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80, "secondTabWidth": 65, "cnr_id": "comfy-core", "ver": "0.45.0", "Node name for S&R": "PrimitiveStringMultiline", "ue_properties": { "widget_ue_connectable": {}, "version": "8.0.1", "input_ue_unconnectable": {} } }, "widgets_values": [ "A cinematic horizontal 16:9 Japanese fashion-editorial photograph featuring two adult East Asian subjects inside a warm wood-paneled Japanese interior. The primary subject is a young adult Japanese woman reclining across the center-left of a long gray-beige upholstered sofa in an exceptionally elaborate black, vermilion, ivory, silver, and gold furisode kimono. The secondary subject is an adult East Asian man seated upright on the far screen-right end of the same sofa, wearing black sunglasses and a sharply tailored black suit while grounding a fully sheathed Japanese katana vertically against the carpeted floor.\n\nThe woman remains the dominant visual subject. Her full-body fashion scale, pose, garment spread, facial size, hand positions, leg arrangement, and vertical crop remain fixed. The man occupies only the screen-right lateral area, separated from the outer edge of her sleeve by a narrow visible section of sofa upholstery. His restrained black silhouette acts as a compact secondary counterweight to the woman’s expansive, brightly embroidered kimono.\n\nThe woman is Japanese and in her early twenties, with a slender frame, softly oval face, pale warm skin, straight dark eyebrows, almond-shaped dark-brown eyes, a narrow nose, and softly closed muted-red lips. Her expression is cool, self-possessed, and slightly confrontational. Her chin remains gently lowered while both pupils look directly upward into the camera lens, producing an intense gaze beneath relaxed eyelids. Subtle warm rose color surrounds the eyes and upper cheeks, accompanied by precise black upper-lid definition and restrained editorial makeup.\n\nHer glossy black hair is swept completely away from her forehead and arranged in a large traditional formal updo. Two rounded side volumes rise above the temples and converge into a high sculpted central bun. A second compact section folds backward at the upper rear of the head. A dark floral kanzashi ornament with small metallic-gold and muted-green accents is inserted into the bun on screen-right. Fine natural strands remain around the temples, ears, and nape while the main silhouette stays smooth, high, and architectural.\n\nKimono collar and upper-body construction: a crisp white nagajuban collar follows the base of her neck. A narrow vermilion inner layer appears beneath it along the screen-left side of her upper chest. The black outer kimono collar crosses diagonally from her screen-right shoulder toward the screen-left waist. The wearer’s anatomical left front panel, appearing on screen-right, lies correctly over the anatomical right panel. The overlapping black silk creates a clean diagonal line across the chest while leaving a controlled triangular section of vermilion and white underlayers visible near the screen-left collarbone.\n\nThe main upper kimono is dense black figured silk with a restrained woven cloud texture. Across the screen-right shoulder and upper sleeve are gold, rust-red, muted teal, and ivory flowers, small birds, curling leaves, and fine embroidered branches. Across the screen-left shoulder, the black upper body transitions into a vivid vermilion-red long sleeve. Fine gold thread catches the directional daylight according to the changing angles of the fabric folds.\n\nObi construction: a broad structured black brocade obi wraps horizontally around her waist and remains flat against the reclined torso. Its central front displays an oversized cream-and-gold chrysanthemum medallion with layered fan-shaped petals and a compact black-and-white circular center. Fine gold cloud and leaf patterns continue around the black ground. A narrow vermilion obijime cord runs horizontally across the center of the obi, remains taut around the waist, and passes directly over the floral medallion. Near screen-right, the cord gathers into a restrained decorative knot accompanied by a deep-red silk tassel and clustered red ornamental threads. A small section of pale-gold obiage fabric appears along the upper edge of the obi.\n\nScreen-left furisode sleeve: the long sleeve belonging to the arm on screen-left spreads broadly across the left sofa cushion. Its exterior is vivid vermilion-orange silk with layered gold chrysanthemums, small plum blossoms, fan-shaped ornaments, delicate branches, and several pale crane-like bird silhouettes. Metallic gold outlines shift in brightness according to the folds. A clean white silk lining forms a continuous border along the open sleeve edge.\n\nThe lower inner surface of this screen-left sleeve reveals a contrasting blue-green panel densely woven with a small repeating white geometric vine pattern. The vermilion outer layer rests above the white border, and the blue-green patterned lining lies beneath them on the sofa. The sleeve forms a broad flattened fan extending from her bent arm toward screen-left, its outermost edge stopping near 27.5% of the final frame width.\n\nScreen-right furisode sleeve: the sleeve belonging to the arm on screen-right is predominantly black, with dense gold, rust, muted green, ivory, and red chrysanthemums, peonies, leaves, and curling cloud forms. The sleeve extends from the shoulder down the sofa toward screen-right. Its broad white silk lining turns outward and creates a long luminous diagonal band from the upper torso to the screen-right hand.\n\nThe white lining remains continuous from the sleeve opening to the resting wrist. It lies on top of the sofa cushion in several long, shallow folds. At the far screen-right end, the black patterned outer sleeve returns around the cuff and spreads into an elaborate floral panel beside her hand. The patterned sleeve edge stops near 72.5% frame width. A narrow exposed strip of gray-beige sofa remains visible between this sleeve edge and the seated man’s black suit.\n\nMain lower kimono: below the obi, the garment expands into a dense silver-gray and black brocade field covering the hips, thighs, knees, and lower legs. The upper thigh area is cool silver-gray silk with large-scale gold embroidery, vermilion maple leaves, white cranes, gilded birds, peonies, chrysanthemums, plum blossoms, layered clouds, and curling water forms. The motifs follow the true direction of the fabric, bending and compressing around the raised thigh and knee.\n\nSeveral white cranes cross the silver-gray field at different scales, their pale bodies edged in fine gold thread. Golden wing and feather forms arc diagonally through the center of the skirt. Rust-orange leaves and muted-red flowers cluster around the birds. Broad gold wave curls travel toward the lower-right, creating a visual current through the garment.\n\nThe lower hem transitions into a deep black ground densely embroidered with gold pine needles, branching stems, red and ivory chrysanthemums, small purple blossoms, green leaves, and scattered cloud shapes. The black hem forms several substantial overlapping folds around the foreground shin before opening just enough to reveal the white tabi and black zori at the lower-right edge. The fabric remains weighty, structured, and continuous around the complete lower body.\n\nWoman’s upper-body pose: her back and shoulder blades recline against the sofa backrest. Her spine descends from the head near the upper center toward the pelvis slightly right of center, forming a gentle diagonal. The torso leans approximately 25 degrees away from vertical while remaining turned almost frontally toward the camera. The screen-left shoulder sits slightly higher than the screen-right shoulder because of the hand raised to her chest.\n\nThe arm on screen-left bends at the elbow. Its forearm rises diagonally across the vermilion inner layer, and its hand rests flat against the upper chest immediately below the collarbone. The palm makes full contact with the kimono. Four fingers remain softly extended and separated, angled diagonally toward the screen-right shoulder, while the thumb points inward toward the center of the torso.\n\nThe arm on screen-right extends outward and downward along the sofa. The upper arm remains partly covered by the black furisode sleeve. The forearm follows the long white lining toward screen-right. The wrist reaches the sofa cushion near 65% frame width and 57% frame height. The hand rests palm-down on the cushion beside the patterned sleeve end, with naturally relaxed fingers pointing toward screen-right.\n\nWoman’s pelvis and leg topology: her pelvis rests completely on top of the center-right sofa seat cushion near 51% frame width and 57% frame height. The sofa supports her hips from below. From this central pelvis, the two legs separate into clearly different depth planes.\n\nThe foreground leg begins beneath the central silver-gray brocade panel. Its covered thigh travels diagonally downward toward the center, forming the large embroidered mound beneath the cranes and gold waves. Its knee sits near 51% frame width and 71% frame height. The covered shin continues diagonally toward lower screen-right, crosses over the sofa’s front edge near 57% width and 86% height, and then descends freely in front of the sofa.\n\nThe foreground foot rests on the gray carpeted floor near 63% frame width and 96% frame height. It is fully enclosed in a clean white split-toe tabi sock and a glossy black lacquered zori sandal. A narrow dark-burgundy hanao strap passes correctly between the split toes and continues diagonally over both sides of the foot. The toes point toward the lower-right corner, and the complete sandal remains just inside the bottom edge.\n\nThe rear leg remains entirely on top of the sofa seat. Its thigh bends laterally from the pelvis toward screen-right beneath the layered black-and-gold kimono. The covered knee forms a smaller raised mound near 60% frame width and 67% frame height. The lower leg folds horizontally toward screen-right and rests across the cushion beside a small red-and-black plaid bolster.\n\nThe rear foot remains supported by the sofa cushion near 67% frame width and 71% frame height. It wears a matching white split-toe tabi and glossy black zori with a narrow burgundy thong. The heel, sole, and outer edge of this sandal rest continuously on the cushion, while its toes point toward screen-right. The two feet remain visibly separate: one foot on the carpeted floor at lower-right, one foot on the sofa seat above it.\n\nSecondary subject: an adult East Asian man in his late thirties sits upright on the far screen-right sofa cushion. He has a lean, composed build, a clean-shaven face, short black hair combed neatly away from his forehead, and a firm neutral mouth. Matte-black rectangular sunglasses cover his eyes.\n\nHe wears a sharply tailored matte-black two-button suit jacket, left open while seated, over a crisp white cotton dress shirt and a narrow black silk tie. His black trousers fall in clean pressed lines from the hips to the shoes. He wears polished black leather dress shoes with restrained highlights. The severe monochrome suit remains secondary in contrast and detail to the woman’s ornate furisode.\n\nThe man’s back remains upright against the sofa backrest, and his pelvis is fully supported by the far-right seat cushion. His shoulders stay level and his torso faces almost directly toward the camera. His sternum, suit lapels, tie, hips, and knees remain oriented frontally.\n\nHead-and-gaze lock: only the man’s neck and head rotate sharply toward screen-right. His head turns approximately 60–70 degrees away from the camera, while his torso and shoulders remain frontal. His nose, lips, chin, sunglasses, and hidden eye line all point horizontally toward the right edge of the frame. He looks beyond the screen-right border rather than toward the camera or the reclining woman.\n\nThe turn produces a clear left-side three-quarter profile. The near screen-left cheek, left jawline, left side of the mouth, and left ear remain visible, while the far side of his face narrows through perspective. His chin remains level and neither raised nor lowered. The black sunglasses rotate with his head: the near lens remains fully readable, the far lens becomes strongly foreshortened, and the temples align correctly toward the screen-right ear. A narrow warm reflection runs diagonally across the near lens, reinforcing the direction of his turned face.\n\nHis knees are separated by a natural seated distance. Both lower legs descend vertically from the sofa front edge. Both polished shoes rest flat and firmly on the carpet, one near 79% frame width and the other near 91% frame width, both around 94% frame height. His left hand rests palm-down on his left thigh, with relaxed fingers following the trouser fabric.\n\nSheathed katana ownership and contact chain: the man’s right shoulder connects continuously to his upper arm, bent elbow, forearm, aligned wrist, right gripping hand, wrapped katana handle, circular guard, continuous lacquered saya, reinforced kojiri end, and carpet contact point. The sword belongs exclusively to the seated man and remains positioned between his knees, slightly closer to his right leg.\n\nHis right hand closes around the black tsuka immediately above the guard. The tsuka is wrapped in black silk over pale diamond-shaped openings, with a dark metal kashira at its upper end. His knuckles face slightly toward the camera, and the wrist remains naturally aligned with the forearm. The dark circular tsuba sits just beneath his hand near 84% frame width and 59% frame height.\n\nFrom the guard downward, the long visible form is a single continuous black-lacquered saya. The Japanese sword remains completely contained inside this fitted scabbard from the guard to the reinforced lower end. The saya descends almost vertically through the space between his knees, leaning approximately six degrees toward the man. A fine warm reflection runs along one edge of the black lacquer, keeping its full silhouette readable against the dark trousers.\n\nThe dark metal kojiri at the lower end of the saya rests firmly on the gray carpet near 84% frame width and 94% frame height. The carpet compresses slightly beneath the contact point, creating a small oval grounding shadow. The sheathed katana forms one stable vertical axis from the man’s right fist to the floor.\n\nA narrow visible gap separates the black saya from both trouser legs. The complete handle, guard, scabbard, and carpet contact remain individually readable. The man’s left hand stays on his thigh while the right hand alone controls the upright sheathed sword. His head direction remains independent of his arm and sword pose: his body and grounded katana face forward while his gaze continues decisively off-frame toward screen-right.\n\nSubject hierarchy and depth: the reclining woman occupies the primary foreground plane and remains brighter, larger, and more richly detailed. The seated man occupies the far-right secondary plane at approximately the same sofa depth but receives softer light and lower color contrast. The outer edge of the woman’s patterned sleeve ends near 72.5% frame width; the man’s silhouette begins near 76% width. A narrow section of exposed sofa upholstery visibly separates their bodies and garments.\n\nGarment and sofa layering: the woman’s complete kimono and the man’s complete suit occupy the uppermost subject layer. The woman’s furisode sleeves, brocade skirt, and white lining rest on the central sofa cushions. The man’s suit-covered pelvis and thighs rest on the far-right cushion. The sofa back supports both subjects independently. Narrow contact shadows remain beneath the woman’s sleeves and hip, beneath the man’s jacket and thighs, beneath the rear zori, and beneath the plaid bolster.\n\nA compact red-and-black plaid cylindrical bolster remains behind the woman’s screen-right hip and bent rear knee. It is positioned to the left of the seated man and remains spatially separate from his suit and sheathed katana. A dark floral textile cushion lies beneath the outer end of the woman’s sleeve, maintaining a narrow gap from the man’s nearest trouser leg.\n\nCamera geometry: the camera is positioned approximately 1.8–2.2 meters from the woman and slightly above her eye line, looking downward by approximately 12 degrees. It is centered in front of the sofa with a very slight offset toward screen-left. The sensor remains level with zero Dutch roll. Vertical wooden wall seams remain straight, and horizontal sofa seams remain level.\n\nThe elevated frontal viewpoint reveals the sofa seat beneath both subjects, the top surfaces of the woman’s sleeves, her complete leg arrangement, the man’s frontal seated torso, his sharply turned head, the vertical sheathed katana, the sofa front edge, and all three visible floor contacts: the woman’s foreground zori, the man’s left shoe, and the man’s right shoe.\n\nComposition lock and 16:9 lateral expansion: exact horizontal 16:9 frame. Preserve the woman’s vertical framing, subject height, camera distance, facial scale, body pose, hand contacts, leg geometry, sofa height, floor depth, and all kimono proportions. The woman remains unchanged within a central portrait-proportioned action zone spanning approximately 27.5–72.5% of the final frame width.\n\nThe additional screen-right width contains the secondary man, his sofa cushion, both trouser legs, both shoes, and the grounded sheathed katana. Adding him does not reduce or shift the woman. Her face remains anchored near 50% frame width and 31% frame height. Her pelvis remains near 51% width and 57% height. Her screen-left chest hand stays near 45% width and 40% height. Her screen-right resting hand remains near 65% width and 57% height.\n\nThe man’s head center sits near 84% frame width and 34% frame height. His neck rises vertically from the frontal suit collar before his head rotates toward screen-right. His nose points toward approximately 92% frame width. His near sunglass lens occupies the left side of his profile, while the foreshortened far lens approaches the right facial contour.\n\nHis shoulders occupy approximately 77–92% width around 41% height. His pelvis rests near 84% width and 60% height. His shoes contact the floor near 79% and 91% width at 94% height. The sheathed katana creates a compact vertical line at approximately 84% width from 52% to 94% frame height.\n\nThe woman’s highest hair ornament sits near 19% of the frame height. Her eyes remain near 31%, the sofa-back upper edge near 34%, her chest hand near 40%, the obi center near 49%, her pelvis near 57%, the foreground knee near 71%, the sofa front edge near 86%, and the floor-standing zori near 96%. The complete head-to-foot woman occupies approximately 80% of the frame height.\n\nSofa and room: a long mid-century Japanese sofa extends continuously across the 16:9 frame. It has gray-beige herringbone upholstery, softly rounded piping, individual rectangular backrest sections, widely spaced round tufting buttons, three central seat cushions, and additional matching cushion bays extending laterally. The upholstery pattern remains consistent in physical scale.\n\nThe screen-left side reveals another complete sofa backrest bay, an extended seat cushion, and a softly rounded left armrest. The screen-right side reveals the complete cushion supporting the man, one additional backrest division behind him, and a matching right armrest near the far-right edge. The horizontal cushion seams remain continuous and level behind both subjects.\n\nWarm orange-brown wooden wall panels fill the upper background. Large timber surfaces are separated by narrow dark vertical joints. The central panel behind the woman remains broad and uninterrupted. Additional full-width wooden panels continue behind the seated man and into the far-right border, retaining natural grain, fine scratches, subtle wear, and slight tonal variation.\n\nA small rectangular frosted-glass inset remains high in the screen-left wooden panel near approximately 31–37% frame width. Blurred green and yellow exterior foliage appears through the textured glass as soft abstract color. The lower foreground is a muted gray woven carpet extending continuously beneath the sofa and across the complete width.\n\nDepth and focus: primary focus rests on the woman’s eyes, chest hand, black collar overlap, chrysanthemum obi, red obijime, central cranes, metallic embroidery, resting hand, and both tabi-and-zori feet. The man’s turned three-quarter profile, near sunglass lens, visible cheek and jawline, shirt collar, tie, right gripping hand, katana handle, black saya, and floor contact remain clearly readable in the same moderate depth field but slightly softer than the woman’s face and central kimono.\n\nThe kimono’s black figured silk, vermilion satin, white lining, blue-green geometric lining, metallic gold embroidery, silver-gray brocade, matte obi, red cord, tabi cotton, and lacquered zori retain distinct textures. The man’s matte wool suit, crisp cotton shirt, silk tie, dark sunglass lenses, polished shoes, wrapped tsuka, metal guard, and lacquered saya remain materially separate from one another.\n\nLighting: strong natural late-afternoon window light enters from upper screen-left and slightly in front. It creates a warm luminous field across the woman’s face, raised hand, vermilion sleeve, central obi, and silver-gray brocade. Metallic gold threads produce numerous restrained highlights that follow the true fabric folds.\n\nThe light gradually falls across the sofa toward screen-right. The seated man therefore occupies a darker, quieter tonal zone. His sharply turned head receives a soft warm highlight along the visible screen-left cheekbone, temple, ear, jawline, and near sunglasses lens. The far side of his face narrows into warm shadow as it turns toward the right edge.\n\nA soft highlight defines his white shirt collar, suit lapel, right hand, tsuba, and one side of the black saya. The sunglass reflection follows the perspective of the turned head rather than facing the camera frontally. The black-lacquered scabbard receives one narrow vertical amber highlight, and the polished shoes receive small controlled reflections near the toes. Contact shadows anchor the scabbard tip and all three floor-supported feet to the carpet.\n\nAtmosphere: still interior air, warm aged timber, dense embroidered silk, soft upholstery, polished black lacquer, faint dust in the window light, and the controlled tension of a late-1990s Japanese fashion editorial. The woman’s languid ceremonial opulence contrasts with the man’s rigid monochrome posture, off-frame vigilance, and grounded sheathed sword.\n\nColor palette: deep black, vivid vermilion, burnt orange, antique gold, pearl ivory, silver gray, muted teal, dark green, dusty red, pale warm skin, gray-beige upholstery, orange-brown wood, dark sunglass lenses, burgundy sandal straps, and cool gray carpet. The man remains predominantly black and white, allowing the woman’s kimono to retain visual priority.\n\nMood: opulent, self-possessed, enigmatic, guarded, intimate, slightly rebellious, and quietly cinematic. The young woman appears completely at ease and looks directly into the lens, while the silent man turns his head decisively toward screen-right as if monitoring something beyond the frame.\n\nCamera and rendering: photorealistic Japanese fashion editorial photographed with a real young adult Japanese woman, a real adult East Asian man, a physically constructed furisode kimono, a tailored black suit, an authentic fully sheathed katana prop, a real upholstered sofa, and a physical wood-paneled interior. Shot on a 35mm still camera with a 35mm spherical lens at f/5.6, 1/125-second shutter, ISO 400, and a Fujifilm Superia-inspired color-negative response. Moderate environmental depth, precise textile rendering, fine organic grain, subtle highlight halation, warm direct daylight, slightly lifted blacks, mild cyan-green separation in the shadows, restrained saturation, natural skin texture, gentle analog softness, and meticulous high-resolution scanning from the original 35mm negative.\n" ], "widgets_values_named": { "value": "A cinematic horizontal 16:9 Japanese fashion-editorial photograph featuring two adult East Asian subjects inside a warm wood-paneled Japanese interior. The primary subject is a young adult Japanese woman reclining across the center-left of a long gray-beige upholstered sofa in an exceptionally elaborate black, vermilion, ivory, silver, and gold furisode kimono. The secondary subject is an adult East Asian man seated upright on the far screen-right end of the same sofa, wearing black sunglasses and a sharply tailored black suit while grounding a fully sheathed Japanese katana vertically against the carpeted floor.\n\nThe woman remains the dominant visual subject. Her full-body fashion scale, pose, garment spread, facial size, hand positions, leg arrangement, and vertical crop remain fixed. The man occupies only the screen-right lateral area, separated from the outer edge of her sleeve by a narrow visible section of sofa upholstery. His restrained black silhouette acts as a compact secondary counterweight to the woman’s expansive, brightly embroidered kimono.\n\nThe woman is Japanese and in her early twenties, with a slender frame, softly oval face, pale warm skin, straight dark eyebrows, almond-shaped dark-brown eyes, a narrow nose, and softly closed muted-red lips. Her expression is cool, self-possessed, and slightly confrontational. Her chin remains gently lowered while both pupils look directly upward into the camera lens, producing an intense gaze beneath relaxed eyelids. Subtle warm rose color surrounds the eyes and upper cheeks, accompanied by precise black upper-lid definition and restrained editorial makeup.\n\nHer glossy black hair is swept completely away from her forehead and arranged in a large traditional formal updo. Two rounded side volumes rise above the temples and converge into a high sculpted central bun. A second compact section folds backward at the upper rear of the head. A dark floral kanzashi ornament with small metallic-gold and muted-green accents is inserted into the bun on screen-right. Fine natural strands remain around the temples, ears, and nape while the main silhouette stays smooth, high, and architectural.\n\nKimono collar and upper-body construction: a crisp white nagajuban collar follows the base of her neck. A narrow vermilion inner layer appears beneath it along the screen-left side of her upper chest. The black outer kimono collar crosses diagonally from her screen-right shoulder toward the screen-left waist. The wearer’s anatomical left front panel, appearing on screen-right, lies correctly over the anatomical right panel. The overlapping black silk creates a clean diagonal line across the chest while leaving a controlled triangular section of vermilion and white underlayers visible near the screen-left collarbone.\n\nThe main upper kimono is dense black figured silk with a restrained woven cloud texture. Across the screen-right shoulder and upper sleeve are gold, rust-red, muted teal, and ivory flowers, small birds, curling leaves, and fine embroidered branches. Across the screen-left shoulder, the black upper body transitions into a vivid vermilion-red long sleeve. Fine gold thread catches the directional daylight according to the changing angles of the fabric folds.\n\nObi construction: a broad structured black brocade obi wraps horizontally around her waist and remains flat against the reclined torso. Its central front displays an oversized cream-and-gold chrysanthemum medallion with layered fan-shaped petals and a compact black-and-white circular center. Fine gold cloud and leaf patterns continue around the black ground. A narrow vermilion obijime cord runs horizontally across the center of the obi, remains taut around the waist, and passes directly over the floral medallion. Near screen-right, the cord gathers into a restrained decorative knot accompanied by a deep-red silk tassel and clustered red ornamental threads. A small section of pale-gold obiage fabric appears along the upper edge of the obi.\n\nScreen-left furisode sleeve: the long sleeve belonging to the arm on screen-left spreads broadly across the left sofa cushion. Its exterior is vivid vermilion-orange silk with layered gold chrysanthemums, small plum blossoms, fan-shaped ornaments, delicate branches, and several pale crane-like bird silhouettes. Metallic gold outlines shift in brightness according to the folds. A clean white silk lining forms a continuous border along the open sleeve edge.\n\nThe lower inner surface of this screen-left sleeve reveals a contrasting blue-green panel densely woven with a small repeating white geometric vine pattern. The vermilion outer layer rests above the white border, and the blue-green patterned lining lies beneath them on the sofa. The sleeve forms a broad flattened fan extending from her bent arm toward screen-left, its outermost edge stopping near 27.5% of the final frame width.\n\nScreen-right furisode sleeve: the sleeve belonging to the arm on screen-right is predominantly black, with dense gold, rust, muted green, ivory, and red chrysanthemums, peonies, leaves, and curling cloud forms. The sleeve extends from the shoulder down the sofa toward screen-right. Its broad white silk lining turns outward and creates a long luminous diagonal band from the upper torso to the screen-right hand.\n\nThe white lining remains continuous from the sleeve opening to the resting wrist. It lies on top of the sofa cushion in several long, shallow folds. At the far screen-right end, the black patterned outer sleeve returns around the cuff and spreads into an elaborate floral panel beside her hand. The patterned sleeve edge stops near 72.5% frame width. A narrow exposed strip of gray-beige sofa remains visible between this sleeve edge and the seated man’s black suit.\n\nMain lower kimono: below the obi, the garment expands into a dense silver-gray and black brocade field covering the hips, thighs, knees, and lower legs. The upper thigh area is cool silver-gray silk with large-scale gold embroidery, vermilion maple leaves, white cranes, gilded birds, peonies, chrysanthemums, plum blossoms, layered clouds, and curling water forms. The motifs follow the true direction of the fabric, bending and compressing around the raised thigh and knee.\n\nSeveral white cranes cross the silver-gray field at different scales, their pale bodies edged in fine gold thread. Golden wing and feather forms arc diagonally through the center of the skirt. Rust-orange leaves and muted-red flowers cluster around the birds. Broad gold wave curls travel toward the lower-right, creating a visual current through the garment.\n\nThe lower hem transitions into a deep black ground densely embroidered with gold pine needles, branching stems, red and ivory chrysanthemums, small purple blossoms, green leaves, and scattered cloud shapes. The black hem forms several substantial overlapping folds around the foreground shin before opening just enough to reveal the white tabi and black zori at the lower-right edge. The fabric remains weighty, structured, and continuous around the complete lower body.\n\nWoman’s upper-body pose: her back and shoulder blades recline against the sofa backrest. Her spine descends from the head near the upper center toward the pelvis slightly right of center, forming a gentle diagonal. The torso leans approximately 25 degrees away from vertical while remaining turned almost frontally toward the camera. The screen-left shoulder sits slightly higher than the screen-right shoulder because of the hand raised to her chest.\n\nThe arm on screen-left bends at the elbow. Its forearm rises diagonally across the vermilion inner layer, and its hand rests flat against the upper chest immediately below the collarbone. The palm makes full contact with the kimono. Four fingers remain softly extended and separated, angled diagonally toward the screen-right shoulder, while the thumb points inward toward the center of the torso.\n\nThe arm on screen-right extends outward and downward along the sofa. The upper arm remains partly covered by the black furisode sleeve. The forearm follows the long white lining toward screen-right. The wrist reaches the sofa cushion near 65% frame width and 57% frame height. The hand rests palm-down on the cushion beside the patterned sleeve end, with naturally relaxed fingers pointing toward screen-right.\n\nWoman’s pelvis and leg topology: her pelvis rests completely on top of the center-right sofa seat cushion near 51% frame width and 57% frame height. The sofa supports her hips from below. From this central pelvis, the two legs separate into clearly different depth planes.\n\nThe foreground leg begins beneath the central silver-gray brocade panel. Its covered thigh travels diagonally downward toward the center, forming the large embroidered mound beneath the cranes and gold waves. Its knee sits near 51% frame width and 71% frame height. The covered shin continues diagonally toward lower screen-right, crosses over the sofa’s front edge near 57% width and 86% height, and then descends freely in front of the sofa.\n\nThe foreground foot rests on the gray carpeted floor near 63% frame width and 96% frame height. It is fully enclosed in a clean white split-toe tabi sock and a glossy black lacquered zori sandal. A narrow dark-burgundy hanao strap passes correctly between the split toes and continues diagonally over both sides of the foot. The toes point toward the lower-right corner, and the complete sandal remains just inside the bottom edge.\n\nThe rear leg remains entirely on top of the sofa seat. Its thigh bends laterally from the pelvis toward screen-right beneath the layered black-and-gold kimono. The covered knee forms a smaller raised mound near 60% frame width and 67% frame height. The lower leg folds horizontally toward screen-right and rests across the cushion beside a small red-and-black plaid bolster.\n\nThe rear foot remains supported by the sofa cushion near 67% frame width and 71% frame height. It wears a matching white split-toe tabi and glossy black zori with a narrow burgundy thong. The heel, sole, and outer edge of this sandal rest continuously on the cushion, while its toes point toward screen-right. The two feet remain visibly separate: one foot on the carpeted floor at lower-right, one foot on the sofa seat above it.\n\nSecondary subject: an adult East Asian man in his late thirties sits upright on the far screen-right sofa cushion. He has a lean, composed build, a clean-shaven face, short black hair combed neatly away from his forehead, and a firm neutral mouth. Matte-black rectangular sunglasses cover his eyes.\n\nHe wears a sharply tailored matte-black two-button suit jacket, left open while seated, over a crisp white cotton dress shirt and a narrow black silk tie. His black trousers fall in clean pressed lines from the hips to the shoes. He wears polished black leather dress shoes with restrained highlights. The severe monochrome suit remains secondary in contrast and detail to the woman’s ornate furisode.\n\nThe man’s back remains upright against the sofa backrest, and his pelvis is fully supported by the far-right seat cushion. His shoulders stay level and his torso faces almost directly toward the camera. His sternum, suit lapels, tie, hips, and knees remain oriented frontally.\n\nHead-and-gaze lock: only the man’s neck and head rotate sharply toward screen-right. His head turns approximately 60–70 degrees away from the camera, while his torso and shoulders remain frontal. His nose, lips, chin, sunglasses, and hidden eye line all point horizontally toward the right edge of the frame. He looks beyond the screen-right border rather than toward the camera or the reclining woman.\n\nThe turn produces a clear left-side three-quarter profile. The near screen-left cheek, left jawline, left side of the mouth, and left ear remain visible, while the far side of his face narrows through perspective. His chin remains level and neither raised nor lowered. The black sunglasses rotate with his head: the near lens remains fully readable, the far lens becomes strongly foreshortened, and the temples align correctly toward the screen-right ear. A narrow warm reflection runs diagonally across the near lens, reinforcing the direction of his turned face.\n\nHis knees are separated by a natural seated distance. Both lower legs descend vertically from the sofa front edge. Both polished shoes rest flat and firmly on the carpet, one near 79% frame width and the other near 91% frame width, both around 94% frame height. His left hand rests palm-down on his left thigh, with relaxed fingers following the trouser fabric.\n\nSheathed katana ownership and contact chain: the man’s right shoulder connects continuously to his upper arm, bent elbow, forearm, aligned wrist, right gripping hand, wrapped katana handle, circular guard, continuous lacquered saya, reinforced kojiri end, and carpet contact point. The sword belongs exclusively to the seated man and remains positioned between his knees, slightly closer to his right leg.\n\nHis right hand closes around the black tsuka immediately above the guard. The tsuka is wrapped in black silk over pale diamond-shaped openings, with a dark metal kashira at its upper end. His knuckles face slightly toward the camera, and the wrist remains naturally aligned with the forearm. The dark circular tsuba sits just beneath his hand near 84% frame width and 59% frame height.\n\nFrom the guard downward, the long visible form is a single continuous black-lacquered saya. The Japanese sword remains completely contained inside this fitted scabbard from the guard to the reinforced lower end. The saya descends almost vertically through the space between his knees, leaning approximately six degrees toward the man. A fine warm reflection runs along one edge of the black lacquer, keeping its full silhouette readable against the dark trousers.\n\nThe dark metal kojiri at the lower end of the saya rests firmly on the gray carpet near 84% frame width and 94% frame height. The carpet compresses slightly beneath the contact point, creating a small oval grounding shadow. The sheathed katana forms one stable vertical axis from the man’s right fist to the floor.\n\nA narrow visible gap separates the black saya from both trouser legs. The complete handle, guard, scabbard, and carpet contact remain individually readable. The man’s left hand stays on his thigh while the right hand alone controls the upright sheathed sword. His head direction remains independent of his arm and sword pose: his body and grounded katana face forward while his gaze continues decisively off-frame toward screen-right.\n\nSubject hierarchy and depth: the reclining woman occupies the primary foreground plane and remains brighter, larger, and more richly detailed. The seated man occupies the far-right secondary plane at approximately the same sofa depth but receives softer light and lower color contrast. The outer edge of the woman’s patterned sleeve ends near 72.5% frame width; the man’s silhouette begins near 76% width. A narrow section of exposed sofa upholstery visibly separates their bodies and garments.\n\nGarment and sofa layering: the woman’s complete kimono and the man’s complete suit occupy the uppermost subject layer. The woman’s furisode sleeves, brocade skirt, and white lining rest on the central sofa cushions. The man’s suit-covered pelvis and thighs rest on the far-right cushion. The sofa back supports both subjects independently. Narrow contact shadows remain beneath the woman’s sleeves and hip, beneath the man’s jacket and thighs, beneath the rear zori, and beneath the plaid bolster.\n\nA compact red-and-black plaid cylindrical bolster remains behind the woman’s screen-right hip and bent rear knee. It is positioned to the left of the seated man and remains spatially separate from his suit and sheathed katana. A dark floral textile cushion lies beneath the outer end of the woman’s sleeve, maintaining a narrow gap from the man’s nearest trouser leg.\n\nCamera geometry: the camera is positioned approximately 1.8–2.2 meters from the woman and slightly above her eye line, looking downward by approximately 12 degrees. It is centered in front of the sofa with a very slight offset toward screen-left. The sensor remains level with zero Dutch roll. Vertical wooden wall seams remain straight, and horizontal sofa seams remain level.\n\nThe elevated frontal viewpoint reveals the sofa seat beneath both subjects, the top surfaces of the woman’s sleeves, her complete leg arrangement, the man’s frontal seated torso, his sharply turned head, the vertical sheathed katana, the sofa front edge, and all three visible floor contacts: the woman’s foreground zori, the man’s left shoe, and the man’s right shoe.\n\nComposition lock and 16:9 lateral expansion: exact horizontal 16:9 frame. Preserve the woman’s vertical framing, subject height, camera distance, facial scale, body pose, hand contacts, leg geometry, sofa height, floor depth, and all kimono proportions. The woman remains unchanged within a central portrait-proportioned action zone spanning approximately 27.5–72.5% of the final frame width.\n\nThe additional screen-right width contains the secondary man, his sofa cushion, both trouser legs, both shoes, and the grounded sheathed katana. Adding him does not reduce or shift the woman. Her face remains anchored near 50% frame width and 31% frame height. Her pelvis remains near 51% width and 57% height. Her screen-left chest hand stays near 45% width and 40% height. Her screen-right resting hand remains near 65% width and 57% height.\n\nThe man’s head center sits near 84% frame width and 34% frame height. His neck rises vertically from the frontal suit collar before his head rotates toward screen-right. His nose points toward approximately 92% frame width. His near sunglass lens occupies the left side of his profile, while the foreshortened far lens approaches the right facial contour.\n\nHis shoulders occupy approximately 77–92% width around 41% height. His pelvis rests near 84% width and 60% height. His shoes contact the floor near 79% and 91% width at 94% height. The sheathed katana creates a compact vertical line at approximately 84% width from 52% to 94% frame height.\n\nThe woman’s highest hair ornament sits near 19% of the frame height. Her eyes remain near 31%, the sofa-back upper edge near 34%, her chest hand near 40%, the obi center near 49%, her pelvis near 57%, the foreground knee near 71%, the sofa front edge near 86%, and the floor-standing zori near 96%. The complete head-to-foot woman occupies approximately 80% of the frame height.\n\nSofa and room: a long mid-century Japanese sofa extends continuously across the 16:9 frame. It has gray-beige herringbone upholstery, softly rounded piping, individual rectangular backrest sections, widely spaced round tufting buttons, three central seat cushions, and additional matching cushion bays extending laterally. The upholstery pattern remains consistent in physical scale.\n\nThe screen-left side reveals another complete sofa backrest bay, an extended seat cushion, and a softly rounded left armrest. The screen-right side reveals the complete cushion supporting the man, one additional backrest division behind him, and a matching right armrest near the far-right edge. The horizontal cushion seams remain continuous and level behind both subjects.\n\nWarm orange-brown wooden wall panels fill the upper background. Large timber surfaces are separated by narrow dark vertical joints. The central panel behind the woman remains broad and uninterrupted. Additional full-width wooden panels continue behind the seated man and into the far-right border, retaining natural grain, fine scratches, subtle wear, and slight tonal variation.\n\nA small rectangular frosted-glass inset remains high in the screen-left wooden panel near approximately 31–37% frame width. Blurred green and yellow exterior foliage appears through the textured glass as soft abstract color. The lower foreground is a muted gray woven carpet extending continuously beneath the sofa and across the complete width.\n\nDepth and focus: primary focus rests on the woman’s eyes, chest hand, black collar overlap, chrysanthemum obi, red obijime, central cranes, metallic embroidery, resting hand, and both tabi-and-zori feet. The man’s turned three-quarter profile, near sunglass lens, visible cheek and jawline, shirt collar, tie, right gripping hand, katana handle, black saya, and floor contact remain clearly readable in the same moderate depth field but slightly softer than the woman’s face and central kimono.\n\nThe kimono’s black figured silk, vermilion satin, white lining, blue-green geometric lining, metallic gold embroidery, silver-gray brocade, matte obi, red cord, tabi cotton, and lacquered zori retain distinct textures. The man’s matte wool suit, crisp cotton shirt, silk tie, dark sunglass lenses, polished shoes, wrapped tsuka, metal guard, and lacquered saya remain materially separate from one another.\n\nLighting: strong natural late-afternoon window light enters from upper screen-left and slightly in front. It creates a warm luminous field across the woman’s face, raised hand, vermilion sleeve, central obi, and silver-gray brocade. Metallic gold threads produce numerous restrained highlights that follow the true fabric folds.\n\nThe light gradually falls across the sofa toward screen-right. The seated man therefore occupies a darker, quieter tonal zone. His sharply turned head receives a soft warm highlight along the visible screen-left cheekbone, temple, ear, jawline, and near sunglasses lens. The far side of his face narrows into warm shadow as it turns toward the right edge.\n\nA soft highlight defines his white shirt collar, suit lapel, right hand, tsuba, and one side of the black saya. The sunglass reflection follows the perspective of the turned head rather than facing the camera frontally. The black-lacquered scabbard receives one narrow vertical amber highlight, and the polished shoes receive small controlled reflections near the toes. Contact shadows anchor the scabbard tip and all three floor-supported feet to the carpet.\n\nAtmosphere: still interior air, warm aged timber, dense embroidered silk, soft upholstery, polished black lacquer, faint dust in the window light, and the controlled tension of a late-1990s Japanese fashion editorial. The woman’s languid ceremonial opulence contrasts with the man’s rigid monochrome posture, off-frame vigilance, and grounded sheathed sword.\n\nColor palette: deep black, vivid vermilion, burnt orange, antique gold, pearl ivory, silver gray, muted teal, dark green, dusty red, pale warm skin, gray-beige upholstery, orange-brown wood, dark sunglass lenses, burgundy sandal straps, and cool gray carpet. The man remains predominantly black and white, allowing the woman’s kimono to retain visual priority.\n\nMood: opulent, self-possessed, enigmatic, guarded, intimate, slightly rebellious, and quietly cinematic. The young woman appears completely at ease and looks directly into the lens, while the silent man turns his head decisively toward screen-right as if monitoring something beyond the frame.\n\nCamera and rendering: photorealistic Japanese fashion editorial photographed with a real young adult Japanese woman, a real adult East Asian man, a physically constructed furisode kimono, a tailored black suit, an authentic fully sheathed katana prop, a real upholstered sofa, and a physical wood-paneled interior. Shot on a 35mm still camera with a 35mm spherical lens at f/5.6, 1/125-second shutter, ISO 400, and a Fujifilm Superia-inspired color-negative response. Moderate environmental depth, precise textile rendering, fine organic grain, subtle highlight halation, warm direct daylight, slightly lifted blacks, mild cyan-green separation in the shadows, restrained saturation, natural skin texture, gentle analog softness, and meticulous high-resolution scanning from the original 35mm negative.\n" }, "color": "#222", "bgcolor": "#000" }, { "id": 114, "type": "CLIPLoader", "pos": [ 103.19679063536056, -1398.8212189099095 ], "size": [ 374.65633687890795, 133.24015924500782 ], "flags": { "collapsed": true }, "order": 6, "mode": 4, "showAdvanced": false, "inputs": [], "outputs": [ { "name": "CLIP", "type": "CLIP", "links": [ 131 ] } ], "properties": { "enableTabs": false, "tabWidth": 65, "tabXOffset": 10, "hasSecondTab": false, "secondTabText": "Send Back", "secondTabOffset": 80, "secondTabWidth": 65, "cnr_id": "comfy-core", "ver": "0.45.0", "Node name for S&R": "CLIPLoader", "ue_properties": { "widget_ue_connectable": {}, "version": "8.0.1", "input_ue_unconnectable": {} }, "models": [ { "name": "qwen3.5_9b_w4a8_gptq.safetensors", "url": "https://huggingface.co/Comfy-Org/Qwen3.5/resolve/main/text_encoders/qwen3.5_9b_w4a8_gptq.safetensors", "directory": "text_encoders" } ] }, "widgets_values": [ "Qwen38_27b\\qwen3.8_27b_w4a8.safetensors", "stable_diffusion", "default" ], "widgets_values_named": { "clip_name": "Qwen38_27b\\qwen3.8_27b_w4a8.safetensors", "type": "stable_diffusion", "device": "default" }, "ndSuperSelectorEnabled": false, "ndPowerEnabled": false, "extensions": { "ndSuperSelectorEnabled": false, "ndPowerEnabled": false } }, { "id": 115, "type": "PrimitiveStringMultiline", "pos": [ 103.19679063536044, -844.8048577768033 ], "size": [ 570, 170 ], "flags": { "collapsed": true }, "order": 7, "mode": 4, "inputs": [], "outputs": [ { "name": "STRING", "type": "STRING", "links": [] } ], "title": "Text (system_prompt)", "properties": { "enableTabs": false, "tabWidth": 65, "tabXOffset": 10, "hasSecondTab": false, "secondTabText": "Send Back", "secondTabOffset": 80, "secondTabWidth": 65, "cnr_id": "comfy-core", "ver": "0.45.0", "Node name for S&R": "PrimitiveStringMultiline", "ue_properties": { "widget_ue_connectable": {}, "version": "8.0.1", "input_ue_unconnectable": {} } }, "widgets_values": [ "Reason in the thinking section first. The visible final content must be exactly one JSON object with exactly two keys: expanded_caption and aspect_ratio. Every ASCII double quotation mark used as caption content inside expanded_caption must be serialized as the JSON escape sequence \\\". Do not output text outside that object." ], "widgets_values_named": { "value": "Reason in the thinking section first. The visible final content must be exactly one JSON object with exactly two keys: expanded_caption and aspect_ratio. Every ASCII double quotation mark used as caption content inside expanded_caption must be serialized as the JSON escape sequence \\\". Do not output text outside that object." } }, { "id": 116, "type": "TextGenerateV2", "pos": [ 315.21538876231455, -1354.0168687632754 ], "size": [ 400, 460 ], "flags": {}, "order": 29, "mode": 4, "showAdvanced": false, "inputs": [ { "name": "clip", "type": "CLIP", "link": 131 }, { "name": "images.image1", "shape": 7, "type": "IMAGE", "link": null }, { "name": "videos.video1", "shape": 7, "type": "IMAGE", "link": null }, { "name": "audios.audio1", "shape": 7, "type": "AUDIO", "link": null }, { "name": "system_prompt", "shape": 7, "type": "STRING", "link": 315 }, { "name": "prompt", "type": "STRING", "widget": { "name": "prompt" }, "link": 133 } ], "outputs": [ { "name": "generated_text", "type": "STRING", "links": [ 134 ] }, { "name": "thinking", "type": "STRING", "links": [] } ], "properties": { "enableTabs": false, "tabWidth": 65, "tabXOffset": 10, "hasSecondTab": false, "secondTabText": "Send Back", "secondTabOffset": 80, "secondTabWidth": 65, "cnr_id": "comfy-core", "ver": "0.45.0", "Node name for S&R": "TextGenerateV2", "ue_properties": { "widget_ue_connectable": {}, "version": "8.0.1", "input_ue_unconnectable": {} } }, "widgets_values": [ "", 8096, "on", 1, 20, 0.95, 0, 1, 0, 0, false, true, "auto" ], "widgets_values_named": { "prompt": "", "max_length": 8096, "sampling_mode": "on", "sampling_mode.temperature": 1, "sampling_mode.top_k": 20, "sampling_mode.top_p": 0.95, "sampling_mode.min_p": 0, "sampling_mode.repetition_penalty": 1, "sampling_mode.presence_penalty": 0, "sampling_mode.seed": 0, "thinking": false, "use_default_template": true, "mtp": "auto" } }, { "id": 117, "type": "PrimitiveStringMultiline", "pos": [ 86.43018907286059, -1231.7240483402763 ], "size": [ 393.53320230287386, 527.1359686314785 ], "flags": { "collapsed": true }, "order": 8, "mode": 4, "inputs": [], "outputs": [ { "name": "STRING", "type": "STRING", "links": [ 138 ] } ], "title": "Text (task_prompt)", "properties": { "enableTabs": false, "tabWidth": 65, "tabXOffset": 10, "hasSecondTab": false, "secondTabText": "Send Back", "secondTabOffset": 80, "secondTabWidth": 65, "cnr_id": "comfy-core", "ver": "0.45.0", "Node name for S&R": "PrimitiveStringMultiline", "ue_properties": { "widget_ue_connectable": {}, "version": "8.0.1", "input_ue_unconnectable": {} } }, "widgets_values": [ "You are a caption-expansion and canvas-selection model for still-image\ntext-to-image generation. Rewrite input_text into a natural English detailed\ncaption and choose one aspect ratio for the requested final image. After private\nreasoning, serialize the complete caption and aspect ratio together as the one\nrequired two-key JSON object; no visible analysis, markdown, or self-talk. The\ncaption may be long when the requested image is a complex information or design artifact.\n\nRole: act like an expert visual designer and technical illustrator, not a word\nexpander. Preserve every hard fact from the input, then complete the image with\nvisible, inspectable content. The goal is not more words; the goal is that a\nviewer can inspect each important part of the image and find meaningful subjects,\nlabels, relationships, materials, data, and hierarchy.\n\nFirst choose which kind of image this is:\n- A depicted scene or photograph: prioritize subject identity, pose, contact,\nscale, environment, lighting, lens/medium, and physical plausibility.\n- A communication artifact such as poster, character card, product-design board,\nwebpage, UI, chart, dashboard, scientific/medical infographic, technical diagram,\nprinted page, packaging, cover, or multi-panel composite: build a finished\ninformation architecture, not just a scene containing the requested objects.\n\nAspect-ratio decision policy:\nChoose exactly one of these allowed ratios: 1:1, 5:4, 4:3, 3:2, 16:9, 21:9,\n4:5, 3:4, 2:3, or 9:16. Decide in the following order; earlier evidence\noverrides later evidence.\n\n1. Explicit final canvas\n- Preserve an explicit final-output ratio. Map explicit output pixel dimensions\n by width divided by height to the closest allowed ratio.\n- Do not confuse the final canvas with a source image, reference asset, object,\n inset, collage cell, or embedded screen.\n\n2. Requested deliverable\n- Use an explicitly requested medium or display surface. Treat each carousel\n page, card, or slide as its own canvas unless a contact sheet, storyboard,\n continuous strip, or combined overview is explicitly requested.\n- Prefer square or near-square for individual social posts, icons, avatars,\n compact logos, or compact product assets; vertical for covers, posters, phone\n stories, or mobile wallpapers; horizontal for slides, headers, banners, or\n explicitly wide displays. Do not invent a platform or deliverable.\n\n3. Primary composition\n- The main subject, action, or information structure outweighs optional context.\n A generic room, park, forest, sky, or cinematic background must not turn a\n focused subject horizontal.\n- Prefer vertical for dominant upright or full-body subjects, tall structures,\n stacked information, rising or falling motion, upward reach, or vertical\n negative space. Prefer horizontal for genuinely side-by-side structure,\n lateral action, broadly distributed subjects, a requested broad environment,\n horizontal sequences, or lateral negative space. Prefer square or near-square\n for compact, centered, radial, symmetrical, or directionally neutral content.\n\n4. Minimal completion and ratio strength\n- If the input is underspecified, form the smallest natural, content-preserving\n composition needed to choose a ratio. Lock it before adding detailed scenery\n or styling; do not invent a panorama, broad environment, or multi-panel layout\n to justify it, and do not revise it because later expansion adds detail.\n- Words such as \"portrait,\" \"cinematic,\" \"video,\" \"UE5,\" \"Weta,\"\n \"photorealistic,\" \"dramatic,\" and \"wide-angle\" do not determine orientation.\n- Use 5:4 or 4:5 for mild direction, 4:3 or 3:4 for moderate direction, and\n 3:2 or 2:3 for clear photographic direction. Reserve 16:9 and 9:16 for\n strongly directional or mobile-first compositions, and 21:9 for genuine\n banners, panoramas, timelines, or explicitly continuous wide layouts. When\n evidence remains weak, prefer 1:1 or a moderate ratio.\n\nChoose and lock the ratio from the requested canvas, deliverable, and smallest\nnatural primary composition before enriching the caption. Later details added by\nthe caption-expansion rules must not retroactively change the ratio.\n\nUniversal hard rules:\n1. Preserve exact requested text, named entities, counts, formulas, data values,\ncomponent names, style, medium, orientation, and left/right/top/bottom order.\n2. Required content must be visible, not implied. If text or a label is requested,\nplace it on the surface and describe where it sits.\n3. For active bodies, solve scene geometry before pose detail. Preserve any\ndomain-native layout first: a sport court, game grid, path, lane, stair, room,\nor interface should keep its recognizable structure unless the input changes\nit. Do not move the target or redesign the ground merely to obtain a preferred\nbody view. Choose one camera only after the scene layout is fixed, then place\nthe source and target in that camera's image frame using screen-left/screen-\nright, upper/lower image position, and nearer/farther depth. Silently trace the\nsource-to-target vector in this fixed view. Derive the actor's camera-relative\norientation from that vector and state it explicitly as front-facing, back-\nfacing, left-facing profile, right-facing profile, front three-quarter, or rear\nthree-quarter, together with a frame-absolute motion direction such as leftward,\nrightward, toward the camera/foreground, or away from the camera/deeper into the\nscene. Never use only a target-relative phrase such as \"facing square 2\" or\n\"looking toward the door\". The mapping follows the chosen geometry rather than\na fixed default: a target at screen-right implies a right-facing or rightward\nbody; a target at screen-left implies a left-facing or leftward body; a target\nfarther into the scene implies a back-facing or rear-three-quarter body moving\naway; and a target nearer the camera implies a front-facing or front-three-\nquarter body moving toward the viewer. These are coordinate mappings, not\ninstructions to relocate every target. Verify the visible body surfaces before\nwriting: movement away must show the back, back of the head, or rear shoulders\nand must not show a frontal chest or full face; movement toward the camera must\nshow the face and chest; lateral movement must read as the corresponding side\nprofile. If the stated source/target positions and visible body surfaces imply\nopposite directions, revise the body orientation instead of changing the scene\nlayout. Keep gaze, chest, torso lean, leading limb, support foot or hand, and\nmotion consistent with the derived orientation and with one frozen phase. A\nlimb cannot be simultaneously ahead and behind, planted and airborne, or\nassigned to two contacts. For actions on marked ground, use an elevated high-angle oblique or near-\noverhead three-quarter camera, never a low ground-level view. Center the camera on the complete ground map and make it the dominant, fully\ncontained region of the image: show its outer boundary, every cell or segment,\nthe source, target, and full travel path. After deriving the source-to-target\nvector, place the actor's torso outside the map on the ray extending backward\nfrom the source in the direction opposite the target. Do not move the actor to\nan arbitrary side margin if that would change the apparent travel direction.\nOnly the support foot may enter the near edge of the source cell, leaving its\nlabel visible; place the leading foot in the source-target direction near their\ngap. Keep torso, limbs, hair, clothing, and cast shadow outside every later cell\nand label. Widen or elevate the camera framing rather than rotating the actor or\nrelocating the target. This placement must preserve the previously derived front,\nback, left, right, or three-quarter camera-relative orientation. Preserve conventional topology and perspective, keep every label upright and\nlarge enough to read, and show each requested label exactly once in order. If\nthe input does not specify label colors or materials, use one neutral, uniform,\nhigh-contrast marking style for every label; unspecified styling is not permission\nto assign a different color to each item. Keep the actor's hands empty unless the\ninput names a held object. Do not add loose markers, stones, chalk pieces, buckets,\nropes, toys, shadows, limbs, or cropping over any label or grid line.\nPreserve a plausible silhouette and avoid broken foreshortening, hidden critical\njoints, mirrored layouts, alternative camera choices, and blended before-and-\nafter poses. For emotion-driven photo or video frames, keep facial anatomy\nnatural and consistent with the selected viewpoint.\n4. For hands, grips, linked fingers, hugs, carrying, pointing, tools, weapons, or\nbody-object contact, choose the framing that makes the interaction readable. Use\na medium shot or waist-up view when hand/facial detail is central; do not force a\nfull-body view if it makes the required contact or expression tiny. State which\nhand or limb touches what, how the fingers or support points align, and keep\nnonessential limbs simple.\n5. Use world knowledge as visible evidence only: cultural motifs, scientific\nstructures, medical anatomy, interface conventions, manufacturing details,\nprofessional tools, materials, units, labels, measurement marks, clothing, props,\narchitecture, or environment. Do not add lore that cannot be seen.\n6. Respect requested subject count. If the prompt names event types, two\ncharacters, or one primary subject, keep the number of primary figures to that\nminimum unless extra people are requested. Background crowds, spectators, or\nstaff should read as small silhouettes or graphic texture, not extra competing\nmain subjects.\n\nFor communication artifacts, silently make a content map before writing. Divide\nthe canvas in reading order into major slots: header/title, subtitle/tagline,\nhero visual, left panel, right sidebar, card row, icon group, diagram body,\nprocess path, chart area, formula box, exploded view, inset, specification area,\nswatch strip, instruction cards, footer, screen region, or background context.\nEach major slot should normally include at least three of these: position, visible\ntext or label, concrete visual subject, function or relationship, material/data\ntreatment, and hierarchy/style treatment. Do not use vague slot fillers such as\n\"icons,\" \"details,\" \"information,\" \"supporting graphics,\" or \"annotations\"\nwithout saying what they show.\n\nMake the artifact feel complete. If the prompt asks for a card, board, poster,\ninfographic, webpage, or product sheet, add a few plausible supporting elements\nthat belong to that artifact when they help completeness: subtitle, role/profile,\nabout note, quote, ratings, legend, color key, units, variable definitions,\ndimension labels, back/side view, material stack, use-case icons, footer tips,\nQR/logo placeholder, warning, or compact specification table. Keep these as short\nreadable on-image labels or one-line captions, not prose blocks.\n\nCorrespondence and legibility rules:\n- Multi-view outputs such as floor plan plus interior render, blueprint plus\nproduct render, map plus scene, or before/after panels need a shared inventory\nand coordinate frame. Reuse the same walls, openings, furniture/components,\nmaterials, labels, and relative positions in every panel. Name the render camera\norigin or viewing direction from the plan when useful, and do not invent major\nobjects that are absent from the paired view.\n- Dense flowcharts, medical diagrams, route maps, and process infographics should\nbe simplified into a few large numbered nodes, separated lanes, or a clean\nU-shaped loop. Arrows must be thick, directional, non-crossing, and attached to\nnamed start/end nodes. Prefer legible topology and large labels over many small\nleader lines, tiny arrows, or decorative clutter.\n\nContract affordances:\n- Scientific/medical/educational infographic: include named section headers;\nmain diagram with attached component labels; arrows with correct direction and\nstart/end nodes; legends or color keys; short functional captions; key-point\ncards with icon plus meaning; definitions and units; formula box with variable\ndefinitions; and process/system context such as body, lungs, vessels, lab setup,\nmolecule, device, or environment when implied.\n- Charts, graphs, dashboards, and data screens: include chart title when useful,\naxis labels, tick labels or scale endpoints, units, legend entries, colors, data\nmarks, selected states, and values or qualitative endpoints placed consistently\nwith the visual geometry. Even if the chart appears on a photographed stage\nscreen, the screen content still needs readable chart semantics.\n- Product/cultural design board: include title/subtitle/tagline; inspiration or\nuse-case cues; large hero render; motif-specific details; front/back/side or\nscale insets when useful; exploded layers; manufacturable joints, pins, clasps,\nfasteners, seams, ribs, holes, tolerances, or contact points; material stack;\nfinish behavior; dimension labels; palette swatches; specification and craft\nicons.\n- Character card/mascot sheet: include identity/title; name tag; role/profile or\nabout area; full-body readable proportions; attribute rows with icon, label, and\nbrief meaning; props tied to the role; material swatches or callouts; optional\nrating, quote, badge, instruction row, or contextual background so it reads as a\ndesigned card/poster rather than a plain character portrait.\n- UI/web/dashboard/data graphic: include real page/screen sections, navigation,\ncontrols, fields, buttons, cards, selected states, labels, values, icons, and\nintentional empty states only when requested.\n- Public poster/cover/packaging/display graphic: include typography hierarchy,\nheadline/subtitle/supporting copy, image slots, instruction cards, icons, badges,\nborders/rules, QR/barcode/logo placeholders if requested, palette, and intentional\nnegative space. When a poster features sports, products, or people, use one clear\nhero subject per requested category unless the prompt asks for a group.\n\nStyle comes after content. Choose clean isolation for icons/logos/cutouts and\ntechnical assets; layout-rich pages or boards for design communication; believable\nenvironment, lighting, lens, and depth for photographs. Replace abstract mood and\ngeneric adjectives with specific visible cues.\n\nFinal self-check: every input requirement is visible; every major slot has real\ncontent; required text/formulas/values are exact; labels attach to correct\nstructures; arrows and data geometry are coherent; body orientation is explicit relative to the camera and agrees with the preserved scene layout, source, target, depth, gaze, support, and motion; paired panels correspond; subject count has not grown by accident;\nworld knowledge appears as visible evidence; no important surface is blank.\n\nFinal output contract:\nUse the private thinking section to plan the caption and ratio. After thinking,\nthe visible final answer must be exactly one JSON object with exactly these two\nkeys:\n\n{{\"expanded_caption\":\"ONE_DETAILED_ENGLISH_CAPTION\",\"aspect_ratio\":\"ALLOWED_RATIO\"}}\n\nFor example, serialize a caption containing the title \"你好\" as:\n{{\"expanded_caption\":\"The title reads \\\"你好\\\".\",\"aspect_ratio\":\"16:9\"}}\n\nReplace ONE_DETAILED_ENGLISH_CAPTION with one fluent English caption paragraph\nthat follows every rule above, and ALLOWED_RATIO with exactly one allowed ratio\nstring. Keep expanded_caption as one valid JSON string. Every ASCII double quotation mark used as caption content inside expanded_caption must be serialized as the JSON escape sequence \\\". Escape all other characters as valid JSON requires. Do not add or omit keys. Do not put thinking or think tags inside\nthe object. Do not output a Markdown fence, alternatives, or any text outside\nthe final JSON object.\n\ninput_text: {input text}\noutput_text:\n" ], "widgets_values_named": { "value": "You are a caption-expansion and canvas-selection model for still-image\ntext-to-image generation. Rewrite input_text into a natural English detailed\ncaption and choose one aspect ratio for the requested final image. After private\nreasoning, serialize the complete caption and aspect ratio together as the one\nrequired two-key JSON object; no visible analysis, markdown, or self-talk. The\ncaption may be long when the requested image is a complex information or design artifact.\n\nRole: act like an expert visual designer and technical illustrator, not a word\nexpander. Preserve every hard fact from the input, then complete the image with\nvisible, inspectable content. The goal is not more words; the goal is that a\nviewer can inspect each important part of the image and find meaningful subjects,\nlabels, relationships, materials, data, and hierarchy.\n\nFirst choose which kind of image this is:\n- A depicted scene or photograph: prioritize subject identity, pose, contact,\nscale, environment, lighting, lens/medium, and physical plausibility.\n- A communication artifact such as poster, character card, product-design board,\nwebpage, UI, chart, dashboard, scientific/medical infographic, technical diagram,\nprinted page, packaging, cover, or multi-panel composite: build a finished\ninformation architecture, not just a scene containing the requested objects.\n\nAspect-ratio decision policy:\nChoose exactly one of these allowed ratios: 1:1, 5:4, 4:3, 3:2, 16:9, 21:9,\n4:5, 3:4, 2:3, or 9:16. Decide in the following order; earlier evidence\noverrides later evidence.\n\n1. Explicit final canvas\n- Preserve an explicit final-output ratio. Map explicit output pixel dimensions\n by width divided by height to the closest allowed ratio.\n- Do not confuse the final canvas with a source image, reference asset, object,\n inset, collage cell, or embedded screen.\n\n2. Requested deliverable\n- Use an explicitly requested medium or display surface. Treat each carousel\n page, card, or slide as its own canvas unless a contact sheet, storyboard,\n continuous strip, or combined overview is explicitly requested.\n- Prefer square or near-square for individual social posts, icons, avatars,\n compact logos, or compact product assets; vertical for covers, posters, phone\n stories, or mobile wallpapers; horizontal for slides, headers, banners, or\n explicitly wide displays. Do not invent a platform or deliverable.\n\n3. Primary composition\n- The main subject, action, or information structure outweighs optional context.\n A generic room, park, forest, sky, or cinematic background must not turn a\n focused subject horizontal.\n- Prefer vertical for dominant upright or full-body subjects, tall structures,\n stacked information, rising or falling motion, upward reach, or vertical\n negative space. Prefer horizontal for genuinely side-by-side structure,\n lateral action, broadly distributed subjects, a requested broad environment,\n horizontal sequences, or lateral negative space. Prefer square or near-square\n for compact, centered, radial, symmetrical, or directionally neutral content.\n\n4. Minimal completion and ratio strength\n- If the input is underspecified, form the smallest natural, content-preserving\n composition needed to choose a ratio. Lock it before adding detailed scenery\n or styling; do not invent a panorama, broad environment, or multi-panel layout\n to justify it, and do not revise it because later expansion adds detail.\n- Words such as \"portrait,\" \"cinematic,\" \"video,\" \"UE5,\" \"Weta,\"\n \"photorealistic,\" \"dramatic,\" and \"wide-angle\" do not determine orientation.\n- Use 5:4 or 4:5 for mild direction, 4:3 or 3:4 for moderate direction, and\n 3:2 or 2:3 for clear photographic direction. Reserve 16:9 and 9:16 for\n strongly directional or mobile-first compositions, and 21:9 for genuine\n banners, panoramas, timelines, or explicitly continuous wide layouts. When\n evidence remains weak, prefer 1:1 or a moderate ratio.\n\nChoose and lock the ratio from the requested canvas, deliverable, and smallest\nnatural primary composition before enriching the caption. Later details added by\nthe caption-expansion rules must not retroactively change the ratio.\n\nUniversal hard rules:\n1. Preserve exact requested text, named entities, counts, formulas, data values,\ncomponent names, style, medium, orientation, and left/right/top/bottom order.\n2. Required content must be visible, not implied. If text or a label is requested,\nplace it on the surface and describe where it sits.\n3. For active bodies, solve scene geometry before pose detail. Preserve any\ndomain-native layout first: a sport court, game grid, path, lane, stair, room,\nor interface should keep its recognizable structure unless the input changes\nit. Do not move the target or redesign the ground merely to obtain a preferred\nbody view. Choose one camera only after the scene layout is fixed, then place\nthe source and target in that camera's image frame using screen-left/screen-\nright, upper/lower image position, and nearer/farther depth. Silently trace the\nsource-to-target vector in this fixed view. Derive the actor's camera-relative\norientation from that vector and state it explicitly as front-facing, back-\nfacing, left-facing profile, right-facing profile, front three-quarter, or rear\nthree-quarter, together with a frame-absolute motion direction such as leftward,\nrightward, toward the camera/foreground, or away from the camera/deeper into the\nscene. Never use only a target-relative phrase such as \"facing square 2\" or\n\"looking toward the door\". The mapping follows the chosen geometry rather than\na fixed default: a target at screen-right implies a right-facing or rightward\nbody; a target at screen-left implies a left-facing or leftward body; a target\nfarther into the scene implies a back-facing or rear-three-quarter body moving\naway; and a target nearer the camera implies a front-facing or front-three-\nquarter body moving toward the viewer. These are coordinate mappings, not\ninstructions to relocate every target. Verify the visible body surfaces before\nwriting: movement away must show the back, back of the head, or rear shoulders\nand must not show a frontal chest or full face; movement toward the camera must\nshow the face and chest; lateral movement must read as the corresponding side\nprofile. If the stated source/target positions and visible body surfaces imply\nopposite directions, revise the body orientation instead of changing the scene\nlayout. Keep gaze, chest, torso lean, leading limb, support foot or hand, and\nmotion consistent with the derived orientation and with one frozen phase. A\nlimb cannot be simultaneously ahead and behind, planted and airborne, or\nassigned to two contacts. For actions on marked ground, use an elevated high-angle oblique or near-\noverhead three-quarter camera, never a low ground-level view. Center the camera on the complete ground map and make it the dominant, fully\ncontained region of the image: show its outer boundary, every cell or segment,\nthe source, target, and full travel path. After deriving the source-to-target\nvector, place the actor's torso outside the map on the ray extending backward\nfrom the source in the direction opposite the target. Do not move the actor to\nan arbitrary side margin if that would change the apparent travel direction.\nOnly the support foot may enter the near edge of the source cell, leaving its\nlabel visible; place the leading foot in the source-target direction near their\ngap. Keep torso, limbs, hair, clothing, and cast shadow outside every later cell\nand label. Widen or elevate the camera framing rather than rotating the actor or\nrelocating the target. This placement must preserve the previously derived front,\nback, left, right, or three-quarter camera-relative orientation. Preserve conventional topology and perspective, keep every label upright and\nlarge enough to read, and show each requested label exactly once in order. If\nthe input does not specify label colors or materials, use one neutral, uniform,\nhigh-contrast marking style for every label; unspecified styling is not permission\nto assign a different color to each item. Keep the actor's hands empty unless the\ninput names a held object. Do not add loose markers, stones, chalk pieces, buckets,\nropes, toys, shadows, limbs, or cropping over any label or grid line.\nPreserve a plausible silhouette and avoid broken foreshortening, hidden critical\njoints, mirrored layouts, alternative camera choices, and blended before-and-\nafter poses. For emotion-driven photo or video frames, keep facial anatomy\nnatural and consistent with the selected viewpoint.\n4. For hands, grips, linked fingers, hugs, carrying, pointing, tools, weapons, or\nbody-object contact, choose the framing that makes the interaction readable. Use\na medium shot or waist-up view when hand/facial detail is central; do not force a\nfull-body view if it makes the required contact or expression tiny. State which\nhand or limb touches what, how the fingers or support points align, and keep\nnonessential limbs simple.\n5. Use world knowledge as visible evidence only: cultural motifs, scientific\nstructures, medical anatomy, interface conventions, manufacturing details,\nprofessional tools, materials, units, labels, measurement marks, clothing, props,\narchitecture, or environment. Do not add lore that cannot be seen.\n6. Respect requested subject count. If the prompt names event types, two\ncharacters, or one primary subject, keep the number of primary figures to that\nminimum unless extra people are requested. Background crowds, spectators, or\nstaff should read as small silhouettes or graphic texture, not extra competing\nmain subjects.\n\nFor communication artifacts, silently make a content map before writing. Divide\nthe canvas in reading order into major slots: header/title, subtitle/tagline,\nhero visual, left panel, right sidebar, card row, icon group, diagram body,\nprocess path, chart area, formula box, exploded view, inset, specification area,\nswatch strip, instruction cards, footer, screen region, or background context.\nEach major slot should normally include at least three of these: position, visible\ntext or label, concrete visual subject, function or relationship, material/data\ntreatment, and hierarchy/style treatment. Do not use vague slot fillers such as\n\"icons,\" \"details,\" \"information,\" \"supporting graphics,\" or \"annotations\"\nwithout saying what they show.\n\nMake the artifact feel complete. If the prompt asks for a card, board, poster,\ninfographic, webpage, or product sheet, add a few plausible supporting elements\nthat belong to that artifact when they help completeness: subtitle, role/profile,\nabout note, quote, ratings, legend, color key, units, variable definitions,\ndimension labels, back/side view, material stack, use-case icons, footer tips,\nQR/logo placeholder, warning, or compact specification table. Keep these as short\nreadable on-image labels or one-line captions, not prose blocks.\n\nCorrespondence and legibility rules:\n- Multi-view outputs such as floor plan plus interior render, blueprint plus\nproduct render, map plus scene, or before/after panels need a shared inventory\nand coordinate frame. Reuse the same walls, openings, furniture/components,\nmaterials, labels, and relative positions in every panel. Name the render camera\norigin or viewing direction from the plan when useful, and do not invent major\nobjects that are absent from the paired view.\n- Dense flowcharts, medical diagrams, route maps, and process infographics should\nbe simplified into a few large numbered nodes, separated lanes, or a clean\nU-shaped loop. Arrows must be thick, directional, non-crossing, and attached to\nnamed start/end nodes. Prefer legible topology and large labels over many small\nleader lines, tiny arrows, or decorative clutter.\n\nContract affordances:\n- Scientific/medical/educational infographic: include named section headers;\nmain diagram with attached component labels; arrows with correct direction and\nstart/end nodes; legends or color keys; short functional captions; key-point\ncards with icon plus meaning; definitions and units; formula box with variable\ndefinitions; and process/system context such as body, lungs, vessels, lab setup,\nmolecule, device, or environment when implied.\n- Charts, graphs, dashboards, and data screens: include chart title when useful,\naxis labels, tick labels or scale endpoints, units, legend entries, colors, data\nmarks, selected states, and values or qualitative endpoints placed consistently\nwith the visual geometry. Even if the chart appears on a photographed stage\nscreen, the screen content still needs readable chart semantics.\n- Product/cultural design board: include title/subtitle/tagline; inspiration or\nuse-case cues; large hero render; motif-specific details; front/back/side or\nscale insets when useful; exploded layers; manufacturable joints, pins, clasps,\nfasteners, seams, ribs, holes, tolerances, or contact points; material stack;\nfinish behavior; dimension labels; palette swatches; specification and craft\nicons.\n- Character card/mascot sheet: include identity/title; name tag; role/profile or\nabout area; full-body readable proportions; attribute rows with icon, label, and\nbrief meaning; props tied to the role; material swatches or callouts; optional\nrating, quote, badge, instruction row, or contextual background so it reads as a\ndesigned card/poster rather than a plain character portrait.\n- UI/web/dashboard/data graphic: include real page/screen sections, navigation,\ncontrols, fields, buttons, cards, selected states, labels, values, icons, and\nintentional empty states only when requested.\n- Public poster/cover/packaging/display graphic: include typography hierarchy,\nheadline/subtitle/supporting copy, image slots, instruction cards, icons, badges,\nborders/rules, QR/barcode/logo placeholders if requested, palette, and intentional\nnegative space. When a poster features sports, products, or people, use one clear\nhero subject per requested category unless the prompt asks for a group.\n\nStyle comes after content. Choose clean isolation for icons/logos/cutouts and\ntechnical assets; layout-rich pages or boards for design communication; believable\nenvironment, lighting, lens, and depth for photographs. Replace abstract mood and\ngeneric adjectives with specific visible cues.\n\nFinal self-check: every input requirement is visible; every major slot has real\ncontent; required text/formulas/values are exact; labels attach to correct\nstructures; arrows and data geometry are coherent; body orientation is explicit relative to the camera and agrees with the preserved scene layout, source, target, depth, gaze, support, and motion; paired panels correspond; subject count has not grown by accident;\nworld knowledge appears as visible evidence; no important surface is blank.\n\nFinal output contract:\nUse the private thinking section to plan the caption and ratio. After thinking,\nthe visible final answer must be exactly one JSON object with exactly these two\nkeys:\n\n{{\"expanded_caption\":\"ONE_DETAILED_ENGLISH_CAPTION\",\"aspect_ratio\":\"ALLOWED_RATIO\"}}\n\nFor example, serialize a caption containing the title \"你好\" as:\n{{\"expanded_caption\":\"The title reads \\\"你好\\\".\",\"aspect_ratio\":\"16:9\"}}\n\nReplace ONE_DETAILED_ENGLISH_CAPTION with one fluent English caption paragraph\nthat follows every rule above, and ALLOWED_RATIO with exactly one allowed ratio\nstring. Keep expanded_caption as one valid JSON string. Every ASCII double quotation mark used as caption content inside expanded_caption must be serialized as the JSON escape sequence \\\". Escape all other characters as valid JSON requires. Do not add or omit keys. Do not put thinking or think tags inside\nthe object. Do not output a Markdown fence, alternatives, or any text outside\nthe final JSON object.\n\ninput_text: {input text}\noutput_text:\n" } }, { "id": 118, "type": "JsonExtractString", "pos": [ 418.43316219981455, -821.1146789156606 ], "size": [ 410, 100 ], "flags": { "collapsed": true }, "order": 32, "mode": 4, "inputs": [ { "name": "json_string", "type": "STRING", "widget": { "name": "json_string" }, "link": 134 } ], "outputs": [ { "name": "STRING", "type": "STRING", "links": [ 201 ] } ], "properties": { "enableTabs": false, "tabWidth": 65, "tabXOffset": 10, "hasSecondTab": false, "secondTabText": "Send Back", "secondTabOffset": 80, "secondTabWidth": 65, "cnr_id": "comfy-core", "ver": "0.45.0", "Node name for S&R": "JsonExtractString", "ue_properties": { "widget_ue_connectable": {}, "version": "8.0.1", "input_ue_unconnectable": {} } }, "widgets_values": [ "", "expanded_caption" ], "widgets_values_named": { "json_string": "", "key": "expanded_caption" } }, { "id": 120, "type": "PreviewAny", "pos": [ 832.1215604755265, -883.1664156137127 ], "size": [ 460.0000000000002, 310.1565248426087 ], "flags": {}, "order": 35, "mode": 0, "inputs": [ { "name": "source", "type": "*", "link": 200 } ], "outputs": [ { "name": "STRING", "type": "STRING", "links": [ 6807 ] } ], "properties": { "enableTabs": false, "tabWidth": 65, "tabXOffset": 10, "hasSecondTab": false, "secondTabText": "Send Back", "secondTabOffset": 80, "secondTabWidth": 65, "cnr_id": "comfy-core", "ver": "0.45.0", "Node name for S&R": "PreviewAny", "ue_properties": { "widget_ue_connectable": {}, "version": "8.0.1", "input_ue_unconnectable": {} } }, "widgets_values": [], "widgets_values_named": {}, "color": "#232", "bgcolor": "#353" }, { "id": 121, "type": "StringReplace", "pos": [ 103.19679063536056, -1057.4668787508908 ], "size": [ 400, 176.00000000000026 ], "flags": { "collapsed": true }, "order": 23, "mode": 4, "inputs": [ { "name": "string", "type": "STRING", "widget": { "name": "string" }, "link": 138 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