Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.
The FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.

SHOT TEXT this background must serve (Korean): 핸들을 꽉 쥐고 허리를 한껏 숙인 채 페달을 밟으며 앞으로 나아가는 중간 순간의 수리영 측면, 머리카락과 옷자락이 움직임의 반대 방향으로 흩날리는 모습.

LOCATION (lock): On the exterior frontage immediately outside the police station, where the parked bicycle is ridden away.

TIME OF DAY (lock): day.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At torso height beside 수리영, track parallel to the bicycle's forward path in a medium side view as she accelerates. Keep her and the bicycle centered with travel space ahead, her torso folded low over the handlebars and her hair and clothing trailing opposite the direction of movement; the tracking speed holds her scale stable while the surroundings slide backward.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward frame right along the bicycle path.
- KEY BACKGROUND ELEMENTS: 자전거 (In motion as 수리영 pedals away from the police station) — Its side faces the parallel-tracking camera, with the front wheel oriented toward frame right; used as Moving support that defines her acceleration and forward direction.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

Render ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. No text or watermarks.

Stage the shot. The FIRST attached image (SHOT BACKGROUND) is the finished empty background of this shot — keep it EXACTLY: its camera, perspective, architecture, lighting and every fixed feature stay untouched. The SECOND attached image (LAYOUT SKETCH) tells you ONLY where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Ignore the sketch's background lines. The CHARACTER REFERENCE photographs show the real people.
Place the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. No sketch lines or arrows may remain.

Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 핸들을 꽉 쥐고 허리를 한껏 숙인 채 페달을 밟으며 앞으로 나아가는 중간 순간의 수리영 측면, 머리카락과 옷자락이 움직임의 반대 방향으로 흩날리는 모습.

LOCATION (lock): On the exterior frontage immediately outside the police station, where the parked bicycle is ridden away. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At torso height beside 수리영, track parallel to the bicycle's forward path in a medium side view as she accelerates. Keep her and the bicycle centered with travel space ahead, her torso folded low over the handlebars and her hair and clothing trailing opposite the direction of movement; the tracking speed holds her scale stable while the surroundings slide backward.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward frame right along the bicycle path.
- KEY BACKGROUND ELEMENTS: 자전거 (In motion as 수리영 pedals away from the police station) — Its side faces the parallel-tracking camera, with the front wheel oriented toward frame right; used as Moving support that defines her acceleration and forward direction.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong rides her bicycle with the folded coordinate note in her pocket, while her doll-adorned backpack and mobile phone remain with her.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

Create the EMPTY BACKGROUND PLATE for one film shot — NO PEOPLE, no figures, no body parts, no sketch lines, no arrows anywhere.
The FIRST attached image is a thin-line storyboard sketch: use ONLY its camera angle, horizon, perspective and the placement/size of buildings and set masses — ignore the sketched people and arrows entirely. The SECOND attached image (LOCATION PHOTOGRAPH) is the real place: take its architecture, materials, signage and fixed features, and RE-PROJECT them into the sketch's camera. If the photograph's camera differs from the sketch's, the sketch's camera wins.

SHOT TEXT this background must serve (Korean): 마트 남자 직원과 마주 본 상태로 눈을 동그랗게 뜬 수리영의 측면

LOCATION (lock): Inside the large market, on the merchandise sales floor beside the stocking and display area.

TIME OF DAY (lock): dusk.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From eye level beside 수리영, continue the prescribed dolly inward from a medium-close side view to a close profile, placing her widened eye and cheek in the right half while the 마트 남자 직원 remains soft but recognizable across from her at the left edge. Preserve the conversation axis and emphasize only the shrinking camera distance as his information lands.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 마트 진열대 (Present in the stocking area) — The aisle-facing sides recede behind the 마트 남자 직원; used as Supplies limited supermarket context behind the employee while remaining out of primary focus; 진열용 박스 (Being carried for stocking) — One side faces the camera while the box is held near the shelving; used as Connects the employee’s interrupted task to the conversation.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

Render ONE photorealistic empty location photograph, 16:9, that this shot can be staged inside later. No text or watermarks.

Stage the shot. The FIRST attached image (SHOT BACKGROUND) is the finished empty background of this shot — keep it EXACTLY: its camera, perspective, architecture, lighting and every fixed feature stay untouched. The SECOND attached image (LAYOUT SKETCH) tells you ONLY where the people go: each sketched person's position, screen size, pose and the gaze/motion arrows. Ignore the sketch's background lines. The CHARACTER REFERENCE photographs show the real people.
Place the real people into the background at exactly the sketched positions, sizes and poses, following the arrow directions. No sketch lines or arrows may remain.

Create ONE FINAL photorealistic live-action film still of the moment below — Incheon, South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 마트 남자 직원과 마주 본 상태로 눈을 동그랗게 뜬 수리영의 측면

LOCATION (lock): Inside the large market, on the merchandise sales floor beside the stocking and display area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From eye level beside 수리영, continue the prescribed dolly inward from a medium-close side view to a close profile, placing her widened eye and cheek in the right half while the 마트 남자 직원 remains soft but recognizable across from her at the left edge. Preserve the conversation axis and emphasize only the shrinking camera distance as his information lands.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 마트 진열대 (Present in the stocking area) — The aisle-facing sides recede behind the 마트 남자 직원; used as Supplies limited supermarket context behind the employee while remaining out of primary focus; 진열용 박스 (Being carried for stocking) — One side faces the camera while the box is held near the shelving; used as Connects the employee’s interrupted task to the conversation.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Su-ri-yeong’s bicycle remains parked outside the mart, and she still has her mobile phone with her.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반, 앳된 타원형 얼굴, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.