/format/prompt_language

. When there is no

short-drama.json

, the text defaults to

en

. Before allocating shot durations, read

short-drama.json#/creator_authority/production_profile/choices/native_duration_seconds

. If a target model is declared but has no native duration, first fill in this one choice; if no target model is declared either, design according to narrative rhythm as usual and do not guess vendor limits.

Before the frozen keyframe is written, who will appear in that frame is not yet decided. Therefore, the three pieces of evidence are backfilled after the keyframe, reading the finished frame, not the shot intention.

If the user has not manually pointed to a reference image, that does not mean text-to-video was chosen. After freezing the keyframe, first determine consistency needs based on the visible characters, locations, key props, and starting composition in the shot, then check real images already present in the project. Only images that are currently readable and whose content and purpose can be verified can be auto-bound; if the filename looks like a character but the content has not been verified, it is still considered not ready.

When there are no images in the project at all, the creator has three paths. State all three clearly at once before asking them to choose, not just two options like 'generate reference images first' and 'switch to text-to-video': put existing images into the project and bind them as

REF-...

; generate images in their own tool and write a mounting plan with

PLAN-...

first in this round; or explicitly switch to text-to-video. Using this suite's production skill to generate images is just one way to take the first path; it requires adapters and credentials outside the project and is not the only entry.

Before starting the storyboard, read the current content of

剧集/<EP>/剧本.md

. When the creator says 'the script has been confirmed for adoption,' they mean that file, not an earlier draft in the conversation; if the two differ, the file takes precedence and the difference should be stated.

工作流

Workflow

读取已接受的目标模型原生时长区间，再确认每个场景动作、对白、声音、画面文字和转折由哪些镜头承载。
确定观众何时知道什么、对齐谁、空间如何揭示、转折落在哪个可见动作。剧本或 Brief 用“前半段 / 后半段 / 前三分之一 / 最后 N 秒”等相对时间限定首次出现、释放或禁止时，先用已接受集长换成明确时间边界再分镜；例如 60 秒作品的“后半段首次出现”不得早于 30 秒。
每镜写清唯一职责、来源、时长、景别/机位、起点、唯一主要动作、终点和声音；用
```
起点 → 唯一动作 → 终点
```
直接说明人物、双手与持物怎样完成本镜状态转换。三条依据留到第 6 步。有对白、VO 或 OS 时，先按原文和人物说话方式估算完整发声时间，再安排不能重叠的动作、停顿与末尾反应；把估时依据简写在本镜「声音」里。具体做法见对白估时。
锁定人物朝向、位置、视线、持物、出入口、屏幕方向和必要状态；上游已有会限制动作空间的持续关系时，把关系投影进本镜起点与终点。
冻结关键帧只投影镜头起点；删除终点才出现的文字、动作、姿态或道具状态。镜头的职责落在收尾那一下时，另写
```
### 收尾关键帧提示词
```
投影终点——同一格画面的另一端，规则完全对称：删除起点才有、终点已经不在的东西。它是可选的，写法与取舍见首尾成对。
关键帧成稿后，先从成稿正文读出这一格里需要保持身份、造型或地理的人物、地点和道具，再用同一份清单一次填满三条依据：
- 视觉依据：清单里每一项写成《视觉设定.md》的条目引用，这是必写字段；
- 图片提示词项：清单里已有合适
```
IMG-...
```
  条目的写上，没有的留「无」；
- 输入参考图：按清单在用户提供的输入、
```
剧集/<EP>/制作成果/
```
  和文档已指向的其他可见媒体中查找匹配图片；命中就写入
```
REF-...
```
  。一张都没命中时写「无（待补参考图：<本镜缺失的起始帧、人物、地点、道具>）」；只命中一部分时，在已有
```
REF-...
```
  后追加「；待补参考图：<仍缺的图片>」，缺口之间只用
```
、
```
  分隔。创作者说图片由他自己在别处准备时，把这份清单写成
```
PLAN-...
```
  槽位，本镜即告就绪；只有创作者明确表示不用图时，才写「无（创作者已明确选择文生视频）」。
三条依据读的是同一格画面，所以不能互相矛盾：关键帧里点名的人物或道具，一定出现在视觉依据里。
整集请求完成整集，末端一次报告覆盖、节奏和真实未决选择。

Read the accepted native duration range of the target model, then confirm which shots carry each scene's action, dialogue, sound, on-screen text, and turning point.
Determine when the audience knows what, who is aligned, how space is revealed, and which visible action the turning point lands on. When the script or brief uses relative-time limits such as 'first half / second half / first third / last N seconds' for first appearance, release, or prohibition, convert them to explicit time boundaries using the accepted episode length before breaking down shots; for example, 'first appears in the second half' of a 60-second work must not be earlier than 30 seconds.
For each shot, write clearly its sole responsibility, source, duration, shot size/camera position, starting point, sole primary action, ending point, and sound; use
```
起点 → 唯一动作 → 终点
```
to directly describe how the characters, hands, and held props complete the shot's state transition. Leave the three evidence items to step 6. When there is dialogue, VO, or OS, first estimate the full vocal duration according to the original text and how the character speaks, then arrange non-overlapping actions, pauses, and end reactions; write the estimation basis briefly in the shot's 'sound' field. See Dialogue timing estimation for details.
Lock characters' orientations, positions, eyelines, held props, entrances/exits, screen direction, and necessary states; when upstream has continuing relationships that constrain action space, project those relationships into the shot's starting and ending points.
The frozen keyframe projects only the shot's starting point; remove text, actions, poses, or prop states that appear only at the ending point. When the shot's responsibility lands on the finishing action, additionally write
```
### Ending Keyframe Prompt
```
to project the ending—the other end of the same frame, with fully symmetric rules: remove what exists only at the starting point and is no longer at the ending point. It is optional; the style and trade-offs are explained in Paired start and end.
After the keyframe is finalized, first read from the finished text which characters, locations, and props in this frame need to maintain identity, styling, or geography, then use the same list to fill all three evidence items at once:
- Visual evidence: write each item as an entry reference to 《视觉设定.md》; this is a required field.
- Image prompt item: if the list already has a suitable
```
IMG-...
```
  entry, write it; otherwise leave
```
无
```
  .
- Input reference images: according to the list, search for matching images in the user-provided inputs,
```
剧集/<EP>/制作成果/
```
  , and other visible media pointed to by the document; if found, write
```
REF-...
```
  . If none are found, write
```
无（待补参考图：<本镜缺失的起始帧、人物、地点、道具>）
```
  ; if only some are found, append
```
；待补参考图：<仍缺的图片>
```
  after the existing
```
REF-...
```
  , separating gaps only with
```
、
```
  . When the creator says images will be prepared elsewhere, write this list as
```
PLAN-...
```
  slots and the shot is ready; only when the creator explicitly says no images are needed, write
```
无（创作者已明确选择文生视频）
```
  .
The three evidence items read the same frame, so they cannot contradict each other: a character or prop named in the keyframe must appear in the visual evidence.
When the request is for an entire episode, complete the whole episode and report coverage, rhythm, and genuinely unresolved choices once at the end.

镜头要求

Shot Requirements

每镜有唯一职责、明确来源、可见起止状态和合理时长。「来源」以《剧本.md》里真实存在的场景 ID 开头， ID 之后可以跟必要短引文，跨场次的镜头用
```
、
```
连写多条；
```
creator_markdown_check.py
```
会核对每个 ID 都解析得到。
「来源」短引文应对应本镜承担的动作或声音。正文提到画外人物时，可在视觉依据写
```
；画外：<类别>「<名称>」
```
；这只声明其不在画面，不能代替必要动作的落实。需要看见的动作应另有镜头承载，或说明为何省略。
剧本里的每个场景都要有镜头承载。确实决定不拍某一场时，在《分镜.md》正文开头写一行
```
- 未拍场次：<场景 ID>（理由：……）
```
，多项用
```
；
```
连接。SHT-01 一直允许带理由的省略，但省略和漏拍在成稿文档里长得一模一样，所以理由要写下来，而不是留在对话里。
已声明原生时长时，每个一镜一生成的镜头都落在其最短与最长秒数内。短于下限的叙事动作在合法镜长内完成后保持终点；长于上限的动作按可见状态闭合点拆镜，拆出的每镜仍各有唯一职责与可信交界。
「唯一动作」写从本镜起点到终点的那条可见状态链；涉及交接、换手、放置或取回时，把接触者、接触方式和物件落点写在同一链里，不能让合法终点之间靠镜外瞬移衔接。
切镜必须带来信息、权力、情绪、空间或节奏变化；同义重复镜头删掉。
相对时间词约束的是事件首次可见或可听的时刻，不因前置动作已经完成就提前释放；分镜时间轴直接写出该边界，不把“稍后”“交接后”等叙事顺序当成数值时间的替代。
同一动作不跨镜重复发生；终点应能成为下一镜可信起点。
关键信息的可读性优先于装饰性运镜，竖屏构图优先保证主体和反应可见。
复杂群戏先锁空间锚点和屏幕方向，再决定景别变化。
起终边界除了逐人姿态，还要写清本镜依赖的身体—物件—空间关系。关系在镜内不变时两端都保留；确需改变时，过程与终点必须有剧本依据。
冻结关键帧只写该瞬间能看见的内容；文字、手指、反射和遮挡要可生成。
《视觉设定.md》的连续性锁在生效镜头上原样写进冻结关键帧正文；锁面不因“参考图会交代”而省略。
检查发现遗漏就直接修正文档，不生成覆盖表来证明自己检查过。镜头块里的「视觉依据」是本镜的依据字段，不是这里说的覆盖表。

Each shot has a unique responsibility, a clear source, visible starting and ending states, and a reasonable duration. The 'source' starts with a scene ID that actually exists in 《剧本.md》; after the ID, a brief necessary quotation may follow. For shots spanning multiple scenes, join the sources with
```
、
```
;
```
creator_markdown_check.py
```
verifies that every ID parses.
The 'source' short quotation should correspond to the action or sound this shot carries. When the text mentions an off-screen character, you may write
```
；画外：<类别>「<名称>」
```
in the visual evidence; this only declares that the character is not in the frame and cannot replace the implementation of necessary actions. Actions that need to be seen should be carried by another shot, or the omission should be explained.
Every scene in the script must be carried by a shot. If you decide not to shoot a scene, write a line at the beginning of 《分镜.md》:
```
- 未拍场次：<场景 ID>（理由：……）
```
, joining multiple items with
```
；
```
. SHT-01 always allows omission with a reason, but omission and missing shots look exactly the same in the final document, so the reason must be written down, not left in the conversation.
When a native duration is declared, every one-shot-one-generation shot falls within its minimum and maximum seconds. Narrative actions shorter than the lower bound complete within the legal shot length and then maintain the ending point; actions longer than the upper bound are split at visible state closure points, with each resulting shot still having a unique responsibility and credible boundary.
The 'sole action' writes the visible state chain from the shot's starting point to its ending point; when handoffs, switching hands, placing, or retrieving are involved, put the contact person, contact method, and object destination in the same chain, and do not connect legal ending points by teleporting off-screen.
A cut must bring a change in information, power, emotion, space, or rhythm; redundant synonymous shots should be deleted.
Relative time words constrain when an event first becomes visible or audible; they are not released early just because a preceding action is complete. The storyboard timeline directly writes out that boundary; it does not treat narrative ordering like 'later' or 'after the handoff' as a substitute for numeric time.
The same action does not occur repeatedly across shots; the ending point should be a credible starting point for the next shot.
Readability of key information takes priority over decorative camera moves; vertical composition first ensures the subject and reactions are visible.
For complex group scenes, first lock spatial anchors and screen direction, then decide shot size changes.
In addition to per-person poses, the starting and ending boundaries must also state the body–object–space relationships this shot depends on. When relationships do not change within the shot, keep them at both ends; when they must change, the process and ending point must have script basis.
Frozen keyframes only write what can be seen at that instant; text, fingers, reflections, and occlusions must be generatable.
Continuity locks from 《视觉设定.md》 are written verbatim into the frozen keyframe text of the affected shots; a lock is not omitted because 'the reference image will explain it.'
If the review finds an omission, fix the document directly; do not generate a coverage table to prove you checked. The 'visual evidence' in the shot block is the evidence field for that shot, not the coverage table mentioned here.

视觉依据与图片

Visual Evidence and Images

```
IMG-...
```
是《图片提示词.md》里的提示词条目 ID，不代表图片已生成、已提供或可用。
已有《图片提示词.md》且本镜需要其中条目时，写「图片提示词项」：ID 必须匹配该文档的可见二级标题，同时写中文名称和它控制的身份、造型、地理、构图或其他边界。ID 只用于查找，不让英文 slug 承担含义。
没有《图片提示词.md》或没有合适条目时，写「图片提示词项：无」，再以中文指向《视觉设定.md》的人物、地点或道具项及控制范围。这是正常直接入口；不为继续分镜而编造 ID，也不补造另一个阶段。
「视觉依据」是每镜必写字段：冻结关键帧成稿后按实际画面反查，需要保持身份、造型或地理的可见人物、地点和道具必须逐项写成
```
《视觉设定.md》·<人物|造型|地点|道具>「<名称>」（控制：<范围>）
```
，多项用
```
；
```
连接，名称必须能在《视觉设定.md》里找到同名标题。小比例或背景人物只要需要认出身份仍在范围内，画外人声和不可识别局部不算；本镜确实没有这类条目时写「视觉依据：无」。
关键帧正文出现了某个条目的名字，但它本镜确实不在画面里（物主已离场、名字只出现在屏幕文字上、和某个词同形），在「视觉依据」末尾追加
```
；画外：<类别>「<名称>」
```
。这是如实记录，不是把不在场的人写成在场。
某个条目的名字在正文里根本不可靠（
```
道具「手机」
```
会撞上「手机店」，
```
人物「小雨」
```
会撞上「下着小雨」），在《视觉设定.md》该条目写
```
画面代称：无
```
，机械核对就不再按名字找它；这一镜是否画到它仍由「视觉依据」如实回答。
三条依据都描述同一格画面，不是本镜的资产花名册。「控制」只写这一格承担得起的范围：手背特写不写「本集造型」，只出现屏幕和一根手指的镜头不写「体态」。上一镜的绑定不因为“角色还在这场戏里”就顺延到下一镜。
关键帧正文点名的人物、地点或道具（《视觉设定.md》条目名称或它声明的「画面代称」），必须出现在本镜「视觉依据」里；
```
creator_markdown_check.py
```
会机械核对这一条。它只抓被名字点到的那一类：正文只描述不点名（"a boy in a hooded jacket"）时机器不发声，画面里有谁仍然要靠这一步自己读出来，不能等报错。
本镜需要保持一致、但《视觉设定.md》里还没有条目的可见物件（跨镜出现的道具尤其常见），不能因为「写不进视觉依据」就当它不需要一致性。四镜都出现的一支笔和一件外套是同一类问题。做两件事：正文里逐镜用完全相同的描述把它钉住，并在本轮末尾报告里点名它、建议
```
$short-drama-assets
```
补条目。不自行新增《视觉设定.md》条目，也不把它塞进「视觉依据」冒充已有条目。
「输入参考图」是独立的另一条轴：创作者已提供，或经确认生产且当前可读的实际图片，用不同于
```
IMG-...
```
的稳定
```
REF-...
```
槽位引用。每个槽位同时写显式顺序、仅用
```
/
```
分隔的项目相对路径、中文名称、「用途」、「控制」和「不得控制」范围；没有时必须区分「待补参考图」和「创作者已明确选择文生视频」，只准备了一部分时则保留已有
```
REF-...
```
并追加「；待补参考图：……」。不得把提示词条目、还没生成的图或对话中的描述写成
```
REF-...
```
——
```
REF-...
```
的意思是「文件此刻在项目里」。创作者会在生成时自己挂载的图片走下面的
```
PLAN-...
```
：它同样不声称文件存在，只是把这一镜要挂哪几张写清楚。
每个
```
REF-...
```
必须逐字遵循唯一格式：
```
REF-<slot>（顺序：<n>）· <项目相对路径>《<中文名称>》（用途：<用途>；控制：<范围>；不得控制：<范围>）
```
。注意「顺序：」后的全角冒号和路径前的中点
```
·
```
；不得用
```
/
```
代替字段分隔符。多图只用中文分号
```
；
```
连接，部分缺图则在最后一个完整槽位后接
```
；待补参考图：<缺口>
```
，缺口之间用
```
、
```
分隔。写完后按此格式回读一次再交付。
```
用途
```
只能取
```
身份
```
、
```
造型状态
```
、
```
地理
```
、
```
构图
```
、
```
尺度
```
、
```
效果
```
、
```
起始帧
```
、
```
结束帧
```
、
```
风格
```
之一；逐条能控制什么见
```
$short-drama
```
的《参考角色》。本镜的起始画面图写
```
用途：起始帧
```
，人物图写
```
用途：身份
```
或
```
造型状态
```
，场景图写
```
用途：地理
```
，道具状态图按它决定的那一件写。一张图承担两件事就拆成两个槽位；一镜最多一张
```
起始帧
```
和一张
```
结束帧
```
，写
```
结束帧
```
时必须同时有
```
起始帧
```
。下游视频提示词靠
```
用途
```
说清「本镜送哪一张分镜起始帧、哪些人物/道具/场景图」，所以缺
```
用途
```
的槽位不算准备好。
本镜还没有起始画面图时有两条路。创作者用本套件生产：
```
用途：起始帧
```
那一张由
```
$short-drama-produce
```
用本镜的冻结关键帧正文生成，job 的
```
source
```
写
```
剧集/<EP>/分镜.md
```
、
```
source_entry
```
写本镜
```
SHOT-...
```
，产出落在
```
剧集/<EP>/制作成果/images/
```
，拿到真实文件后再绑成
```
REF-...
```
。创作者在自己的工具里生产：把冻结关键帧正文复制过去出图，再把文件放进项目绑成
```
REF-...
```
，或者本轮先写成
```
PLAN-SHOT-START（顺序：<n>）· <本镜 SHOT-...>《本镜冻结关键帧》（用途：起始帧；……）
```
。两条路都没走时，它仍然只是「待补参考图」里的一项。
创作者在项目外出图、图片不进项目时，用
```
PLAN-...
```
槽位：语法与
```
REF-...
```
逐字相同，只把项目相对路径换成
```
IMG-...
```
或
```
SHOT-...
```
条目 ID，
```
IMG-...
```
的中文名称必须与《图片提示词.md》标题一致。它声明的是「这张图由创作者在生成时按这个顺序挂载」，不声称项目里有文件，因此不是「待补」，也不能拿来投产。真实文件进了项目就改写成
```
REF-...
```
。两种槽位可以混用，
```
顺序
```
统一连续编号。
自动绑定不是把所有图都塞进一镜。只选本镜可见、且身份、造型、地理、关键道具状态或起始构图确实需要稳定的图；逐张写清它的用途、能控制什么、不得控制什么。
两条轴可以独立组合：有合法的图片提示词项时，输入参考图仍可为「待补」或创作者明确选择的文生视频；创作者给了真实参考图时，图片提示词项也可为「无」。

```
IMG-...
```
is a prompt entry ID in 《图片提示词.md》. It does not mean the image is already generated, provided, or usable.
When 《图片提示词.md》 exists and this shot needs one of its entries, write 'image prompt item': the ID must match a visible second-level heading in that document, and also write the Chinese name and the identity, styling, geography, composition, or other boundaries it controls. IDs are only for lookup; the English slug does not carry meaning.
When 《图片提示词.md》 does not exist or has no suitable entry, write 'image prompt item: none', then point in Chinese to the character, location, or prop items and control scope in 《视觉设定.md》. This is the normal direct entry; do not invent an ID to continue storyboarding, and do not fabricate another stage.
'Visual evidence' is a required field for every shot: after the frozen keyframe is finalized, work backward from the actual frame. Visible characters, locations, and props that need to maintain identity, styling, or geography must be written item by item as
```
《视觉设定.md》·<人物|造型|地点|道具>「<名称>」（控制：<范围>）
```
, joined with
```
；
```
; the name must find a heading with the same name in 《视觉设定.md》. Small-scale or background characters count as long as their identity still needs to be recognized; off-screen voices and unidentifiable parts do not count. If this shot genuinely has no such entries, write 'visual evidence: none'.
If the keyframe text mentions an entry's name but it is genuinely not in this frame (the owner has left, the name only appears in on-screen text, or it homographs with another word), append
```
；画外：<类别>「<名称>」
```
at the end of 'visual evidence'. This is a faithful record, not writing an absent person as present.
When an entry's name is fundamentally unreliable in the text (
```
道具「手机」
```
would collide with '手机店',
```
人物「小雨」
```
would collide with '下着小雨'), write
```
画面代称：无
```
for that entry in 《视觉设定.md》; then mechanical verification will no longer look for it by name. Whether this shot actually depicts it is still answered truthfully by 'visual evidence'.
The three evidence items describe the same frame, not an asset roster for the shot. 'Control' only writes the scope this frame can bear: a close-up of the back of a hand does not write 'episode styling'; a shot that shows only a screen and one finger does not write 'body shape'. A binding from the previous shot does not carry over to the next just because 'the character is still in this scene.'
A character, location, or prop named in the keyframe text (a 《视觉设定.md》 entry name or its declared
```
画面代称
```
) must appear in this shot's 'visual evidence';
```
creator_markdown_check.py
```
mechanically checks this. It only catches the category that is named: when the text only describes without naming ('a boy in a hooded jacket'), the machine stays silent, and who is in the frame still has to be read out by this step; do not wait for an error.
Visible objects that need to stay consistent in this shot but do not yet have an entry in 《视觉设定.md》 (especially props appearing across shots) cannot be treated as having no consistency requirement just because 'they cannot be written into visual evidence.' A pen and a jacket appearing in four shots are the same type of problem. Do two things: pin the object down in the text by using the exact same description in every shot, and name it in the end-of-round report, suggesting
```
$short-drama-assets
```
add an entry. Do not add entries to 《视觉设定.md》 yourself, and do not stuff it into 'visual evidence' as if it were an existing entry.
'Input reference images' is an independent axis: actual images the creator has provided, or that were confirmed as produced and are currently readable, are referenced by stable
```
REF-...
```
slots distinct from
```
IMG-...
```
. Each slot writes at the same time an explicit order, a project-relative path separated only by
```
/
```
, a Chinese name, 'purpose', 'control', and 'must not control' scope; when absent, you must distinguish between 'pending reference images' and 'creator explicitly chose text-to-video'; when only a part is ready, keep the existing
```
REF-...
```
and append '；待补参考图：……'. Do not write prompt entries, not-yet-generated images, or descriptions from a conversation as
```
REF-...
```
—
```
REF-...
```
means 'the file is in the project at this moment.' Images the creator will mount themselves during generation go through
```
PLAN-...
```
below: it likewise does not claim the file exists, but only writes clearly which images this shot will mount.
Every
```
REF-...
```
must follow verbatim the unique format:
```
REF-<slot>（顺序：<n>）· <项目相对路径>《<中文名称>》（用途：<用途>；控制：<范围>；不得控制：<范围>）
```
. Note the full-width colon after '顺序：' and the middle dot
```
·
```
before the path; do not use
```
/
```
as a field separator. Multiple images are joined only with Chinese semicolons
```
；
```
; if some are missing, after the last complete slot append
```
；待补参考图：<缺口>
```
and separate gaps with
```
、
```
. After writing, read it back against this format before delivering.
'Purpose' can only be one of
```
身份
```
、
```
造型状态
```
、
```
地理
```
、
```
构图
```
、
```
尺度
```
、
```
效果
```
、
```
起始帧
```
、
```
结束帧
```
、
```
风格
```
; what each can control is in
```
$short-drama
```
's 《参考角色》. For a starting-frame image of this shot, write
```
用途：起始帧
```
; for a character image, write
```
用途：身份
```
or
```
造型状态
```
; for a location image, write
```
用途：地理
```
; for a prop-state image, write according to what it decides. If one image carries two jobs, split it into two slots; a shot has at most one
```
起始帧
```
and one
```
结束帧
```
, and when writing
```
结束帧
```
you must also have
```
起始帧
```
. Downstream video prompts use
```
用途
```
to say which storyboard starting frame, characters/props/location images are sent to this shot, so a slot without
```
用途
```
is not ready.
When this shot does not yet have a starting-frame image, there are two paths. If the creator produces with this suite: the
```
用途：起始帧
```
image is generated by
```
$short-drama-produce
```
using this shot's frozen keyframe text; write
```
source
```
as
```
剧集/<EP>/分镜.md
```
and
```
source_entry
```
as this shot's
```
SHOT-...
```
; the output lands in
```
剧集/<EP>/制作成果/images/
```
, and once the real file is available, bind it as
```
REF-...
```
. If the creator produces in their own tool: copy the frozen keyframe text over to generate, then put the file into the project and bind it as
```
REF-...
```
, or write it this round as
```
PLAN-SHOT-START（顺序：<n>）· <本镜 SHOT-...>《本镜冻结关键帧》（用途：起始帧；……）
```
. If neither path is taken, it remains just one item in 'pending reference images'.
When the creator generates images outside the project and the images do not enter the project, use
```
PLAN-...
```
slots: the syntax is verbatim the same as
```
REF-...
```
, except the project-relative path is replaced with
```
IMG-...
```
or
```
SHOT-...
```
entry IDs, and the Chinese name of
```
IMG-...
```
must match the title in 《图片提示词.md》. It declares 'this image will be mounted by the creator at generation time in this order'; it does not claim a file exists in the project, so it is not 'pending', and cannot be used for production. When a real file enters the project, rewrite it as
```
REF-...
```
. The two slot types can be mixed;
```
顺序
```
is uniformly numbered consecutively.
Auto-binding is not about cramming all images into one shot. Only select images that are visible in this shot and whose identity, styling, geography, key prop state, or starting composition genuinely need to be stable; write each one's purpose, what it can control, and what it must not control.
The two axes can combine independently: when there is a valid image prompt item, input reference images can still be 'pending' or the creator explicitly chose text-to-video; when the creator gives real reference images, the image prompt item can also be 'none'.

按需知识

On-Demand Knowledge

默认只读本 SKILL、当前剧本和必要视觉事实。遇到对应问题时只打开一份：

阶段边界与规则分级：阶段契约
镜头职责、切镜理由和边界：镜头手艺
实际制作所需的镜头语法：生产镜头语法
关键场次比较导演方案：场次视觉计划
检查原文是否都有画面承载：Coverage Audition
多人、群体和复杂空间调度：调度手册
谁被照亮、怎么写才执行得出：光的设计
冻结瞬间、注意中心和可读性：关键帧手艺
漫剧/二维漫画形态的共享画风词汇：漫剧关键帧词表
剧本事实到关键帧的完整示例：剧本到关键帧
拆镜、并镜和稳定镜头 ID：镜头修订身份
完成前的连续性检查：审查与示例

By default, read only this SKILL, the current script, and necessary visual facts. When encountering a corresponding problem, open only one resource:

Stage boundaries and rule tiers: 阶段契约
Shot responsibilities, cut reasons, and boundaries: 镜头手艺
Shot syntax needed for actual production: 生产镜头语法
Comparing director approaches for key scenes: 场次视觉计划
Checking whether the original text is fully covered: Coverage Audition
Multi-person, group, and complex space blocking: 调度手册
Who is lit and how to write it executably: 光的设计
Frozen instants, attention centers, and readability: 关键帧手艺
Shared visual vocabulary for comic/2D-comic forms: 漫剧关键帧词表
Full example from script facts to keyframes: 剧本到关键帧
Splitting, merging, and stable shot IDs: 镜头修订身份
Continuity checks before completion: 审查与示例

修订

Revisions

保留未受影响的镜头 ID。拆镜、并镜或改变镜头职责时，说明哪些下游视频提示词需要刷新，但不自动重写用户没点名的文件。

Keep unaffected shot IDs. When splitting, merging, or changing a shot's responsibility, state which downstream video prompts need refreshing, but do not automatically rewrite files the user did not name.

完成

Completion

点名范围的原文都有镜头落实，每镜职责不重复、空间与状态连续、起止边界可制作、关键帧可冻结，每镜「来源」解析到《剧本.md》的真实场景、剧本里每个场景都有镜头承载或已记入「未拍场次」，且每镜关键帧里的可见人物、地点、道具都在本镜「视觉依据」里，即完成。画面需要、但《视觉设定.md》还没有条目的可见物件，在末尾报告里逐项点名。本次请求同时修改《图片提示词.md》与《分镜.md》时，当轮刷新受影响镜头的引用；不另建覆盖表。视频提示词、生产和审查只有用户点名时开始。五份创作文档齐备后，可转

$short-drama

对跨文档结构做一次机械核对；内容质量仍由创作者审查。

When the original text in the named scope has shots carrying it, each shot's responsibility is non-overlapping, space and states are continuous, the starting/ending boundaries are producible, the keyframe can be frozen, each shot's 'source' resolves to a real scene in 《剧本.md》, every scene in the script is carried by a shot or recorded in 'unshot scenes', and every visible character, location, and prop in each shot's keyframe is in that shot's 'visual evidence', the task is complete. For visible objects that the frame needs but that have no entry in 《视觉设定.md》 yet, name them item by item in the end-of-round report. When this request also modifies 《图片提示词.md》 and 《分镜.md》 at the same time, refresh the references of affected shots in the current round; do not create a separate coverage table. Video prompts, production, and review only start when the user names them. Once the five creation documents are complete, you may hand off to

$short-drama

for a mechanical cross-document check; content quality is still reviewed by the creator.

安装维护

Installation and Maintenance

只有安装、升级或排障时运行

python3 scripts/selftest.py

。

Run

python3 scripts/selftest.py

only when installing, upgrading, or troubleshooting.