E2E12 갤러리 — BGFIRST2 검증 + 결함 시연

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

SHOT TEXT (authoritative, Korean): 허벅지에 이빨 자국이 나고 피가 흐르는 채로 우거진 수풀을 헤치며 도망치는 숲속에서 살해된 남자의 잔뜩 겁에 질린 얼굴 클로즈업, 머리카락이 뒤로 흩날리는 순간.

LOCATION (lock): In dense undergrowth along a forest escape path at dusk. 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: Track backward at the fleeing man's head height from a slight front-side position, tightening until his terrified face occupies most of the center-left frame while vegetation slips past at the edges. Keep the camera near eye level and preserve the backward sweep of his hair along the outer frame, with only fragments of his pitched shoulders visible below.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 숲속에서 살해된 남자 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 우거진 수풀 (Dense and being forced aside by the fleeing man); used as Dense vegetation passes along both frame edges, compressing the escape route around the face.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Fading daylight appropriate to dusk is rendered in restrained, desaturated low-to-mid-key contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The man is missing one shoe and has a large, actively bleeding bite wound on his thigh; both conditions must continue through the attack.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 숲속에서 살해된 남자 (한국인 남성, 성인, 짧은 검은 머리, 평범한 남성 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 허벅지에 이빨 자국이 나고 피가 흐르는 채로 우거진 수풀을 헤치며 도망치는 숲속에서 살해된 남자의 잔뜩 겁에 질린 얼굴 클로즈업, 머리카락이 뒤로 흩날리는 순간.

LOCATION (lock): In dense undergrowth along a forest escape path at dusk. 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: Track backward at the fleeing man's head height from a slight front-side position, tightening until his terrified face occupies most of the center-left frame while vegetation slips past at the edges. Keep the camera near eye level and preserve the backward sweep of his hair along the outer frame, with only fragments of his pitched shoulders visible below.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 숲속에서 살해된 남자 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 우거진 수풀 (Dense and being forced aside by the fleeing man); used as Dense vegetation passes along both frame edges, compressing the escape route around the face.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Fading daylight appropriate to dusk is rendered in restrained, desaturated low-to-mid-key contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The man is missing one shoe and has a large, actively bleeding bite wound on his thigh; both conditions must continue through the attack.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 숲속에서 살해된 남자 (한국인 남성, 성인, 짧은 검은 머리, 평범한 남성 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 허벅지에 이빨 자국이 나고 피가 흐르는 채로 우거진 수풀을 헤치며 도망치는 숲속에서 살해된 남자의 잔뜩 겁에 질린 얼굴 클로즈업, 머리카락이 뒤로 흩날리는 순간.

LOCATION (lock): In dense undergrowth along a forest escape path at dusk. 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: Track backward at the fleeing man's head height from a slight front-side position, tightening until his terrified face occupies most of the center-left frame while vegetation slips past at the edges. Keep the camera near eye level and preserve the backward sweep of his hair along the outer frame, with only fragments of his pitched shoulders visible below.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 숲속에서 살해된 남자 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 우거진 수풀 (Dense and being forced aside by the fleeing man); used as Dense vegetation passes along both frame edges, compressing the escape route around the face.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Fading daylight appropriate to dusk is rendered in restrained, desaturated low-to-mid-key contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The man is missing one shoe and has a large, actively bleeding bite wound on his thigh; both conditions must continue through the attack.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 숲속에서 살해된 남자 (한국인 남성, 성인, 짧은 검은 머리, 평범한 남성 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Add the prominent bruises and blood stains to the man's face exactly as they appear in the character reference.
- Tighten the framing around the man's face so it occupies most of the center-left frame, cropping out the extended hand, arm, and lower torso while retaining only small fragments of his pitched shoulders below.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 희미한 가로등 불빛 아래, 전봇대에 기댄 뒷골목에서 살해된 여자와 정체불명의 남자가 밀착해 서 있는 전신 구도.

LOCATION (lock): Beside a utility pole in a city back alley at night, under a dim streetlamp. The shot takes place here — the attached LOCATION STRUCTURE PHOTOGRAPH is the single authority for this exact place — its fixed structure and permanent site details are LOCKED to it. No separate location photograph exists for this place. Build everything else strictly from the location text above and the shot text; the layout sketch (when attached) governs framing and placement only, and the shot text governs time of day, lighting and action.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From waist height across the alley, hold a static wide view of the pair pressed tightly against the utility pole, their full bodies clustered around the center of frame. Keep the man slightly left and the woman slightly right, with the pole directly behind their overlap and enough alley space around them to make the intimacy appear threatening rather than romantic.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 정체불명의 남자 in the middle-left of the frame, midground; 뒷골목에서 살해된 여자 in the middle-right of the frame, midground; utility pole in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 전봇대 (Supporting the woman's weight) — Its alley-facing side is visible behind the pair; used as The pole forms the rigid vertical anchor directly behind the intertwined pair; 가로등 (On with faint output) — The fixture is positioned above the pair and directed toward the alley below; used as The streetlight provides the explicitly faint illumination over the pair; 도시 뒷골목 (Night setting); used as Open alley depth surrounds and isolates the central figures.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Faint streetlight creates restrained low-key illumination with a desaturated, oppressive night palette.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 뒷골목에서 살해된 여자 (한국인 여성, 성인, 자연스러운 검은 머리, 평범한 여성 얼굴); 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 희미한 가로등 불빛 아래, 전봇대에 기댄 뒷골목에서 살해된 여자와 정체불명의 남자가 밀착해 서 있는 전신 구도.

LOCATION (lock): Beside a utility pole in a city back alley at night, under a dim streetlamp. The shot takes place here — the attached LOCATION STRUCTURE PHOTOGRAPH is the single authority for this exact place — its fixed structure and permanent site details are LOCKED to it. No separate location photograph exists for this place. Build everything else strictly from the location text above and the shot text; the layout sketch (when attached) governs framing and placement only, and the shot text governs time of day, lighting and action.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From waist height across the alley, hold a static wide view of the pair pressed tightly against the utility pole, their full bodies clustered around the center of frame. Keep the man slightly left and the woman slightly right, with the pole directly behind their overlap and enough alley space around them to make the intimacy appear threatening rather than romantic.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 정체불명의 남자 in the middle-left of the frame, midground; 뒷골목에서 살해된 여자 in the middle-right of the frame, midground; utility pole in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 전봇대 (Supporting the woman's weight) — Its alley-facing side is visible behind the pair; used as The pole forms the rigid vertical anchor directly behind the intertwined pair; 가로등 (On with faint output) — The fixture is positioned above the pair and directed toward the alley below; used as The streetlight provides the explicitly faint illumination over the pair; 도시 뒷골목 (Night setting); used as Open alley depth surrounds and isolates the central figures.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Faint streetlight creates restrained low-key illumination with a desaturated, oppressive night palette.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 뒷골목에서 살해된 여자 (한국인 여성, 성인, 자연스러운 검은 머리, 평범한 여성 얼굴); 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 희미한 가로등 불빛 아래, 전봇대에 기댄 뒷골목에서 살해된 여자와 정체불명의 남자가 밀착해 서 있는 전신 구도.

LOCATION (lock): Beside a utility pole in a city back alley at night, under a dim streetlamp. The shot takes place here — the attached LOCATION STRUCTURE PHOTOGRAPH is the single authority for this exact place — its fixed structure and permanent site details are LOCKED to it. No separate location photograph exists for this place. Build everything else strictly from the location text above and the shot text; the layout sketch (when attached) governs framing and placement only, and the shot text governs time of day, lighting and action.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From waist height across the alley, hold a static wide view of the pair pressed tightly against the utility pole, their full bodies clustered around the center of frame. Keep the man slightly left and the woman slightly right, with the pole directly behind their overlap and enough alley space around them to make the intimacy appear threatening rather than romantic.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 정체불명의 남자 in the middle-left of the frame, midground; 뒷골목에서 살해된 여자 in the middle-right of the frame, midground; utility pole in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 전봇대 (Supporting the woman's weight) — Its alley-facing side is visible behind the pair; used as The pole forms the rigid vertical anchor directly behind the intertwined pair; 가로등 (On with faint output) — The fixture is positioned above the pair and directed toward the alley below; used as The streetlight provides the explicitly faint illumination over the pair; 도시 뒷골목 (Night setting); used as Open alley depth surrounds and isolates the central figures.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Faint streetlight creates restrained low-key illumination with a desaturated, oppressive night palette.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 뒷골목에서 살해된 여자 (한국인 여성, 성인, 자연스러운 검은 머리, 평범한 여성 얼굴); 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Close the woman's eyes and relax her facial features to make her appear completely lifeless and deceased.
- Restore the exact 16:9 framing and camera axis of the locked shot background without shifting, cropping, widening, or rescaling its architecture.
- Lower the camera to waist height and aim it horizontally across the alley while preserving all subject relationships.
- Scale both figures down together by about 15 percent and place their full-body cluster in the midground center, keeping the man middle-left, the woman middle-right, and the pole directly behind their overlap.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 컵 테두리에 입술을 댄 수리영의 얼굴이 미간을 찌푸린 채 멈춘 모습.

LOCATION (lock): At the dining table in the rooftop apartment's small living area, reached by daylight from a small window. 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: Settle the table-side dolly-in at seated eye level, framing 수리영's face tightly in three-quarter view as her lips remain against the cup rim. Her furrowed brow occupies the upper center and the cup stays below it at a natural scale, with only a narrow suggestion of table and room left around the reaction.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 컵 (Held with its rim against her lips) — Its open top angles toward 수리영 while the side remains visible to camera; used as The rim crosses the lower portion of 수리영's face and anchors her reaction to the drink; 식탁 (수리영 is seated beside it) — Its upper face is visible along the lower frame edge; used as A small portion of the table remains beneath the cup as spatial context; 거실의 작은 창 (Admitting a narrow shaft of sunlight) — Sunlight passes through it into the room; the view beyond is not specified; used as The window supplies the explicitly described narrow sunlight from the living area.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Narrow sunlight from the small living-room window shapes a restrained, desaturated close-up with low-to-mid-key interior contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk already bears the small circular mark on her wrist, a long-standing feature present throughout this scene.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 컵 테두리에 입술을 댄 수리영의 얼굴이 미간을 찌푸린 채 멈춘 모습.

LOCATION (lock): At the dining table in the rooftop apartment's small living area, reached by daylight from a small window. 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: Settle the table-side dolly-in at seated eye level, framing 수리영's face tightly in three-quarter view as her lips remain against the cup rim. Her furrowed brow occupies the upper center and the cup stays below it at a natural scale, with only a narrow suggestion of table and room left around the reaction.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 컵 (Held with its rim against her lips) — Its open top angles toward 수리영 while the side remains visible to camera; used as The rim crosses the lower portion of 수리영's face and anchors her reaction to the drink; 식탁 (수리영 is seated beside it) — Its upper face is visible along the lower frame edge; used as A small portion of the table remains beneath the cup as spatial context; 거실의 작은 창 (Admitting a narrow shaft of sunlight) — Sunlight passes through it into the room; the view beyond is not specified; used as The window supplies the explicitly described narrow sunlight from the living area.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Narrow sunlight from the small living-room window shapes a restrained, desaturated close-up with low-to-mid-key interior contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk already bears the small circular mark on her wrist, a long-standing feature present throughout this scene.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 컵 테두리에 입술을 댄 수리영의 얼굴이 미간을 찌푸린 채 멈춘 모습.

LOCATION (lock): At the dining table in the rooftop apartment's small living area, reached by daylight from a small window. 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: Settle the table-side dolly-in at seated eye level, framing 수리영's face tightly in three-quarter view as her lips remain against the cup rim. Her furrowed brow occupies the upper center and the cup stays below it at a natural scale, with only a narrow suggestion of table and room left around the reaction.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 컵 (Held with its rim against her lips) — Its open top angles toward 수리영 while the side remains visible to camera; used as The rim crosses the lower portion of 수리영's face and anchors her reaction to the drink; 식탁 (수리영 is seated beside it) — Its upper face is visible along the lower frame edge; used as A small portion of the table remains beneath the cup as spatial context; 거실의 작은 창 (Admitting a narrow shaft of sunlight) — Sunlight passes through it into the room; the view beyond is not specified; used as The window supplies the explicitly described narrow sunlight from the living area.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Narrow sunlight from the small living-room window shapes a restrained, desaturated close-up with low-to-mid-key interior contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk already bears the small circular mark on her wrist, a long-standing feature present throughout this scene.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Raise the cup so its rim presses directly against her lips.
- Reveal a small strip of the table's upper surface along the bottom edge of the frame.
- Reframe slightly downward or pull back just enough to reveal a narrow strip of the dining tabletop along the lower frame edge beneath the cup, preserving the seated eye-level close-up and all other staging.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 로트와일러의 눈을 정면으로 강렬하게 응시하는 수리영의 굳은 표정.

LOCATION (lock): Inside the shelter's dog-handling area, directly in front of the confined Rottweiler. 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: Place the camera statically at 수리영's eye height and close to her face, directly on the confrontation axis without becoming the dog's literal POV. Her rigid face occupies the center and most of the frame, while the 로트와일러 remains outside the frame just beside the lens so that her unwavering stare reads as a direct challenge.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daytime ambient light is rendered with restrained saturation, low-to-mid-key contrast, and natural facial texture.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 로트와일러의 눈을 정면으로 강렬하게 응시하는 수리영의 굳은 표정.

LOCATION (lock): Inside the shelter's dog-handling area, directly in front of the confined Rottweiler. 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: Place the camera statically at 수리영's eye height and close to her face, directly on the confrontation axis without becoming the dog's literal POV. Her rigid face occupies the center and most of the frame, while the 로트와일러 remains outside the frame just beside the lens so that her unwavering stare reads as a direct challenge.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daytime ambient light is rendered with restrained saturation, low-to-mid-key contrast, and natural facial texture.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 로트와일러의 눈을 정면으로 강렬하게 응시하는 수리영의 굳은 표정.

LOCATION (lock): Inside the shelter's dog-handling area, directly in front of the confined Rottweiler. 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: Place the camera statically at 수리영's eye height and close to her face, directly on the confrontation axis without becoming the dog's literal POV. Her rigid face occupies the center and most of the frame, while the 로트와일러 remains outside the frame just beside the lens so that her unwavering stare reads as a direct challenge.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daytime ambient light is rendered with restrained saturation, low-to-mid-key contrast, and natural facial texture.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Restore the exact background from the SHOT BACKGROUND reference image, keeping its original lighting, perspective, and fixtures untouched.
- Remove the dog from the frame entirely, as it must remain outside the frame.
- Redirect the woman's eyes to look to the left, following the direction of the arrow in the layout sketch.
- Move the Rottweiler completely outside the frame to a position immediately beside the lens, preserving all other framing.
- Redirect Suri-young’s gaze slightly toward the Rottweiler’s off-frame position beside the lens without changing her head position or expression.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 어두운 밤, 해안도로 위에서 상체를 숙인 채 자전거 핸들을 꽉 쥐고 한쪽 무릎을 굽혀 페달을 밟아 내리는 중간 상태인 수리영, 바람에 옷깃이 뒤로 펄럭이는 모습.

LOCATION (lock): On the dark coastal road at night, along the route back home. 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: Track parallel beside 수리영 at upper-body height and medium distance, holding a strong side profile while retaining the handlebars and the active pedal downstroke in frame. Her forward-canted torso occupies the center-left, with the coastal road extending through the remaining frame to preserve speed and direction.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: coastal road (Visible at night); used as Provides the directional line along which the parallel tracking move travels; bicycle (Being ridden at speed) — Its side profile faces the camera during the parallel track; used as Connects her clenched grip, seated posture, and pedal action within one readable silhouette.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambient light keeps the rider legible in a restrained, desaturated image without specifying an unsupported source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is still using the same bicycle as she hurries home, with her mobile phone remaining among her belongings.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 어두운 밤, 해안도로 위에서 상체를 숙인 채 자전거 핸들을 꽉 쥐고 한쪽 무릎을 굽혀 페달을 밟아 내리는 중간 상태인 수리영, 바람에 옷깃이 뒤로 펄럭이는 모습.

LOCATION (lock): On the dark coastal road at night, along the route back home. 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: Track parallel beside 수리영 at upper-body height and medium distance, holding a strong side profile while retaining the handlebars and the active pedal downstroke in frame. Her forward-canted torso occupies the center-left, with the coastal road extending through the remaining frame to preserve speed and direction.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: coastal road (Visible at night); used as Provides the directional line along which the parallel tracking move travels; bicycle (Being ridden at speed) — Its side profile faces the camera during the parallel track; used as Connects her clenched grip, seated posture, and pedal action within one readable silhouette.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambient light keeps the rider legible in a restrained, desaturated image without specifying an unsupported source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is still using the same bicycle as she hurries home, with her mobile phone remaining among her belongings.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 어두운 밤, 해안도로 위에서 상체를 숙인 채 자전거 핸들을 꽉 쥐고 한쪽 무릎을 굽혀 페달을 밟아 내리는 중간 상태인 수리영, 바람에 옷깃이 뒤로 펄럭이는 모습.

LOCATION (lock): On the dark coastal road at night, along the route back home. 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: Track parallel beside 수리영 at upper-body height and medium distance, holding a strong side profile while retaining the handlebars and the active pedal downstroke in frame. Her forward-canted torso occupies the center-left, with the coastal road extending through the remaining frame to preserve speed and direction.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: coastal road (Visible at night); used as Provides the directional line along which the parallel tracking move travels; bicycle (Being ridden at speed) — Its side profile faces the camera during the parallel track; used as Connects her clenched grip, seated posture, and pedal action within one readable silhouette.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambient light keeps the rider legible in a restrained, desaturated image without specifying an unsupported source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is still using the same bicycle as she hurries home, with her mobile phone remaining among her belongings.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove the extra floating shoe near the ground below the bicycle's chainring.
- Swap the leg positions so the right leg is extended downward and the left leg is bent upward, exactly matching the layout sketch.
- Restore the shot background to its exact reference camera alignment and perspective, placing the horizon and road vanishing point at their original positions while preserving the rider unchanged.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 계단 중간에 선 채 코끝을 찡그린 수리영의 얼굴 클로즈업.

LOCATION (lock): Midway up the exterior staircase connecting the residential building's yard to the rooftop apartment. 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: Hold statically one step above 수리영 at face height, looking back toward her in a subtly high close angle. Her halted face occupies most of the frame with her wrinkled nose as the focal point, while a small portion of the stair flight remains behind her to preserve the interrupted ascent.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: stair flight (Visible beneath and behind her) — The lower steps recede behind 수리영 while the camera remains one step above her; used as Provides the receding spatial line behind her face and confirms that she has stopped midway upward.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambient light holds her expression in restrained, desaturated contrast without introducing an unsupported source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young's bicycle has been left roughly parked in the rear corner of the courtyard while she climbs toward the rooftop room.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 계단 중간에 선 채 코끝을 찡그린 수리영의 얼굴 클로즈업.

LOCATION (lock): Midway up the exterior staircase connecting the residential building's yard to the rooftop apartment. 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: Hold statically one step above 수리영 at face height, looking back toward her in a subtly high close angle. Her halted face occupies most of the frame with her wrinkled nose as the focal point, while a small portion of the stair flight remains behind her to preserve the interrupted ascent.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: stair flight (Visible beneath and behind her) — The lower steps recede behind 수리영 while the camera remains one step above her; used as Provides the receding spatial line behind her face and confirms that she has stopped midway upward.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambient light holds her expression in restrained, desaturated contrast without introducing an unsupported source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young's bicycle has been left roughly parked in the rear corner of the courtyard while she climbs toward the rooftop room.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 계단 중간에 선 채 코끝을 찡그린 수리영의 얼굴 클로즈업.

LOCATION (lock): Midway up the exterior staircase connecting the residential building's yard to the rooftop apartment. 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: Hold statically one step above 수리영 at face height, looking back toward her in a subtly high close angle. Her halted face occupies most of the frame with her wrinkled nose as the focal point, while a small portion of the stair flight remains behind her to preserve the interrupted ascent.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: stair flight (Visible beneath and behind her) — The lower steps recede behind 수리영 while the camera remains one step above her; used as Provides the receding spatial line behind her face and confirms that she has stopped midway upward.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambient light holds her expression in restrained, desaturated contrast without introducing an unsupported source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young's bicycle has been left roughly parked in the rear corner of the courtyard while she climbs toward the rooftop room.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Restore the open door on the rooftop structure exactly as it appears in the background reference image.
- Push in to a true close-up so Suri-young’s face occupies most of the frame, cropping out most of her torso while retaining only a small visible portion of the receding stair flight behind her.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 휴대전화를 귀에 바짝 댄 채 미간을 좁히고 경찰서 사무실 문고리를 꽉 틀어쥔 혜수의 정지된 손과 심각한 상체.

LOCATION (lock): At the doorway into the police office at night, with the interior duty area beyond. 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 chest height just inside the office entrance, hold a medium, shallow three-quarter view of 혜수, placing her tense upper body on the right and her hand locked around the open door handle in the lower-left foreground. The static observer framing keeps the phone tight to her ear and reserves deeper office space behind her for the impending retreat along her entry path.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 경찰서 사무실 문 (open as 혜수 enters) — Its open edge angles away from the camera into the office; used as The entrance edge forms a rigid lateral frame around 혜수 and visually arrests her movement; 문고리 (being tightly twisted and held) — Its graspable side faces 혜수 while remaining visible to the camera; used as Held in the lower-left foreground as the physical focus of her halted entry; 휴대전화 (in use during an unanswered call) — Its side and back are visible while the screen faces 혜수; used as Pressed beside 혜수's face as the unanswered call continues.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained low-to-mid-key office illumination at night keeps the palette desaturated and her expression solemn without specifying an unestablished source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Hye-soo has her mobile phone with her and is calling Minsuk, whose phone remains unanswered.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 휴대전화를 귀에 바짝 댄 채 미간을 좁히고 경찰서 사무실 문고리를 꽉 틀어쥔 혜수의 정지된 손과 심각한 상체.

LOCATION (lock): At the doorway into the police office at night, with the interior duty area beyond. 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 chest height just inside the office entrance, hold a medium, shallow three-quarter view of 혜수, placing her tense upper body on the right and her hand locked around the open door handle in the lower-left foreground. The static observer framing keeps the phone tight to her ear and reserves deeper office space behind her for the impending retreat along her entry path.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 경찰서 사무실 문 (open as 혜수 enters) — Its open edge angles away from the camera into the office; used as The entrance edge forms a rigid lateral frame around 혜수 and visually arrests her movement; 문고리 (being tightly twisted and held) — Its graspable side faces 혜수 while remaining visible to the camera; used as Held in the lower-left foreground as the physical focus of her halted entry; 휴대전화 (in use during an unanswered call) — Its side and back are visible while the screen faces 혜수; used as Pressed beside 혜수's face as the unanswered call continues.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained low-to-mid-key office illumination at night keeps the palette desaturated and her expression solemn without specifying an unestablished source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Hye-soo has her mobile phone with her and is calling Minsuk, whose phone remains unanswered.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 휴대전화를 귀에 바짝 댄 채 미간을 좁히고 경찰서 사무실 문고리를 꽉 틀어쥔 혜수의 정지된 손과 심각한 상체.

LOCATION (lock): At the doorway into the police office at night, with the interior duty area beyond. 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 chest height just inside the office entrance, hold a medium, shallow three-quarter view of 혜수, placing her tense upper body on the right and her hand locked around the open door handle in the lower-left foreground. The static observer framing keeps the phone tight to her ear and reserves deeper office space behind her for the impending retreat along her entry path.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 경찰서 사무실 문 (open as 혜수 enters) — Its open edge angles away from the camera into the office; used as The entrance edge forms a rigid lateral frame around 혜수 and visually arrests her movement; 문고리 (being tightly twisted and held) — Its graspable side faces 혜수 while remaining visible to the camera; used as Held in the lower-left foreground as the physical focus of her halted entry; 휴대전화 (in use during an unanswered call) — Its side and back are visible while the screen faces 혜수; used as Pressed beside 혜수's face as the unanswered call continues.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained low-to-mid-key office illumination at night keeps the palette desaturated and her expression solemn without specifying an unestablished source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Hye-soo has her mobile phone with her and is calling Minsuk, whose phone remains unanswered.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Angle the door handle lever downward to show it being actively twisted.
- Wrap the right fingers firmly and completely around the cylindrical lever of the door handle.
- Correct the anatomy of the left fingers holding the phone to show distinct, natural knuckles and structure.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 창문으로 햇살이 스며드는 방 안, 침대 모서리에 이마를 기댄 채 바닥에 웅크려 잠들어 있는 수리영의 모습.

LOCATION (lock): On the floor beside the bed in the rooftop apartment's main bedroom, with early daylight entering through a window. 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: Begin with a held low wide frame from a shallow angle across the bedroom, placing 수리영 curled beside the bed in the lower-middle area while the bed corner provides scale above her. After the stillness registers, start the slow dolly toward her sleeping form, keeping the window and surrounding room secondary to the contact between her forehead and the bed edge.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 침대 (used as support while 수리영 sleeps) — Its corner angles toward the camera, with 수리영 resting against its edge; used as The bed corner forms the dominant spatial anchor above 수리영 and supports her sleeping posture; 창문 (allowing sunlight into the room) — Its plane faces the room at an oblique angle; the exterior view is not emphasized; used as Kept in the background as the established path for incoming sunlight.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight filtering through the window is rendered in a restrained, desaturated low-to-mid-key balance that preserves the exhausted stillness.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The house remains in its unnaturally clean, reordered state, with Minsuk's corpse, blood, and bedroom wall mark still absent.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 창문으로 햇살이 스며드는 방 안, 침대 모서리에 이마를 기댄 채 바닥에 웅크려 잠들어 있는 수리영의 모습.

LOCATION (lock): On the floor beside the bed in the rooftop apartment's main bedroom, with early daylight entering through a window. 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: Begin with a held low wide frame from a shallow angle across the bedroom, placing 수리영 curled beside the bed in the lower-middle area while the bed corner provides scale above her. After the stillness registers, start the slow dolly toward her sleeping form, keeping the window and surrounding room secondary to the contact between her forehead and the bed edge.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 침대 (used as support while 수리영 sleeps) — Its corner angles toward the camera, with 수리영 resting against its edge; used as The bed corner forms the dominant spatial anchor above 수리영 and supports her sleeping posture; 창문 (allowing sunlight into the room) — Its plane faces the room at an oblique angle; the exterior view is not emphasized; used as Kept in the background as the established path for incoming sunlight.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight filtering through the window is rendered in a restrained, desaturated low-to-mid-key balance that preserves the exhausted stillness.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The house remains in its unnaturally clean, reordered state, with Minsuk's corpse, blood, and bedroom wall mark still absent.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 창문으로 햇살이 스며드는 방 안, 침대 모서리에 이마를 기댄 채 바닥에 웅크려 잠들어 있는 수리영의 모습.

LOCATION (lock): On the floor beside the bed in the rooftop apartment's main bedroom, with early daylight entering through a window. 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: Begin with a held low wide frame from a shallow angle across the bedroom, placing 수리영 curled beside the bed in the lower-middle area while the bed corner provides scale above her. After the stillness registers, start the slow dolly toward her sleeping form, keeping the window and surrounding room secondary to the contact between her forehead and the bed edge.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 침대 (used as support while 수리영 sleeps) — Its corner angles toward the camera, with 수리영 resting against its edge; used as The bed corner forms the dominant spatial anchor above 수리영 and supports her sleeping posture; 창문 (allowing sunlight into the room) — Its plane faces the room at an oblique angle; the exterior view is not emphasized; used as Kept in the background as the established path for incoming sunlight.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight filtering through the window is rendered in a restrained, desaturated low-to-mid-key balance that preserves the exhausted stillness.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The house remains in its unnaturally clean, reordered state, with Minsuk's corpse, blood, and bedroom wall mark still absent.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Rotate Suri-young's head downward so that her forehead rests directly against her hands or the edge of the bed, matching the bowed pose in the sketch.
- Restore the exact camera position, height, axis, and wide-frame perspective of the shot-background reference while preserving everything else.
- Move Suriyoung downward to match the layout sketch’s lower-middle screen position and keep her scale unchanged.
- Rotate and lower her head so her forehead directly contacts the bed edge, retaining the curled sleeping pose and all other composition.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 마트 밖, 고개를 든 채 건물 천장 모서리에 매달린 CCTV 카메라를 올려다보는 수리영의 뒷모습.

LOCATION (lock): Outside the supermarket, directly beneath a CCTV camera mounted high on an exterior corner of the building. 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 behind 수리영 at upper-torso height, complete the upward tilt with her back and craned head occupying the lower center while the mounted CCTV camera remains small but distinct in the upper-right corner. Hold both in the same medium-wide frame so her eyeline forms a clean diagonal toward the surveillance unit before the camera begins its later descent and arc.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 in the lower-center of the frame, midground, looks toward overhead CCTV camera; overhead CCTV camera in the upper-right of the frame, background.
- KEY BACKGROUND ELEMENTS: CCTV 카메라 (mounted at the building corner) — Its lens-bearing front is angled down from the building's upper corner toward the exterior area; used as The overhead endpoint of 수리영's gaze and the evidence she is evaluating; 마트 건물 외부 모서리 (supporting the mounted CCTV camera) — The adjoining faces converge above and to the right of 수리영; used as Provides the high corner that spatially fixes the CCTV above 수리영.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural early-morning exterior light is kept restrained and desaturated, with grounded contrast between 수리영 and the building corner.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to carry her doll-adorned backpack while investigating Minsuk's disappearance.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 마트 밖, 고개를 든 채 건물 천장 모서리에 매달린 CCTV 카메라를 올려다보는 수리영의 뒷모습.

LOCATION (lock): Outside the supermarket, directly beneath a CCTV camera mounted high on an exterior corner of the building. 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 behind 수리영 at upper-torso height, complete the upward tilt with her back and craned head occupying the lower center while the mounted CCTV camera remains small but distinct in the upper-right corner. Hold both in the same medium-wide frame so her eyeline forms a clean diagonal toward the surveillance unit before the camera begins its later descent and arc.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 in the lower-center of the frame, midground, looks toward overhead CCTV camera; overhead CCTV camera in the upper-right of the frame, background.
- KEY BACKGROUND ELEMENTS: CCTV 카메라 (mounted at the building corner) — Its lens-bearing front is angled down from the building's upper corner toward the exterior area; used as The overhead endpoint of 수리영's gaze and the evidence she is evaluating; 마트 건물 외부 모서리 (supporting the mounted CCTV camera) — The adjoining faces converge above and to the right of 수리영; used as Provides the high corner that spatially fixes the CCTV above 수리영.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural early-morning exterior light is kept restrained and desaturated, with grounded contrast between 수리영 and the building corner.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to carry her doll-adorned backpack while investigating Minsuk's disappearance.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 마트 밖, 고개를 든 채 건물 천장 모서리에 매달린 CCTV 카메라를 올려다보는 수리영의 뒷모습.

LOCATION (lock): Outside the supermarket, directly beneath a CCTV camera mounted high on an exterior corner of the building. 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 behind 수리영 at upper-torso height, complete the upward tilt with her back and craned head occupying the lower center while the mounted CCTV camera remains small but distinct in the upper-right corner. Hold both in the same medium-wide frame so her eyeline forms a clean diagonal toward the surveillance unit before the camera begins its later descent and arc.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 in the lower-center of the frame, midground, looks toward overhead CCTV camera; overhead CCTV camera in the upper-right of the frame, background.
- KEY BACKGROUND ELEMENTS: CCTV 카메라 (mounted at the building corner) — Its lens-bearing front is angled down from the building's upper corner toward the exterior area; used as The overhead endpoint of 수리영's gaze and the evidence she is evaluating; 마트 건물 외부 모서리 (supporting the mounted CCTV camera) — The adjoining faces converge above and to the right of 수리영; used as Provides the high corner that spatially fixes the CCTV above 수리영.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural early-morning exterior light is kept restrained and desaturated, with grounded contrast between 수리영 and the building corner.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to carry her doll-adorned backpack while investigating Minsuk's disappearance.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 텅 빈 사무실 한가운데 책상 앞에 덩그러니 앉아있는 수리영의 뒷모습.

LOCATION (lock): At a detective's desk in the middle of the police office, after the other officers have left for a meeting. 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 the office entrance axis, hold a static wide frame at 수리영's seated shoulder height, directly behind her. She remains small and centered in the midground with the desk ahead, while vacant workstations spread across both sides to make the empty office outweigh her figure.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 혜수의 책상 (살인사건 확대 사진들이 어지럽게 놓여 있음) — The working side and desktop face 수리영 and remain visible beyond her shoulders; used as Forms the central destination of the rear-axis composition; 사무실 내 작업 공간 (형사들이 모두 빠져나가 비어 있음) — Vacated desks and seating are seen from the entrance side; used as Extends the negative space on both sides of 수리영; 살인사건 확대 사진들 (여러 장이 어지럽게 펼쳐져 있음) — The printed image sides face upward on the desktop, seen obliquely from behind 수리영; used as Creates scattered content across the desk without pulling focus from 수리영's isolation.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral ambient illumination appropriate to the daytime office is restrained and desaturated, with low-to-mid-key contrast preserving a solemn sense of vacancy.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is left alone in the office with her doll-adorned backpack, while the enlarged murder-scene photographs remain scattered across Hye-soo's desk.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 텅 빈 사무실 한가운데 책상 앞에 덩그러니 앉아있는 수리영의 뒷모습.

LOCATION (lock): At a detective's desk in the middle of the police office, after the other officers have left for a meeting. 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 the office entrance axis, hold a static wide frame at 수리영's seated shoulder height, directly behind her. She remains small and centered in the midground with the desk ahead, while vacant workstations spread across both sides to make the empty office outweigh her figure.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 혜수의 책상 (살인사건 확대 사진들이 어지럽게 놓여 있음) — The working side and desktop face 수리영 and remain visible beyond her shoulders; used as Forms the central destination of the rear-axis composition; 사무실 내 작업 공간 (형사들이 모두 빠져나가 비어 있음) — Vacated desks and seating are seen from the entrance side; used as Extends the negative space on both sides of 수리영; 살인사건 확대 사진들 (여러 장이 어지럽게 펼쳐져 있음) — The printed image sides face upward on the desktop, seen obliquely from behind 수리영; used as Creates scattered content across the desk without pulling focus from 수리영's isolation.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral ambient illumination appropriate to the daytime office is restrained and desaturated, with low-to-mid-key contrast preserving a solemn sense of vacancy.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is left alone in the office with her doll-adorned backpack, while the enlarged murder-scene photographs remain scattered across Hye-soo's desk.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 텅 빈 사무실 한가운데 책상 앞에 덩그러니 앉아있는 수리영의 뒷모습.

LOCATION (lock): At a detective's desk in the middle of the police office, after the other officers have left for a meeting. 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 the office entrance axis, hold a static wide frame at 수리영's seated shoulder height, directly behind her. She remains small and centered in the midground with the desk ahead, while vacant workstations spread across both sides to make the empty office outweigh her figure.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 혜수의 책상 (살인사건 확대 사진들이 어지럽게 놓여 있음) — The working side and desktop face 수리영 and remain visible beyond her shoulders; used as Forms the central destination of the rear-axis composition; 사무실 내 작업 공간 (형사들이 모두 빠져나가 비어 있음) — Vacated desks and seating are seen from the entrance side; used as Extends the negative space on both sides of 수리영; 살인사건 확대 사진들 (여러 장이 어지럽게 펼쳐져 있음) — The printed image sides face upward on the desktop, seen obliquely from behind 수리영; used as Creates scattered content across the desk without pulling focus from 수리영's isolation.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral ambient illumination appropriate to the daytime office is restrained and desaturated, with low-to-mid-key contrast preserving a solemn sense of vacancy.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is left alone in the office with her doll-adorned backpack, while the enlarged murder-scene photographs remain scattered across Hye-soo's desk.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove the text from the upper section of the backpack.
- Scale down Suri-young and her seated setup slightly, anchoring the chair near its current bottom position so her head and shoulders sit lower and occupy less of the frame.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 대낮의 경찰서 앞, 자전거 페달을 밟고 선 수리영의 상체가 앞으로 크게 쏠린 측면 구도.

LOCATION (lock): On the pavement directly outside the police station in broad daylight, beside the bicycle parking 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: Track parallel to the bicycle at upper-torso height from a tight lateral position, holding 수리영 in profile as the environment slips behind her. Her pitched-forward torso occupies the central and upper frame while enough of the handlebar and pedaling leg remains visible below to preserve the force of acceleration.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 자전거 (주행 중) — Its lateral side faces the camera, with the handlebar and part of the pedal mechanism visible; used as Provides the moving support structure around 수리영's compressed riding posture; 경찰서 앞 공간 (대낮) — Seen laterally behind 수리영 as the camera moves parallel with her; used as Establishes the departure location behind the tracked rider.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural daytime ambient light is treated with a restrained, desaturated palette and grounded mid-level contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young departs on her bicycle with the coordinate note in her pocket and the doll-adorned backpack in her possession.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 대낮의 경찰서 앞, 자전거 페달을 밟고 선 수리영의 상체가 앞으로 크게 쏠린 측면 구도.

LOCATION (lock): On the pavement directly outside the police station in broad daylight, beside the bicycle parking 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: Track parallel to the bicycle at upper-torso height from a tight lateral position, holding 수리영 in profile as the environment slips behind her. Her pitched-forward torso occupies the central and upper frame while enough of the handlebar and pedaling leg remains visible below to preserve the force of acceleration.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 자전거 (주행 중) — Its lateral side faces the camera, with the handlebar and part of the pedal mechanism visible; used as Provides the moving support structure around 수리영's compressed riding posture; 경찰서 앞 공간 (대낮) — Seen laterally behind 수리영 as the camera moves parallel with her; used as Establishes the departure location behind the tracked rider.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural daytime ambient light is treated with a restrained, desaturated palette and grounded mid-level contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young departs on her bicycle with the coordinate note in her pocket and the doll-adorned backpack in her possession.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 대낮의 경찰서 앞, 자전거 페달을 밟고 선 수리영의 상체가 앞으로 크게 쏠린 측면 구도.

LOCATION (lock): On the pavement directly outside the police station in broad daylight, beside the bicycle parking 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: Track parallel to the bicycle at upper-torso height from a tight lateral position, holding 수리영 in profile as the environment slips behind her. Her pitched-forward torso occupies the central and upper frame while enough of the handlebar and pedaling leg remains visible below to preserve the force of acceleration.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 자전거 (주행 중) — Its lateral side faces the camera, with the handlebar and part of the pedal mechanism visible; used as Provides the moving support structure around 수리영's compressed riding posture; 경찰서 앞 공간 (대낮) — Seen laterally behind 수리영 as the camera moves parallel with her; used as Establishes the departure location behind the tracked rider.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural daytime ambient light is treated with a restrained, desaturated palette and grounded mid-level contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young departs on her bicycle with the coordinate note in her pocket and the doll-adorned backpack in her possession.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Lift Suri-young's hips completely off the saddle so she is standing on the pedals while leaning forward.
- Raise her hips clearly off the saddle into a standing-on-the-pedals acceleration posture while preserving her profile, forward lean, scale, and all other framing.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 번개 빛이 번쩍여 해안가 도로 위 자전거 안장에 앉아 한쪽 다리로 페달을 힘껏 밟고 있는 수리영의 역동적인 실루엣이 드러난 찰나.

LOCATION (lock): On an exposed coastal road during a heavy thunderstorm, under lightning and dense rain clouds. 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 bicycle-saddle height, track parallel from the side in a wide profile that holds 수리영 and the full bicycle against the coastal road. Time the frame to the lightning flash as one leg drives the pedal downward, exposing her dynamic silhouette without changing the lateral tracking axis.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 자전거 (빗속에서 주행 중) — The full lateral side faces the camera during the downward pedal stroke; used as Carries 수리영 across the frame as a complete side-profile silhouette; 해안가 도로 (세찬 비가 내리고 있음); used as Establishes the route beneath and behind the tracked bicycle; 번개 (번쩍이는 순간); used as Temporarily reveals the rider's silhouette; 먹구름과 세찬 비 (천둥 번개와 함께 지속됨); used as Reduces clarity across the wider environment.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: A lightning flash briefly cuts through the rain-darkened, desaturated scene, producing a stark but grounded silhouette with otherwise low-key storm contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young rides with the doll-adorned backpack containing the folded printed maps, while continuing to use her bicycle.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, stormy overcast.

SHOT TEXT (authoritative, Korean): 번개 빛이 번쩍여 해안가 도로 위 자전거 안장에 앉아 한쪽 다리로 페달을 힘껏 밟고 있는 수리영의 역동적인 실루엣이 드러난 찰나.

LOCATION (lock): On an exposed coastal road during a heavy thunderstorm, under lightning and dense rain clouds. 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 bicycle-saddle height, track parallel from the side in a wide profile that holds 수리영 and the full bicycle against the coastal road. Time the frame to the lightning flash as one leg drives the pedal downward, exposing her dynamic silhouette without changing the lateral tracking axis.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 자전거 (빗속에서 주행 중) — The full lateral side faces the camera during the downward pedal stroke; used as Carries 수리영 across the frame as a complete side-profile silhouette; 해안가 도로 (세찬 비가 내리고 있음); used as Establishes the route beneath and behind the tracked bicycle; 번개 (번쩍이는 순간); used as Temporarily reveals the rider's silhouette; 먹구름과 세찬 비 (천둥 번개와 함께 지속됨); used as Reduces clarity across the wider environment.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: A lightning flash briefly cuts through the rain-darkened, desaturated scene, producing a stark but grounded silhouette with otherwise low-key storm contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young rides with the doll-adorned backpack containing the folded printed maps, while continuing to use her bicycle.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, stormy overcast.

SHOT TEXT (authoritative, Korean): 번개 빛이 번쩍여 해안가 도로 위 자전거 안장에 앉아 한쪽 다리로 페달을 힘껏 밟고 있는 수리영의 역동적인 실루엣이 드러난 찰나.

LOCATION (lock): On an exposed coastal road during a heavy thunderstorm, under lightning and dense rain clouds. 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 bicycle-saddle height, track parallel from the side in a wide profile that holds 수리영 and the full bicycle against the coastal road. Time the frame to the lightning flash as one leg drives the pedal downward, exposing her dynamic silhouette without changing the lateral tracking axis.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 자전거 (빗속에서 주행 중) — The full lateral side faces the camera during the downward pedal stroke; used as Carries 수리영 across the frame as a complete side-profile silhouette; 해안가 도로 (세찬 비가 내리고 있음); used as Establishes the route beneath and behind the tracked bicycle; 번개 (번쩍이는 순간); used as Temporarily reveals the rider's silhouette; 먹구름과 세찬 비 (천둥 번개와 함께 지속됨); used as Reduces clarity across the wider environment.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: A lightning flash briefly cuts through the rain-darkened, desaturated scene, producing a stark but grounded silhouette with otherwise low-key storm contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young rides with the doll-adorned backpack containing the folded printed maps, while continuing to use her bicycle.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Restore the background exactly to the provided reference image, keeping the original lightning bolts on the far left and right, and remove the newly added lightning bolt behind the character.
- Move the character's left leg to the far side of the bicycle frame so she correctly straddles the bike.
- Lower the character's waist and hips so she is sitting securely on the bicycle saddle.
- Restore the exact background camera and perspective so the sea horizon and road vanishing level match the supplied empty background and the camera sits at bicycle-saddle height.
- Move the complete rider-and-bicycle unit left and slightly downward to match the layout sketch, preserving its side-profile scale.
- Lean the rider’s torso farther forward over the handlebars while keeping the bicycle in full rightward side profile and the driving leg in its downward pedal stroke.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 해 질 무렵 좁은 조타실 안, 조타기를 꽉 쥔 인우와 그를 온몸으로 가로막은 수리영이 밀착해 뒤엉킨 구도.

LOCATION (lock): Inside the cramped wheelhouse of the small fishing boat at dusk, directly at the helm. 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 chest height near the confined wheelhouse entrance, hold a static wide composition down the open line toward the helm, with 인우 compressed into the right midground and 수리영 blocking him from the left-center. Their overlapping bodies form a tight diagonal around his hands on the helm, while enough of the cramped interior remains visible to establish the trap-like space.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 조타기 (Firmly gripped by 인우) — Its operating side faces 인우, with his hands visibly gripping it from the right midground; used as Central physical anchor around which both bodies are compressed; 조타실 입구 (Open) — The entrance faces into the confined room, with its edges enclosing the pair; used as Creates a narrow foreground frame and the camera's line of approach; 좁은 조타실 내부 (Occupied by the struggling pair); used as The enclosing background that limits lateral escape and intensifies the confrontation.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-to-mid-key ambient illumination appropriate to dusk keeps the cramped wheelhouse desaturated and oppressive.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wheelhouse's numerous circles, including the red one, remain fixed around the struggling pair. Suri-young retains her backpack and the old photograph.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 인우 (한국인 남성, 24세, 검은 머리, 수려한 이목구비) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 해 질 무렵 좁은 조타실 안, 조타기를 꽉 쥔 인우와 그를 온몸으로 가로막은 수리영이 밀착해 뒤엉킨 구도.

LOCATION (lock): Inside the cramped wheelhouse of the small fishing boat at dusk, directly at the helm. 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 chest height near the confined wheelhouse entrance, hold a static wide composition down the open line toward the helm, with 인우 compressed into the right midground and 수리영 blocking him from the left-center. Their overlapping bodies form a tight diagonal around his hands on the helm, while enough of the cramped interior remains visible to establish the trap-like space.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 조타기 (Firmly gripped by 인우) — Its operating side faces 인우, with his hands visibly gripping it from the right midground; used as Central physical anchor around which both bodies are compressed; 조타실 입구 (Open) — The entrance faces into the confined room, with its edges enclosing the pair; used as Creates a narrow foreground frame and the camera's line of approach; 좁은 조타실 내부 (Occupied by the struggling pair); used as The enclosing background that limits lateral escape and intensifies the confrontation.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-to-mid-key ambient illumination appropriate to dusk keeps the cramped wheelhouse desaturated and oppressive.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wheelhouse's numerous circles, including the red one, remain fixed around the struggling pair. Suri-young retains her backpack and the old photograph.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 인우 (한국인 남성, 24세, 검은 머리, 수려한 이목구비) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 해 질 무렵 좁은 조타실 안, 조타기를 꽉 쥔 인우와 그를 온몸으로 가로막은 수리영이 밀착해 뒤엉킨 구도.

LOCATION (lock): Inside the cramped wheelhouse of the small fishing boat at dusk, directly at the helm. 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 chest height near the confined wheelhouse entrance, hold a static wide composition down the open line toward the helm, with 인우 compressed into the right midground and 수리영 blocking him from the left-center. Their overlapping bodies form a tight diagonal around his hands on the helm, while enough of the cramped interior remains visible to establish the trap-like space.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 조타기 (Firmly gripped by 인우) — Its operating side faces 인우, with his hands visibly gripping it from the right midground; used as Central physical anchor around which both bodies are compressed; 조타실 입구 (Open) — The entrance faces into the confined room, with its edges enclosing the pair; used as Creates a narrow foreground frame and the camera's line of approach; 좁은 조타실 내부 (Occupied by the struggling pair); used as The enclosing background that limits lateral escape and intensifies the confrontation.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-to-mid-key ambient illumination appropriate to dusk keeps the cramped wheelhouse desaturated and oppressive.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wheelhouse's numerous circles, including the red one, remain fixed around the struggling pair. Suri-young retains her backpack and the old photograph.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 인우 (한국인 남성, 24세, 검은 머리, 수려한 이목구비) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Pose In-woo's right arm upward so his hand firmly grips the upper part of the steering wheel.
- Restore the missing upper half of the wooden steering wheel in front of In-woo.
- Repose Inwoo so both hands visibly grip the helm from the right midground, and compress Suri-young’s overlapping body around this hand-and-helm anchor while preserving the camera and all other framing.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 무리 지어 선 한국인 남성 형사들 사이에서 한쪽 팔을 뻗은 채 서 있는 혜수의 모습.

LOCATION (lock): Inside the police-controlled section of the forest crime scene, among investigators conducting the daytime examination. 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: Present the scene as regional-news footage from an eye-level position slightly off one side of the detective group, with subtle screen raster and broadcast compression shaping the image. 혜수 holds the visual center in a medium-wide arrangement, one arm extended across the clustered male detectives while foreground shoulders create a restrained observational frame.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 폴리스 라인 (Installed around the scene) — Its marked outward-facing side is visible across the scene; used as The line identifies and separates the active examination area behind the detectives; 시신 수거 현장 (Police are processing and recovering the bodies); used as Background police activity situates 혜수's command within the ongoing recovery operation; 지역 뉴스 화면 (Showing regional-news footage) — The camera-facing image side displays the field footage of the investigation; used as The visible broadcast image acts as the mediated surface through which the scene is perceived.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight recorded through a regional-news image is kept desaturated with restrained contrast and mild device-mediated tonal compression.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 무리 지어 선 한국인 남성 형사들 사이에서 한쪽 팔을 뻗은 채 서 있는 혜수의 모습.

LOCATION (lock): Inside the police-controlled section of the forest crime scene, among investigators conducting the daytime examination. 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: Present the scene as regional-news footage from an eye-level position slightly off one side of the detective group, with subtle screen raster and broadcast compression shaping the image. 혜수 holds the visual center in a medium-wide arrangement, one arm extended across the clustered male detectives while foreground shoulders create a restrained observational frame.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 폴리스 라인 (Installed around the scene) — Its marked outward-facing side is visible across the scene; used as The line identifies and separates the active examination area behind the detectives; 시신 수거 현장 (Police are processing and recovering the bodies); used as Background police activity situates 혜수's command within the ongoing recovery operation; 지역 뉴스 화면 (Showing regional-news footage) — The camera-facing image side displays the field footage of the investigation; used as The visible broadcast image acts as the mediated surface through which the scene is perceived.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight recorded through a regional-news image is kept desaturated with restrained contrast and mild device-mediated tonal compression.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 무리 지어 선 한국인 남성 형사들 사이에서 한쪽 팔을 뻗은 채 서 있는 혜수의 모습.

LOCATION (lock): Inside the police-controlled section of the forest crime scene, among investigators conducting the daytime examination. 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: Present the scene as regional-news footage from an eye-level position slightly off one side of the detective group, with subtle screen raster and broadcast compression shaping the image. 혜수 holds the visual center in a medium-wide arrangement, one arm extended across the clustered male detectives while foreground shoulders create a restrained observational frame.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 폴리스 라인 (Installed around the scene) — Its marked outward-facing side is visible across the scene; used as The line identifies and separates the active examination area behind the detectives; 시신 수거 현장 (Police are processing and recovering the bodies); used as Background police activity situates 혜수's command within the ongoing recovery operation; 지역 뉴스 화면 (Showing regional-news footage) — The camera-facing image side displays the field footage of the investigation; used as The visible broadcast image acts as the mediated surface through which the scene is perceived.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight recorded through a regional-news image is kept desaturated with restrained contrast and mild device-mediated tonal compression.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove all text from the yellow police tape.
- Apply a subtle screen raster and broadcast compression artifacts over the entire image to simulate it being viewed on a regional news screen.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 해안가 도로에서 한쪽 페달을 밟아 내린 자세로 상체를 기울인 수리영의 측면.

LOCATION (lock): On the seaward lane of a coastal road in daylight. 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: Track parallel at torso height from a direct side position, keeping 수리영 and the bicycle in a wide profile as she rides toward screen right. Place her leaned upper body in the middle-left and the lowered pedal and bent leg in the lower center, preserving enough road ahead on the right for her continued movement.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, moves toward open road at screen right.
- KEY BACKGROUND ELEMENTS: 해안가 도로 (수리영 is riding along it); used as The road forms the horizontal travel axis and leaves visible space ahead of the bicycle; 바다 (Beside the road); used as The sea establishes the coastal setting behind the parallel side view; 자전거 (Moving forward under pedal power) — Its full side profile faces the tracking camera; used as The bicycle carries the downward pedal action central to the shot.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight appropriate to the coastal road is rendered in a restrained, desaturated palette while preserving 수리영's bright, energetic presence.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is riding her bicycle with her earphones in.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 해안가 도로에서 한쪽 페달을 밟아 내린 자세로 상체를 기울인 수리영의 측면.

LOCATION (lock): On the seaward lane of a coastal road in daylight. 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: Track parallel at torso height from a direct side position, keeping 수리영 and the bicycle in a wide profile as she rides toward screen right. Place her leaned upper body in the middle-left and the lowered pedal and bent leg in the lower center, preserving enough road ahead on the right for her continued movement.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, moves toward open road at screen right.
- KEY BACKGROUND ELEMENTS: 해안가 도로 (수리영 is riding along it); used as The road forms the horizontal travel axis and leaves visible space ahead of the bicycle; 바다 (Beside the road); used as The sea establishes the coastal setting behind the parallel side view; 자전거 (Moving forward under pedal power) — Its full side profile faces the tracking camera; used as The bicycle carries the downward pedal action central to the shot.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight appropriate to the coastal road is rendered in a restrained, desaturated palette while preserving 수리영's bright, energetic presence.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is riding her bicycle with her earphones in.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 해안가 도로에서 한쪽 페달을 밟아 내린 자세로 상체를 기울인 수리영의 측면.

LOCATION (lock): On the seaward lane of a coastal road in daylight. 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: Track parallel at torso height from a direct side position, keeping 수리영 and the bicycle in a wide profile as she rides toward screen right. Place her leaned upper body in the middle-left and the lowered pedal and bent leg in the lower center, preserving enough road ahead on the right for her continued movement.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, moves toward open road at screen right.
- KEY BACKGROUND ELEMENTS: 해안가 도로 (수리영 is riding along it); used as The road forms the horizontal travel axis and leaves visible space ahead of the bicycle; 바다 (Beside the road); used as The sea establishes the coastal setting behind the parallel side view; 자전거 (Moving forward under pedal power) — Its full side profile faces the tracking camera; used as The bicycle carries the downward pedal action central to the shot.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight appropriate to the coastal road is rendered in a restrained, desaturated palette while preserving 수리영's bright, energetic presence.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is riding her bicycle with her earphones in.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Render a proper bicycle seat tube extending vertically from under the saddle down to the bottom bracket, connecting the top tube to it so the frame passes believably behind the rider's leg.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 눈을 동그랗게 뜨고 멈칫한 수리영의 얼굴.

LOCATION (lock): Inside the supermarket's retail floor, beside the employees stocking merchandise. 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: Finish the eye-line dolly-in inside the store at face-close distance and stop on 수리영's widened eyes. Center her face tightly with only narrow, softened traces of the store aisles at the edges, holding the startled pause before the exterior cut.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: store display aisles (In use for merchandise display) — Their visible sides recede away behind her; used as Soft edge context that identifies the store while isolating her reaction.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Setting-appropriate interior ambient light is rendered with restrained saturation and controlled low-to-mid-key facial contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has already parked her bicycle outside the mart, and Minsuk remains absent from her workplace.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 눈을 동그랗게 뜨고 멈칫한 수리영의 얼굴.

LOCATION (lock): Inside the supermarket's retail floor, beside the employees stocking merchandise. 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: Finish the eye-line dolly-in inside the store at face-close distance and stop on 수리영's widened eyes. Center her face tightly with only narrow, softened traces of the store aisles at the edges, holding the startled pause before the exterior cut.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: store display aisles (In use for merchandise display) — Their visible sides recede away behind her; used as Soft edge context that identifies the store while isolating her reaction.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Setting-appropriate interior ambient light is rendered with restrained saturation and controlled low-to-mid-key facial contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has already parked her bicycle outside the mart, and Minsuk remains absent from her workplace.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 눈을 동그랗게 뜨고 멈칫한 수리영의 얼굴.

LOCATION (lock): Inside the supermarket's retail floor, beside the employees stocking merchandise. 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: Finish the eye-line dolly-in inside the store at face-close distance and stop on 수리영's widened eyes. Center her face tightly with only narrow, softened traces of the store aisles at the edges, holding the startled pause before the exterior cut.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: store display aisles (In use for merchandise display) — Their visible sides recede away behind her; used as Soft edge context that identifies the store while isolating her reaction.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Setting-appropriate interior ambient light is rendered with restrained saturation and controlled low-to-mid-key facial contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has already parked her bicycle outside the mart, and Minsuk remains absent from her workplace.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 마트 건물 밖으로 나온 수리영이 휴대전화를 귀에 댄 채 서 있는 정지 구도.

LOCATION (lock): Immediately outside the supermarket entrance at dusk, facing the adjoining commercial street. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the fixed eye-level position near the entrance, observe 수리영 at a medium-wide distance after she has come outside. Keep her full figure slightly to one side of center with the phone at her ear, using the store entrance and commercial street as stable spatial context rather than moving with her.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: store entrance (Visible behind her) — The entrance front faces the camera at a slight angle; used as Frames the boundary between the store and exterior street behind 수리영; street signage (Present outside the store) — Display faces are directed toward the street; specific content is not established; used as Provides distant commercial context around the static call.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Dusk ambient light and the commercial signage remain subdued within a desaturated, low-to-mid-key treatment.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young's bicycle remains parked outside while she calls Minsuk on her mobile phone; Minsuk still does not answer.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 마트 건물 밖으로 나온 수리영이 휴대전화를 귀에 댄 채 서 있는 정지 구도.

LOCATION (lock): Immediately outside the supermarket entrance at dusk, facing the adjoining commercial street. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the fixed eye-level position near the entrance, observe 수리영 at a medium-wide distance after she has come outside. Keep her full figure slightly to one side of center with the phone at her ear, using the store entrance and commercial street as stable spatial context rather than moving with her.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: store entrance (Visible behind her) — The entrance front faces the camera at a slight angle; used as Frames the boundary between the store and exterior street behind 수리영; street signage (Present outside the store) — Display faces are directed toward the street; specific content is not established; used as Provides distant commercial context around the static call.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Dusk ambient light and the commercial signage remain subdued within a desaturated, low-to-mid-key treatment.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young's bicycle remains parked outside while she calls Minsuk on her mobile phone; Minsuk still does not answer.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 마트 건물 밖으로 나온 수리영이 휴대전화를 귀에 댄 채 서 있는 정지 구도.

LOCATION (lock): Immediately outside the supermarket entrance at dusk, facing the adjoining commercial street. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the fixed eye-level position near the entrance, observe 수리영 at a medium-wide distance after she has come outside. Keep her full figure slightly to one side of center with the phone at her ear, using the store entrance and commercial street as stable spatial context rather than moving with her.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: store entrance (Visible behind her) — The entrance front faces the camera at a slight angle; used as Frames the boundary between the store and exterior street behind 수리영; street signage (Present outside the store) — Display faces are directed toward the street; specific content is not established; used as Provides distant commercial context around the static call.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Dusk ambient light and the commercial signage remain subdued within a desaturated, low-to-mid-key treatment.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young's bicycle remains parked outside while she calls Minsuk on her mobile phone; Minsuk still does not answer.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Move the camera closer to an eye-level medium-wide distance so the full-figure character is larger in the frame, and position the store entrance directly behind her.
- Reposition the camera to a fixed eye-level viewpoint near the supermarket entrance, maintaining Suri-young’s full figure slightly off-center with the entrance behind her and the commercial street visible in depth.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 정체불명의 남자의 손가락이 종이 전단지를 문틈 사이로 밀어 넣은 채 멈춘 클로즈업.

LOCATION (lock): On the rooftop landing directly outside the rooftop apartment's metal entrance door at night. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: End the upward tilt at hand height beside the iron door frame, then hold completely still on the finger pinning the leaflet into the narrow gap. The finger and paper occupy less than the central third, with the door edge remaining visible as a scale reference and the man's face and body withheld.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: narrow iron-door gap in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: iron entrance door and frame (Closed until the lock releases) — The door edge and frame face the camera obliquely, exposing the gap between them; used as Forms the narrow vertical frame around the finger and leaflet; advertising leaflet (Pressed into the door gap) — A partial printed face of the paper is visible to camera; its specific content is not established; used as Isolated focal detail held inside the door gap.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambient light isolates the tactile hand action with restrained color and solemn contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The advertising flyer has been removed from the door gap and is being used to force the lock.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 정체불명의 남자의 손가락이 종이 전단지를 문틈 사이로 밀어 넣은 채 멈춘 클로즈업.

LOCATION (lock): On the rooftop landing directly outside the rooftop apartment's metal entrance door at night. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: End the upward tilt at hand height beside the iron door frame, then hold completely still on the finger pinning the leaflet into the narrow gap. The finger and paper occupy less than the central third, with the door edge remaining visible as a scale reference and the man's face and body withheld.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: narrow iron-door gap in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: iron entrance door and frame (Closed until the lock releases) — The door edge and frame face the camera obliquely, exposing the gap between them; used as Forms the narrow vertical frame around the finger and leaflet; advertising leaflet (Pressed into the door gap) — A partial printed face of the paper is visible to camera; its specific content is not established; used as Isolated focal detail held inside the door gap.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambient light isolates the tactile hand action with restrained color and solemn contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The advertising flyer has been removed from the door gap and is being used to force the lock.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 정체불명의 남자의 손가락이 종이 전단지를 문틈 사이로 밀어 넣은 채 멈춘 클로즈업.

LOCATION (lock): On the rooftop landing directly outside the rooftop apartment's metal entrance door at night. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: End the upward tilt at hand height beside the iron door frame, then hold completely still on the finger pinning the leaflet into the narrow gap. The finger and paper occupy less than the central third, with the door edge remaining visible as a scale reference and the man's face and body withheld.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: narrow iron-door gap in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: iron entrance door and frame (Closed until the lock releases) — The door edge and frame face the camera obliquely, exposing the gap between them; used as Forms the narrow vertical frame around the finger and leaflet; advertising leaflet (Pressed into the door gap) — A partial printed face of the paper is visible to camera; its specific content is not established; used as Isolated focal detail held inside the door gap.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambient light isolates the tactile hand action with restrained color and solemn contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The advertising flyer has been removed from the door gap and is being used to force the lock.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove all legible text and characters from the surface of the flyer.
- Change the material and color of the door frame on the right side of the gap to grey concrete or painted wall to match the structure reference.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 초점을 잃은 눈으로 가로등 불빛 아래 멍하니 서 있는 수리영의 넋이 나간 상체.

LOCATION (lock): In the residential building's exterior yard at night, under the nearby streetlight. 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 chest height directly before 수리영, the static camera holds her motionless upper body in a severe centered portrait, with only limited nighttime exterior context around her shoulders. Her body occupies roughly two-thirds of the frame, and the unbroken eye-level axis makes her unfocused stare feel exposed rather than confrontational.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: rooftop-room exterior area (visible at night); used as Visible exterior context behind the isolated figure; streetlight (on) — Its lit side faces toward 수리영's position; used as Motivated illumination on 수리영's arrested expression.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Streetlight illumination holds 수리영's drained face against a low-key, desaturated nighttime background.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Until the later unexplained cleanup is revealed, Minsuk's immobile corpse remains seated behind the curtain inside, with the blood, bite wounds, red wrist mark, and red wall circle still present.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 초점을 잃은 눈으로 가로등 불빛 아래 멍하니 서 있는 수리영의 넋이 나간 상체.

LOCATION (lock): In the residential building's exterior yard at night, under the nearby streetlight. 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 chest height directly before 수리영, the static camera holds her motionless upper body in a severe centered portrait, with only limited nighttime exterior context around her shoulders. Her body occupies roughly two-thirds of the frame, and the unbroken eye-level axis makes her unfocused stare feel exposed rather than confrontational.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: rooftop-room exterior area (visible at night); used as Visible exterior context behind the isolated figure; streetlight (on) — Its lit side faces toward 수리영's position; used as Motivated illumination on 수리영's arrested expression.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Streetlight illumination holds 수리영's drained face against a low-key, desaturated nighttime background.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Until the later unexplained cleanup is revealed, Minsuk's immobile corpse remains seated behind the curtain inside, with the blood, bite wounds, red wrist mark, and red wall circle still present.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 초점을 잃은 눈으로 가로등 불빛 아래 멍하니 서 있는 수리영의 넋이 나간 상체.

LOCATION (lock): In the residential building's exterior yard at night, under the nearby streetlight. 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 chest height directly before 수리영, the static camera holds her motionless upper body in a severe centered portrait, with only limited nighttime exterior context around her shoulders. Her body occupies roughly two-thirds of the frame, and the unbroken eye-level axis makes her unfocused stare feel exposed rather than confrontational.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: rooftop-room exterior area (visible at night); used as Visible exterior context behind the isolated figure; streetlight (on) — Its lit side faces toward 수리영's position; used as Motivated illumination on 수리영's arrested expression.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Streetlight illumination holds 수리영's drained face against a low-key, desaturated nighttime background.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Until the later unexplained cleanup is revealed, Minsuk's immobile corpse remains seated behind the curtain inside, with the blood, bite wounds, red wrist mark, and red wall circle still present.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove the grey circular artifact from the subject's right ear.
- Scale up the subject so her upper body occupies roughly two-thirds of the frame.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 벤치에서 허리를 반쯤 일으켜 세운 채 결연하고 단호한 눈빛으로 혜수를 올려다보는 수리영의 자세.

LOCATION (lock): At the bench of a coastal bus stop at night, facing the sea. 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 seated eye height beside the bench, the final increment of the dolly-in settles below 수리영's eye line as she lifts her torso halfway from the seat. She occupies the left foreground while 혜수 remains on the right in the midground, leaving a clear upward diagonal between 수리영's resolved gaze and 혜수's face.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the lower-left of the frame, foreground, looks toward 혜수; 혜수 in the middle-right of the frame, midground, looks toward 수리영.
- KEY BACKGROUND ELEMENTS: bench (occupied by 수리영) — Its seat edge runs beneath 수리영 and toward the camera-side end used for the next pivot; used as Physical pivot and lower-frame anchor for 수리영's half-risen action; sea (visible from the bus-stop area); used as Distant setting context behind the pair.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambience and restrained color hold the exchange in solemn contrast without specifying an unestablished light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 벤치에서 허리를 반쯤 일으켜 세운 채 결연하고 단호한 눈빛으로 혜수를 올려다보는 수리영의 자세.

LOCATION (lock): At the bench of a coastal bus stop at night, facing the sea. 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 seated eye height beside the bench, the final increment of the dolly-in settles below 수리영's eye line as she lifts her torso halfway from the seat. She occupies the left foreground while 혜수 remains on the right in the midground, leaving a clear upward diagonal between 수리영's resolved gaze and 혜수's face.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the lower-left of the frame, foreground, looks toward 혜수; 혜수 in the middle-right of the frame, midground, looks toward 수리영.
- KEY BACKGROUND ELEMENTS: bench (occupied by 수리영) — Its seat edge runs beneath 수리영 and toward the camera-side end used for the next pivot; used as Physical pivot and lower-frame anchor for 수리영's half-risen action; sea (visible from the bus-stop area); used as Distant setting context behind the pair.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambience and restrained color hold the exchange in solemn contrast without specifying an unestablished light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 벤치에서 허리를 반쯤 일으켜 세운 채 결연하고 단호한 눈빛으로 혜수를 올려다보는 수리영의 자세.

LOCATION (lock): At the bench of a coastal bus stop at night, facing the sea. 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 seated eye height beside the bench, the final increment of the dolly-in settles below 수리영's eye line as she lifts her torso halfway from the seat. She occupies the left foreground while 혜수 remains on the right in the midground, leaving a clear upward diagonal between 수리영's resolved gaze and 혜수's face.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the lower-left of the frame, foreground, looks toward 혜수; 혜수 in the middle-right of the frame, midground, looks toward 수리영.
- KEY BACKGROUND ELEMENTS: bench (occupied by 수리영) — Its seat edge runs beneath 수리영 and toward the camera-side end used for the next pivot; used as Physical pivot and lower-frame anchor for 수리영's half-risen action; sea (visible from the bus-stop area); used as Distant setting context behind the pair.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambience and restrained color hold the exchange in solemn contrast without specifying an unestablished light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Change the wooden planks of the bench seat to run horizontally, parallel to the backrest, to match the location reference.
- Redraw Suri-young's left hand to clearly show individual fingers anatomically resting on the bench edge.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 모니터 화면의 푸른빛이 혜수의 굳은 뺨을 비추는 측면 구도.

LOCATION (lock): Inside the supermarket's administrative security office, beside the CCTV monitor whose blue screen light falls across the viewers. 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: Track laterally beside the workstation at seated eye level, then settle into a near-static close profile of 혜수 on the right, her cheek held between the camera and the monitor's blue cast. Keep a narrow oblique slice of the active monitor at the left edge so its unusually dark CCTV segment remains the source of her fixed attention.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: CCTV 모니터 (on and replaying the dark CCTV segment) — The active screen face is seen obliquely from the side, showing the exceptionally dark and unidentifiable portion of the footage; used as An oblique edge remains visible beside 혜수 and supplies the screen light across her cheek; 작업대 (in use for CCTV review) — Its near edge runs laterally beneath 혜수 and the monitor; used as Forms the lower spatial base beneath the close profile and marks the camera's tracking route.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The monitor's blue light grazes 혜수's rigid cheek within an otherwise desaturated, low-to-mid-key interior treatment.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains at the CCTV review with her doll-adorned backpack.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 모니터 화면의 푸른빛이 혜수의 굳은 뺨을 비추는 측면 구도.

LOCATION (lock): Inside the supermarket's administrative security office, beside the CCTV monitor whose blue screen light falls across the viewers. 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: Track laterally beside the workstation at seated eye level, then settle into a near-static close profile of 혜수 on the right, her cheek held between the camera and the monitor's blue cast. Keep a narrow oblique slice of the active monitor at the left edge so its unusually dark CCTV segment remains the source of her fixed attention.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: CCTV 모니터 (on and replaying the dark CCTV segment) — The active screen face is seen obliquely from the side, showing the exceptionally dark and unidentifiable portion of the footage; used as An oblique edge remains visible beside 혜수 and supplies the screen light across her cheek; 작업대 (in use for CCTV review) — Its near edge runs laterally beneath 혜수 and the monitor; used as Forms the lower spatial base beneath the close profile and marks the camera's tracking route.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The monitor's blue light grazes 혜수's rigid cheek within an otherwise desaturated, low-to-mid-key interior treatment.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains at the CCTV review with her doll-adorned backpack.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 모니터 화면의 푸른빛이 혜수의 굳은 뺨을 비추는 측면 구도.

LOCATION (lock): Inside the supermarket's administrative security office, beside the CCTV monitor whose blue screen light falls across the viewers. 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: Track laterally beside the workstation at seated eye level, then settle into a near-static close profile of 혜수 on the right, her cheek held between the camera and the monitor's blue cast. Keep a narrow oblique slice of the active monitor at the left edge so its unusually dark CCTV segment remains the source of her fixed attention.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: CCTV 모니터 (on and replaying the dark CCTV segment) — The active screen face is seen obliquely from the side, showing the exceptionally dark and unidentifiable portion of the footage; used as An oblique edge remains visible beside 혜수 and supplies the screen light across her cheek; 작업대 (in use for CCTV review) — Its near edge runs laterally beneath 혜수 and the monitor; used as Forms the lower spatial base beneath the close profile and marks the camera's tracking route.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The monitor's blue light grazes 혜수's rigid cheek within an otherwise desaturated, low-to-mid-key interior treatment.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains at the CCTV review with her doll-adorned backpack.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove all text and UI elements from the monitor screen.
- Adjust the monitor on the left so only a narrow, oblique slice of its screen is visible at the edge.
- Darken the CCTV footage on the monitor so the scene is exceptionally dark and unidentifiable.
- Reduce the monitor to a narrow oblique slice confined to the left edge while preserving Hyesu’s close profile on the right and her gaze toward the screen.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 해질 무렵의 어두컴컴한 옥탑방 거실, 열린 창문과 바닥에 나뒹구는 의자들 앞에 멈춰 선 수리영의 굳은 뒷모습.

LOCATION (lock): Inside the rooftop apartment's dark living room at dusk, facing an open window and overturned dining chairs. 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 near the living-room entrance at eye level, hold a static wide frame several paces behind 수리영. Her rigid back stays centered in the midground while the open window and overturned dining chairs remain fixed ahead, allowing the disturbed room to occupy most of the image.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 거실 창문 (열려 있음) — The room-facing frame and open aperture are visible ahead of 수리영; used as Creates the principal opening ahead of 수리영 and anchors the disrupted room layout; 식탁 의자들 (바닥에 쓰러져 있음) — Their sides and undersides are exposed at irregular angles toward the camera; used as Breaks the normal geometry of the living space around 수리영's path; 거실 바닥의 발자국 (누군가 다녀간 흔적으로 남아 있음) — The upward-facing floor surface carries visible footprints leading through the room; used as Leads from the entrance toward the disturbed interior; 헤집어진 가재도구 (집 안에 어질러져 있음); used as Provides environmental evidence of a search.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural ambient light appropriate to dusk is restrained and desaturated, with low-to-mid-key contrast holding 수리영 and the disturbed room in the same oppressive visual field.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains ransacked, with intruder footprints, an open living-room window, overturned dining chairs, and disturbed household objects. Suri-young still has her backpack containing the printed maps.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 해질 무렵의 어두컴컴한 옥탑방 거실, 열린 창문과 바닥에 나뒹구는 의자들 앞에 멈춰 선 수리영의 굳은 뒷모습.

LOCATION (lock): Inside the rooftop apartment's dark living room at dusk, facing an open window and overturned dining chairs. 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 near the living-room entrance at eye level, hold a static wide frame several paces behind 수리영. Her rigid back stays centered in the midground while the open window and overturned dining chairs remain fixed ahead, allowing the disturbed room to occupy most of the image.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 거실 창문 (열려 있음) — The room-facing frame and open aperture are visible ahead of 수리영; used as Creates the principal opening ahead of 수리영 and anchors the disrupted room layout; 식탁 의자들 (바닥에 쓰러져 있음) — Their sides and undersides are exposed at irregular angles toward the camera; used as Breaks the normal geometry of the living space around 수리영's path; 거실 바닥의 발자국 (누군가 다녀간 흔적으로 남아 있음) — The upward-facing floor surface carries visible footprints leading through the room; used as Leads from the entrance toward the disturbed interior; 헤집어진 가재도구 (집 안에 어질러져 있음); used as Provides environmental evidence of a search.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural ambient light appropriate to dusk is restrained and desaturated, with low-to-mid-key contrast holding 수리영 and the disturbed room in the same oppressive visual field.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains ransacked, with intruder footprints, an open living-room window, overturned dining chairs, and disturbed household objects. Suri-young still has her backpack containing the printed maps.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 해질 무렵의 어두컴컴한 옥탑방 거실, 열린 창문과 바닥에 나뒹구는 의자들 앞에 멈춰 선 수리영의 굳은 뒷모습.

LOCATION (lock): Inside the rooftop apartment's dark living room at dusk, facing an open window and overturned dining chairs. 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 near the living-room entrance at eye level, hold a static wide frame several paces behind 수리영. Her rigid back stays centered in the midground while the open window and overturned dining chairs remain fixed ahead, allowing the disturbed room to occupy most of the image.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 거실 창문 (열려 있음) — The room-facing frame and open aperture are visible ahead of 수리영; used as Creates the principal opening ahead of 수리영 and anchors the disrupted room layout; 식탁 의자들 (바닥에 쓰러져 있음) — Their sides and undersides are exposed at irregular angles toward the camera; used as Breaks the normal geometry of the living space around 수리영's path; 거실 바닥의 발자국 (누군가 다녀간 흔적으로 남아 있음) — The upward-facing floor surface carries visible footprints leading through the room; used as Leads from the entrance toward the disturbed interior; 헤집어진 가재도구 (집 안에 어질러져 있음); used as Provides environmental evidence of a search.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural ambient light appropriate to dusk is restrained and desaturated, with low-to-mid-key contrast holding 수리영 and the disturbed room in the same oppressive visual field.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains ransacked, with intruder footprints, an open living-room window, overturned dining chairs, and disturbed household objects. Suri-young still has her backpack containing the printed maps.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Restore the 90-degree corner from the reference, placing the window on the left wall and the kitchen counter on the perpendicular wall to the right.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 손에 들린 휴대전화 화면 위로 혜수의 부재중 전화 알림창이 떠 있는 클로즈업.

LOCATION (lock): On the rocks at the edge of an empty, fogbound harbor at dusk. 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: Complete the dolly-in beside 수리영 at hand height, isolating her raised hand and phone while her seated body falls mostly outside the frame. Keep the phone below forty percent of the image, centered with the missed-call notification legible, while portions of her hand and lap provide human scale around it.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: 휴대전화 화면 (부재중 전화 알림창이 떠 있음) — The active front face angles toward the camera and displays multiple missed calls from 혜수; used as Presents the missed calls as device-mediated information at the center of the insert; 빈 포구 (안개가 자욱하고 비가 그친 상태); used as Provides limited setting context beyond the hand without competing with the notification.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Diffuse dusk ambience filtered by the stated fog keeps the image muted and desaturated, with restrained contrast preserving the phone notification's readability.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has her phone, the backpack containing the printed maps, and the bloodstained old photograph; Hye-soo's repeated missed calls remain logged on the phone.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, foggy.

SHOT TEXT (authoritative, Korean): 수리영의 손에 들린 휴대전화 화면 위로 혜수의 부재중 전화 알림창이 떠 있는 클로즈업.

LOCATION (lock): On the rocks at the edge of an empty, fogbound harbor at dusk. 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: Complete the dolly-in beside 수리영 at hand height, isolating her raised hand and phone while her seated body falls mostly outside the frame. Keep the phone below forty percent of the image, centered with the missed-call notification legible, while portions of her hand and lap provide human scale around it.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: 휴대전화 화면 (부재중 전화 알림창이 떠 있음) — The active front face angles toward the camera and displays multiple missed calls from 혜수; used as Presents the missed calls as device-mediated information at the center of the insert; 빈 포구 (안개가 자욱하고 비가 그친 상태); used as Provides limited setting context beyond the hand without competing with the notification.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Diffuse dusk ambience filtered by the stated fog keeps the image muted and desaturated, with restrained contrast preserving the phone notification's readability.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has her phone, the backpack containing the printed maps, and the bloodstained old photograph; Hye-soo's repeated missed calls remain logged on the phone.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, foggy.

SHOT TEXT (authoritative, Korean): 수리영의 손에 들린 휴대전화 화면 위로 혜수의 부재중 전화 알림창이 떠 있는 클로즈업.

LOCATION (lock): On the rocks at the edge of an empty, fogbound harbor at dusk. 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: Complete the dolly-in beside 수리영 at hand height, isolating her raised hand and phone while her seated body falls mostly outside the frame. Keep the phone below forty percent of the image, centered with the missed-call notification legible, while portions of her hand and lap provide human scale around it.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: 휴대전화 화면 (부재중 전화 알림창이 떠 있음) — The active front face angles toward the camera and displays multiple missed calls from 혜수; used as Presents the missed calls as device-mediated information at the center of the insert; 빈 포구 (안개가 자욱하고 비가 그친 상태); used as Provides limited setting context beyond the hand without competing with the notification.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Diffuse dusk ambience filtered by the stated fog keeps the image muted and desaturated, with restrained contrast preserving the phone notification's readability.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has her phone, the backpack containing the printed maps, and the bloodstained old photograph; Hye-soo's repeated missed calls remain logged on the phone.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove the falling rain streaks to show that the rain has stopped.
- Lower the hood to fully reveal the character's long black hair matching the reference.
- Reframe laterally so the phone is centered in the image while preserving its current angle, scale, and depth.
- Crop the seated figure more tightly out of the right side, leaving only the hand and limited lap portions around the phone.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 손가락 끝이 낡은 흑백 사진을 쥔 채 인우의 눈앞으로 뻗어 있는 클로즈업.

LOCATION (lock): On the open deck of an aging small fishing boat at sea, beside the wheelhouse. 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 인우's face height and within arm's length, place the lens just beside 수리영's extended forearm so her fingertips and the old photograph sit sharp in the center foreground while 인우's eyes remain close behind them. End the dolly-in before the shallow arc begins, using the arm as a diagonal that pins his recoiling attention to the photograph.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 낡은 흑백 사진 (Old black-and-white photograph) — The printed front face is visible at a slight angle, with 수리영's fingertips gripping its edge; used as Central foreground focal surface held directly before 인우's eyes; 갑판 (On a small fishing boat at sea); used as Provides limited environmental context behind 인우 without distracting from his eyes.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained dusk ambience gives the photograph and faces a desaturated, low-to-mid-key naturalism.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still carries her backpack of printed maps and holds the old photograph removed from the red wall circle, now extending it toward In-woo.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

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 — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 수리영의 손가락 끝이 낡은 흑백 사진을 쥔 채 인우의 눈앞으로 뻗어 있는 클로즈업.

LOCATION (lock): On the open deck of an aging small fishing boat at sea, beside the wheelhouse. 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 인우's face height and within arm's length, place the lens just beside 수리영's extended forearm so her fingertips and the old photograph sit sharp in the center foreground while 인우's eyes remain close behind them. End the dolly-in before the shallow arc begins, using the arm as a diagonal that pins his recoiling attention to the photograph.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 낡은 흑백 사진 (Old black-and-white photograph) — The printed front face is visible at a slight angle, with 수리영's fingertips gripping its edge; used as Central foreground focal surface held directly before 인우's eyes; 갑판 (On a small fishing boat at sea); used as Provides limited environmental context behind 인우 without distracting from his eyes.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained dusk ambience gives the photograph and faces a desaturated, low-to-mid-key naturalism.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still carries her backpack of printed maps and holds the old photograph removed from the red wall circle, now extending it toward In-woo.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 수리영의 손가락 끝이 낡은 흑백 사진을 쥔 채 인우의 눈앞으로 뻗어 있는 클로즈업.

LOCATION (lock): On the open deck of an aging small fishing boat at sea, beside the wheelhouse. 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 인우's face height and within arm's length, place the lens just beside 수리영's extended forearm so her fingertips and the old photograph sit sharp in the center foreground while 인우's eyes remain close behind them. End the dolly-in before the shallow arc begins, using the arm as a diagonal that pins his recoiling attention to the photograph.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 낡은 흑백 사진 (Old black-and-white photograph) — The printed front face is visible at a slight angle, with 수리영's fingertips gripping its edge; used as Central foreground focal surface held directly before 인우's eyes; 갑판 (On a small fishing boat at sea); used as Provides limited environmental context behind 인우 without distracting from his eyes.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained dusk ambience gives the photograph and faces a desaturated, low-to-mid-key naturalism.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still carries her backpack of printed maps and holds the old photograph removed from the red wall circle, now extending it toward In-woo.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Render the hand holding the photograph as a smooth, slender young woman's hand with anatomically correct fingers gripping the edge.
- Dolly in to a tight close-up that fills the frame with the centered photograph, fingertips, and In-woo’s eyes immediately behind them, leaving only minimal boat context.
- Reposition the camera just beside the extended forearm so the arm recedes diagonally into the centered photograph rather than crossing the frame almost horizontally.
- Redirect In-woo’s gaze onto the photograph directly in front of his eyes while preserving his recoiling posture.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 정체불명의 남자가 바닥에 쓰러진 숲속에서 살해된 남자의 몸을 체중을 실어 강하게 짓누르고 있는 모습.

LOCATION (lock): On the forest floor amid dense undergrowth at dusk, where the fleeing victim has been brought down. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Dolly in near ground level from beside the fallen bodies, looking diagonally across the unidentified man's lower body toward the victim pinned beneath him. Hold a medium composition in which the attacker's planted legs occupy the lower-left foreground and the victim's compressed torso and face remain readable in the middle-right, emphasizing their unequal vertical weight.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 정체불명의 남자 in the middle-left of the frame, foreground; 숲속에서 살해된 남자 in the middle-right of the frame, midground.
- KEY BACKGROUND ELEMENTS: 우거진 수풀 (Dense around the fallen pair); used as Vegetation hems in the bodies and partially breaks the frame edges; 숲 바닥 (Supporting both fallen bodies); used as The ground establishes the low impact plane against which the victim is pinned.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Fading dusk light remains desaturated and low-to-mid-key, keeping the violence grounded rather than stylized.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The pinned man remains one-shoed, with the large bite wound on his thigh still bleeding.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 숲속에서 살해된 남자 (한국인 남성, 성인, 짧은 검은 머리, 평범한 남성 얼굴); 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 정체불명의 남자가 바닥에 쓰러진 숲속에서 살해된 남자의 몸을 체중을 실어 강하게 짓누르고 있는 모습.

LOCATION (lock): On the forest floor amid dense undergrowth at dusk, where the fleeing victim has been brought down. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Dolly in near ground level from beside the fallen bodies, looking diagonally across the unidentified man's lower body toward the victim pinned beneath him. Hold a medium composition in which the attacker's planted legs occupy the lower-left foreground and the victim's compressed torso and face remain readable in the middle-right, emphasizing their unequal vertical weight.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 정체불명의 남자 in the middle-left of the frame, foreground; 숲속에서 살해된 남자 in the middle-right of the frame, midground.
- KEY BACKGROUND ELEMENTS: 우거진 수풀 (Dense around the fallen pair); used as Vegetation hems in the bodies and partially breaks the frame edges; 숲 바닥 (Supporting both fallen bodies); used as The ground establishes the low impact plane against which the victim is pinned.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Fading dusk light remains desaturated and low-to-mid-key, keeping the violence grounded rather than stylized.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The pinned man remains one-shoed, with the large bite wound on his thigh still bleeding.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 숲속에서 살해된 남자 (한국인 남성, 성인, 짧은 검은 머리, 평범한 남성 얼굴); 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a close, wide-angle lens feel at the prescribed near-ground endpoint, making the planted legs loom with tangible weight in the lower-left while the diagonal plane leads sharply to the compressed torso and readable face at middle-right. Keep the face and primary point of bodily pressure crisp, with foreground fabric and edge vegetation falling into restrained softness. Let fading dusk skim laterally across skin, creased clothing, and disturbed ground, with subdued color and dense natural shadow.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 정체불명의 남자가 바닥에 쓰러진 숲속에서 살해된 남자의 몸을 체중을 실어 강하게 짓누르고 있는 모습.

LOCATION (lock): On the forest floor amid dense undergrowth at dusk, where the fleeing victim has been brought down. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Dolly in near ground level from beside the fallen bodies, looking diagonally across the unidentified man's lower body toward the victim pinned beneath him. Hold a medium composition in which the attacker's planted legs occupy the lower-left foreground and the victim's compressed torso and face remain readable in the middle-right, emphasizing their unequal vertical weight.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 정체불명의 남자 in the middle-left of the frame, foreground; 숲속에서 살해된 남자 in the middle-right of the frame, midground.
- KEY BACKGROUND ELEMENTS: 우거진 수풀 (Dense around the fallen pair); used as Vegetation hems in the bodies and partially breaks the frame edges; 숲 바닥 (Supporting both fallen bodies); used as The ground establishes the low impact plane against which the victim is pinned.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Fading dusk light remains desaturated and low-to-mid-key, keeping the violence grounded rather than stylized.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The pinned man remains one-shoed, with the large bite wound on his thigh still bleeding.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 숲속에서 살해된 남자 (한국인 남성, 성인, 짧은 검은 머리, 평범한 남성 얼굴); 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained longer-lens feel while preserving the exact low medium composition, compressing the foreground legs, pinned body, forest floor, and enclosing undergrowth into a tight, oppressive stack of planes. Hold broader depth of field so the attacker's weight-bearing posture and the victim's compressed face register simultaneously, with vegetation clearly hemming the frame rather than dissolving away. Render the dusk as flat, cool, and diffuse beneath the foliage, emphasizing physical contact, fabric tension, and the unforgiving ground without theatrical highlights.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Move the bloody wound on the victim's leg up from the shin to the thigh.
- Remove the shoe from one of the victim's feet so he is visibly one-shoed.
- Lower the camera to near forest-floor level beside the bodies and aim diagonally across the attacker's planted legs toward the pinned victim, preserving all staging.
- Dolly in to a tighter medium framing while keeping the attacker middle-left foreground and the victim's compressed torso and face middle-right midground.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 정체불명의 남자의 이빨이 뒷골목에서 살해된 여자의 목덜미 피부에 박힌 채 멈춰있는 측면.

LOCATION (lock): At the utility pole in the dimly lit city back alley at night. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At neck height and perpendicular to the woman's neck, arrest the lateral track at its closest point so the man's jaw and embedded teeth remain locked in profile. The contact occupies the central portion of the close frame without losing the contour of the woman's shoulder or the man's cheek, while the utility pole recedes as a narrow blurred reference behind them.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 전봇대 (Behind the woman's shoulder) — Only its side edge facing the lateral camera position remains visible; used as A narrow out-of-focus vertical section preserves the pair's position against the pole; 목덜미 피부 (Teeth embedded in it); used as The woman's neck is the contact plane held perpendicular to camera.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The faint streetlight maintains low-key, desaturated contrast, with the explicitly red eye detail held as a selective deep-red accent if it enters the edge of frame.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same dimly lit alley, streetlamp glow, utility pole, and nighttime surfaces. Preserve the woman's position against the pole and the man's close proximity and clothing. Exclude the earlier full-body framing and any street area outside this tight neck-bite composition.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The woman's neck remains caught in the man's teeth and bears the resulting torn bite injury as she loses her strength.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 뒷골목에서 살해된 여자 (한국인 여성, 성인, 자연스러운 검은 머리, 평범한 여성 얼굴); 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 정체불명의 남자의 이빨이 뒷골목에서 살해된 여자의 목덜미 피부에 박힌 채 멈춰있는 측면.

LOCATION (lock): At the utility pole in the dimly lit city back alley at night. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At neck height and perpendicular to the woman's neck, arrest the lateral track at its closest point so the man's jaw and embedded teeth remain locked in profile. The contact occupies the central portion of the close frame without losing the contour of the woman's shoulder or the man's cheek, while the utility pole recedes as a narrow blurred reference behind them.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 전봇대 (Behind the woman's shoulder) — Only its side edge facing the lateral camera position remains visible; used as A narrow out-of-focus vertical section preserves the pair's position against the pole; 목덜미 피부 (Teeth embedded in it); used as The woman's neck is the contact plane held perpendicular to camera.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The faint streetlight maintains low-key, desaturated contrast, with the explicitly red eye detail held as a selective deep-red accent if it enters the edge of frame.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same dimly lit alley, streetlamp glow, utility pole, and nighttime surfaces. Preserve the woman's position against the pole and the man's close proximity and clothing. Exclude the earlier full-body framing and any street area outside this tight neck-bite composition.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The woman's neck remains caught in the man's teeth and bears the resulting torn bite injury as she loses her strength.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 뒷골목에서 살해된 여자 (한국인 여성, 성인, 자연스러운 검은 머리, 평범한 여성 얼굴); 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a clinically precise, shallow-focus close-up that makes the frozen contact plane the sharpest point in the image. Resolve the pressure of the jaw, embedded teeth, torn skin, and minute surface texture with restrained realism, while the cheek and shoulder contours soften gradually and the utility pole falls into a narrow, indistinct vertical blur. Let the faint streetlight rake laterally across the skin and fabric, creating controlled highlights within dense, desaturated shadow.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 정체불명의 남자의 이빨이 뒷골목에서 살해된 여자의 목덜미 피부에 박힌 채 멈춰있는 측면.

LOCATION (lock): At the utility pole in the dimly lit city back alley at night. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At neck height and perpendicular to the woman's neck, arrest the lateral track at its closest point so the man's jaw and embedded teeth remain locked in profile. The contact occupies the central portion of the close frame without losing the contour of the woman's shoulder or the man's cheek, while the utility pole recedes as a narrow blurred reference behind them.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 전봇대 (Behind the woman's shoulder) — Only its side edge facing the lateral camera position remains visible; used as A narrow out-of-focus vertical section preserves the pair's position against the pole; 목덜미 피부 (Teeth embedded in it); used as The woman's neck is the contact plane held perpendicular to camera.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The faint streetlight maintains low-key, desaturated contrast, with the explicitly red eye detail held as a selective deep-red accent if it enters the edge of frame.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same dimly lit alley, streetlamp glow, utility pole, and nighttime surfaces. Preserve the woman's position against the pole and the man's close proximity and clothing. Exclude the earlier full-body framing and any street area outside this tight neck-bite composition.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The woman's neck remains caught in the man's teeth and bears the resulting torn bite injury as she loses her strength.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 뒷골목에서 살해된 여자 (한국인 여성, 성인, 자연스러운 검은 머리, 평범한 여성 얼굴); 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Shape the close-up as a compressed stack of dark profile planes, with the man’s cheek and the woman’s shoulder enclosing the central bite contact and making the frame feel airless. Hold slightly broader focus across both human contours while keeping the receding utility pole softly recognizable, preserving tactile depth rather than isolating a single detail. Use the weak streetlight as a narrow edge source, allowing most facial and clothing surfaces to sink into low-key, desaturated shadow while a restrained glint defines the locked teeth and damaged skin.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Close the gap to physically embed the man's teeth directly into the flesh of the woman's neck.
- Move the man’s head forward and slightly toward the woman’s neck so his teeth are visibly embedded in the neck wound at the center of the frame, while preserving the same profile camera angle and tight framing.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영이 민숙(강민숙)의 어깨 쪽에 코를 댄 채 눈을 감은 측면.

LOCATION (lock): In the interior entryway of the rooftop apartment, beside the spot where shoes are put on. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From shoulder height beside the entrance, hold a tightened lateral two-shot that keeps both women in opposing profiles. 수리영's closed eyes and nose-to-shoulder contact sit just left of center while 강민숙's shoulder and softly turned face occupy the right, leaving their lower bodies outside the close frame.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-left of the frame, foreground; 강민숙 in the middle-right of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 현관 (Location of their farewell interaction); used as The entrance area provides a subdued spatial boundary behind the shoulder-level contact.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Interior ambient light and the sunlight already established through the small window are kept soft, restrained, and desaturated around the intimate contact.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The small circular mark remains on Minsuk's wrist while Suri-young leans in toward her shoulder.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 강민숙 (한국인 여성, 40대 초반, 자연스러운 검은 머리, 부드러운 중년 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 수리영이 민숙(강민숙)의 어깨 쪽에 코를 댄 채 눈을 감은 측면.

LOCATION (lock): In the interior entryway of the rooftop apartment, beside the spot where shoes are put on. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From shoulder height beside the entrance, hold a tightened lateral two-shot that keeps both women in opposing profiles. 수리영's closed eyes and nose-to-shoulder contact sit just left of center while 강민숙's shoulder and softly turned face occupy the right, leaving their lower bodies outside the close frame.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-left of the frame, foreground; 강민숙 in the middle-right of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 현관 (Location of their farewell interaction); used as The entrance area provides a subdued spatial boundary behind the shoulder-level contact.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Interior ambient light and the sunlight already established through the small window are kept soft, restrained, and desaturated around the intimate contact.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The small circular mark remains on Minsuk's wrist while Suri-young leans in toward her shoulder.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 강민숙 (한국인 여성, 40대 초반, 자연스러운 검은 머리, 부드러운 중년 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use an intimate, gently compressed lens feel with very shallow depth of field, placing precise focus on Suri-young’s closed lashes and the point where her nose meets Minsuk’s shoulder. Let Minsuk’s turned profile fall into delicate softness while remaining clearly readable, and reduce the entrance behind them to muted tonal layers. Shape the soft window light across skin, hair, and creased fabric with restrained contrast, making the contact feel tactile, private, and suspended.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 수리영이 민숙(강민숙)의 어깨 쪽에 코를 댄 채 눈을 감은 측면.

LOCATION (lock): In the interior entryway of the rooftop apartment, beside the spot where shoes are put on. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From shoulder height beside the entrance, hold a tightened lateral two-shot that keeps both women in opposing profiles. 수리영's closed eyes and nose-to-shoulder contact sit just left of center while 강민숙's shoulder and softly turned face occupy the right, leaving their lower bodies outside the close frame.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-left of the frame, foreground; 강민숙 in the middle-right of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 현관 (Location of their farewell interaction); used as The entrance area provides a subdued spatial boundary behind the shoulder-level contact.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Interior ambient light and the sunlight already established through the small window are kept soft, restrained, and desaturated around the intimate contact.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The small circular mark remains on Minsuk's wrist while Suri-young leans in toward her shoulder.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 강민숙 (한국인 여성, 40대 초반, 자연스러운 검은 머리, 부드러운 중년 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the opposing profiles with a more neutral lens feel and moderately deep focus, holding both faces and the shoulder contact with comparable clarity. Organize the entrance’s existing lines and subdued surfaces as a firm planar boundary behind them, creating quiet visual pressure around the farewell. Keep the daylight broad and even with restrained color, subtle shadow separation, and an unsentimental observational stillness.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Replace the plain hallway and shoe rack in the background with the floral wallpaper and kitchen counter established in the previous shot still.
- Change Suri-young's dark grey hoodie to the light grey t-shirt she wears in the previous shot still.
- Dress Minsuk in the green cap and beige t-shirt exactly as shown in her character reference.
- Reframe slightly to the right so the nose-to-shoulder contact falls just left of frame center while keeping Suri-young middle-left and Minsuk middle-right at the same close-up scale.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 작은 원형 표식이 선명하게 드러난 민숙(강민숙)의 손목 클로즈업.

LOCATION (lock): In the rooftop apartment's interior entryway, near the door where the daughter is preparing to leave. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Finish the downward tilt very close beside 강민숙 at wrist height, perpendicular to the exposed side of her wrist, then lock the frame. Center the small circular mark within the wrist detail while retaining a slim margin of forearm and the softly indistinct entrance area so the mark remains naturally scaled.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: 강민숙의 손목 (Small circular mark clearly visible) — The marked side is perpendicular to and fully visible from the camera position; used as The visible wrist surface provides the physical plane for the revealed mark; 작은 원형 표식 (Unusually distinct today); used as The mark is held at the locked focal center of the insert; 현관 (Out of focus behind the wrist); used as The entrance remains only as soft peripheral context after the tilt.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Established interior ambient light reveals the circular mark clearly while maintaining restrained saturation and grounded contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's long-standing circular wrist mark is unusually distinct today.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 강민숙 (한국인 여성, 40대 초반, 자연스러운 검은 머리, 부드러운 중년 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 작은 원형 표식이 선명하게 드러난 민숙(강민숙)의 손목 클로즈업.

LOCATION (lock): In the rooftop apartment's interior entryway, near the door where the daughter is preparing to leave. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Finish the downward tilt very close beside 강민숙 at wrist height, perpendicular to the exposed side of her wrist, then lock the frame. Center the small circular mark within the wrist detail while retaining a slim margin of forearm and the softly indistinct entrance area so the mark remains naturally scaled.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: 강민숙의 손목 (Small circular mark clearly visible) — The marked side is perpendicular to and fully visible from the camera position; used as The visible wrist surface provides the physical plane for the revealed mark; 작은 원형 표식 (Unusually distinct today); used as The mark is held at the locked focal center of the insert; 현관 (Out of focus behind the wrist); used as The entrance remains only as soft peripheral context after the tilt.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Established interior ambient light reveals the circular mark clearly while maintaining restrained saturation and grounded contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's long-standing circular wrist mark is unusually distinct today.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 강민숙 (한국인 여성, 40대 초반, 자연스러운 검은 머리, 부드러운 중년 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a compressed, observational macro feel that renders the wrist plane nearly flat and undistorted. Hold precise focus across the mark and adjacent skin texture, letting the entrance dissolve into a smooth, unobtrusive blur. Keep exposure neutral and restrained, with clean local contrast making the mark feel discovered rather than dramatized.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 작은 원형 표식이 선명하게 드러난 민숙(강민숙)의 손목 클로즈업.

LOCATION (lock): In the rooftop apartment's interior entryway, near the door where the daughter is preparing to leave. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Finish the downward tilt very close beside 강민숙 at wrist height, perpendicular to the exposed side of her wrist, then lock the frame. Center the small circular mark within the wrist detail while retaining a slim margin of forearm and the softly indistinct entrance area so the mark remains naturally scaled.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: 강민숙의 손목 (Small circular mark clearly visible) — The marked side is perpendicular to and fully visible from the camera position; used as The visible wrist surface provides the physical plane for the revealed mark; 작은 원형 표식 (Unusually distinct today); used as The mark is held at the locked focal center of the insert; 현관 (Out of focus behind the wrist); used as The entrance remains only as soft peripheral context after the tilt.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Established interior ambient light reveals the circular mark clearly while maintaining restrained saturation and grounded contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's long-standing circular wrist mark is unusually distinct today.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 강민숙 (한국인 여성, 40대 초반, 자연스러운 검은 머리, 부드러운 중년 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use an intimate close-focus perspective with gentle dimensionality along the wrist’s natural curvature. Let the established ambient light skim subtly across the skin, revealing pores, fine tonal shifts, and the mark’s physical integration with the surface; allow focus to fall away delicately beyond the locked center. Preserve soft entrance shapes as faint spatial context, creating a quiet, bodily sense of unease.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Reposition the wrist to match the exact bent-arm pose established in the previous shot.
- Reframe slightly to the left so the circular wrist mark sits exactly at the center of the frame, preserving the same close-up scale and background context.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 꼬리를 내리고 바닥에 얌전히 엎드린 로트와일러의 전신.

LOCATION (lock): Inside a dog enclosure within the animal shelter. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the dolly backward from near the dog's head at body height, settling into a low frontal wide composition that contains its entire body. Keep the 로트와일러 centered in the lower-middle frame with visible space around its tucked tail and lowered posture, preparing the camera to rise and leave it behind.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: shelter floor (Visible beneath the dog); used as Provides the ground plane that makes the dog's complete submissive posture legible.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daytime ambient light preserves a restrained, desaturated palette and grounded contrast without glamorizing the animal's submission.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The Rottweiler's aggression has subsided under Suri-young's gaze, leaving it docile for the injection.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 꼬리를 내리고 바닥에 얌전히 엎드린 로트와일러의 전신.

LOCATION (lock): Inside a dog enclosure within the animal shelter. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the dolly backward from near the dog's head at body height, settling into a low frontal wide composition that contains its entire body. Keep the 로트와일러 centered in the lower-middle frame with visible space around its tucked tail and lowered posture, preparing the camera to rise and leave it behind.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: shelter floor (Visible beneath the dog); used as Provides the ground plane that makes the dog's complete submissive posture legible.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daytime ambient light preserves a restrained, desaturated palette and grounded contrast without glamorizing the animal's submission.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The Rottweiler's aggression has subsided under Suri-young's gaze, leaving it docile for the injection.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, low frontal wide view with a natural, minimally distorted lens feel. Hold the Rottweiler precisely centered in the lower-middle frame, its entire body and tucked tail clearly separated against the shelter floor, while deep focus preserves the enclosure’s physical depth and worn surfaces. Keep the daytime ambient light broad and unsentimental, with muted color and firm but natural tonal separation.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 꼬리를 내리고 바닥에 얌전히 엎드린 로트와일러의 전신.

LOCATION (lock): Inside a dog enclosure within the animal shelter. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the dolly backward from near the dog's head at body height, settling into a low frontal wide composition that contains its entire body. Keep the 로트와일러 centered in the lower-middle frame with visible space around its tucked tail and lowered posture, preparing the camera to rise and leave it behind.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: shelter floor (Visible beneath the dog); used as Provides the ground plane that makes the dog's complete submissive posture legible.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daytime ambient light preserves a restrained, desaturated palette and grounded contrast without glamorizing the animal's submission.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The Rottweiler's aggression has subsided under Suri-young's gaze, leaving it docile for the injection.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph from the same low frontal position with a more expansive wide-angle sense of floor depth, letting the ground plane lead toward the Rottweiler while maintaining ample clear space around its complete body and tucked tail. Keep the dog crisply resolved as the enclosure recedes with gentle focus falloff, emphasizing how low and still its posture has become. Shape the available daytime ambient light softly across its coat and the floor, retaining desaturated color and grounded contrast.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Angle the dog's body slightly so its entire length, hindquarters, and tucked tail are clearly visible against the floor.
- Remove the illegible text signs from the wall below the background windows.
- Shift the low camera slightly off the dog's head-on axis while keeping a frontal wide view, so the entire body and tucked tail are visibly separated against the floor, with the dog still centered in the lower-middle frame.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영이 휴대전화를 귀에 댄 채 입술을 굳게 다문 표정.

LOCATION (lock): In the animal shelter's work area beside the dog enclosures. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Dolly in at 수리영's eye height from the inherited medium position and settle into a close three-quarter frontal view as the phone reaches her ear. Place her face slightly off-center with the phone along the near edge of the frame, holding on her pressed lips while the occupied dog enclosures remain soft and peripheral.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: confined-dog enclosures (Occupied by confined dogs) — Their front sides recede behind 수리영; used as Soft background context behind her listening face.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daytime ambient light is held in restrained saturation and low-to-mid-key contrast, emphasizing her tightening expression.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has her mobile phone with her and is using it to call Minsuk, who remains unreachable.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 수리영이 휴대전화를 귀에 댄 채 입술을 굳게 다문 표정.

LOCATION (lock): In the animal shelter's work area beside the dog enclosures. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Dolly in at 수리영's eye height from the inherited medium position and settle into a close three-quarter frontal view as the phone reaches her ear. Place her face slightly off-center with the phone along the near edge of the frame, holding on her pressed lips while the occupied dog enclosures remain soft and peripheral.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: confined-dog enclosures (Occupied by confined dogs) — Their front sides recede behind 수리영; used as Soft background context behind her listening face.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daytime ambient light is held in restrained saturation and low-to-mid-key contrast, emphasizing her tightening expression.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has her mobile phone with her and is using it to call Minsuk, who remains unreachable.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use an intimate, shallow-focus close-up with a natural perspective, settling at her eye height in the required three-quarter frontal view. Let soft daytime ambient light skim across her face, preserving restrained color and gentle shadow while giving strongest visual emphasis to the compressed line of her lips; keep the phone crisp along the near frame edge and let the receding occupied enclosures dissolve into muted peripheral softness.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 수리영이 휴대전화를 귀에 댄 채 입술을 굳게 다문 표정.

LOCATION (lock): In the animal shelter's work area beside the dog enclosures. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Dolly in at 수리영's eye height from the inherited medium position and settle into a close three-quarter frontal view as the phone reaches her ear. Place her face slightly off-center with the phone along the near edge of the frame, holding on her pressed lips while the occupied dog enclosures remain soft and peripheral.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: confined-dog enclosures (Occupied by confined dogs) — Their front sides recede behind 수리영; used as Soft background context behind her listening face.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daytime ambient light is held in restrained saturation and low-to-mid-key contrast, emphasizing her tightening expression.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has her mobile phone with her and is using it to call Minsuk, who remains unreachable.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Build the close-up around the diagonal recession of the enclosure fronts, using their soft repeating structure to pull depth away behind her off-center face. Hold the eye-height three-quarter frontal angle with a slightly compressed spatial feel: her pressed lips and listening expression remain dominant, the phone anchors the near edge, and subdued directional daylight creates low-to-mid-key modeling while the occupied enclosures linger as recognizable but unfocused context.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Flip the mobile phone so the screen faces her head and the back panel faces outward.
- Reframe so the phone sits along the near left edge of the frame while preserving the eye-level close-up, three-quarter frontal angle, and her slightly off-center face.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 옥탑방 유리창 안쪽으로 민숙(강민숙)의 위를 덮친 정체불명의 남자의 거대한 실루엣이 비친 정지 상태.

LOCATION (lock): Outside the rooftop apartment window at night, looking at silhouettes visible through the glass. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Stop the lateral track close to the window at chest height and hold on its angled reflective plane as a static tableau. Within the reflection, 정체불명의 남자 forms the larger upper silhouette bent over 강민숙, while her compressed figure remains beneath him in the lower portion of the window; neither face is resolved.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 정체불명의 남자 reflected silhouette in the upper-center of the frame, midground; 강민숙 reflected figure in the lower-center of the frame, midground; window reflective plane in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: rooftop-room window (Intact and reflecting the attack silhouettes) — Its angled surface reflects the oversized silhouette of 정체불명의 남자 over 강민숙 inside the room; used as The sole visual plane carrying the reflected attack tableau.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambient light reduces both reflected figures to oppressive, desaturated silhouettes with controlled contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop-room door has been forced open, and Minsuk still bears her small circular wrist mark as the intruder attacks and bites her shoulder.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴); 강민숙 (한국인 여성, 40대 초반, 자연스러운 검은 머리, 부드러운 중년 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 옥탑방 유리창 안쪽으로 민숙(강민숙)의 위를 덮친 정체불명의 남자의 거대한 실루엣이 비친 정지 상태.

LOCATION (lock): Outside the rooftop apartment window at night, looking at silhouettes visible through the glass. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Stop the lateral track close to the window at chest height and hold on its angled reflective plane as a static tableau. Within the reflection, 정체불명의 남자 forms the larger upper silhouette bent over 강민숙, while her compressed figure remains beneath him in the lower portion of the window; neither face is resolved.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 정체불명의 남자 reflected silhouette in the upper-center of the frame, midground; 강민숙 reflected figure in the lower-center of the frame, midground; window reflective plane in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: rooftop-room window (Intact and reflecting the attack silhouettes) — Its angled surface reflects the oversized silhouette of 정체불명의 남자 over 강민숙 inside the room; used as The sole visual plane carrying the reflected attack tableau.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambient light reduces both reflected figures to oppressive, desaturated silhouettes with controlled contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop-room door has been forced open, and Minsuk still bears her small circular wrist mark as the intruder attacks and bites her shoulder.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴); 강민숙 (한국인 여성, 40대 초반, 자연스러운 검은 머리, 부드러운 중년 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a compressed telephoto feel, holding the reflective glass nearly flat against the frame so the tableau feels trapped within its surface. Keep the larger upper figure dense and weighty above the compressed lower figure, with recognizable human posture and clothing contours but no resolved faces. Let soft nighttime ambience skim the glass at an oblique angle, preserving restrained reflections, deep desaturated blacks, and subtle material texture without revealing the room directly.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 옥탑방 유리창 안쪽으로 민숙(강민숙)의 위를 덮친 정체불명의 남자의 거대한 실루엣이 비친 정지 상태.

LOCATION (lock): Outside the rooftop apartment window at night, looking at silhouettes visible through the glass. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Stop the lateral track close to the window at chest height and hold on its angled reflective plane as a static tableau. Within the reflection, 정체불명의 남자 forms the larger upper silhouette bent over 강민숙, while her compressed figure remains beneath him in the lower portion of the window; neither face is resolved.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 정체불명의 남자 reflected silhouette in the upper-center of the frame, midground; 강민숙 reflected figure in the lower-center of the frame, midground; window reflective plane in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: rooftop-room window (Intact and reflecting the attack silhouettes) — Its angled surface reflects the oversized silhouette of 정체불명의 남자 over 강민숙 inside the room; used as The sole visual plane carrying the reflected attack tableau.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambient light reduces both reflected figures to oppressive, desaturated silhouettes with controlled contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop-room door has been forced open, and Minsuk still bears her small circular wrist mark as the intruder attacks and bites her shoulder.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 정체불명의 남자 (한국인 남성, 성인, 검은 머리, 평범한 남성 얼굴); 강민숙 (한국인 여성, 40대 초반, 자연스러운 검은 머리, 부드러운 중년 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained wide-angle perspective from chest height, emphasizing the angled geometry and physical depth of the reflective pane while maintaining the prescribed medium scale and placements. Compose the upper silhouette as a looming diagonal pressure over the lower figure, with slight perspective tension across the glass rather than optical compression. Shape the low-key night light as a faint lateral gradient across the pane, allowing small shifts in reflectivity and surface wear to make the frozen human forms feel disturbingly real.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Render the window glass completely intact, removing the large diagonal break and missing piece on the left side.
- Render both figures as images reflected on the angled glass plane rather than as silhouettes seen directly through it, preserving their current scale and placement.
- Lower and angle the man's head until his mouth contacts Minsuk's shoulder while keeping him looming above her in the upper-center.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 시점, 반쯤 열린 채 내부의 캄캄한 어둠을 드러낸 옥탑방 현관 철문.

LOCATION (lock): At the top of the exterior rooftop stairs, facing the half-open metal entrance door and the darkness beyond it. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From 수리영's exact eye line at rooftop height, the camera faces the rooftop-room entrance directly as the restrained dolly-in reaches its endpoint. The half-open iron door sits near the center and occupies less than two-fifths of the frame, with the visible interior gap held as the deepest point while the surrounding entrance provides scale.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: half-open rooftop-room entrance in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: rooftop-room iron entrance door (half-open) — Its exterior-facing side is visible at an oblique opening angle, exposing part of the entrance beyond; used as Central architectural frame around the dark interior gap; rooftop-room interior (dark); used as Deep focal void visible through the doorway.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambience keeps the palette restrained while preserving the doorway and its dark interior as distinct tonal planes.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The forced rooftop-room entrance remains half open, exposing the dark interior; Suri-young's bicycle stays parked below in the courtyard.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 시점, 반쯤 열린 채 내부의 캄캄한 어둠을 드러낸 옥탑방 현관 철문.

LOCATION (lock): At the top of the exterior rooftop stairs, facing the half-open metal entrance door and the darkness beyond it. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From 수리영's exact eye line at rooftop height, the camera faces the rooftop-room entrance directly as the restrained dolly-in reaches its endpoint. The half-open iron door sits near the center and occupies less than two-fifths of the frame, with the visible interior gap held as the deepest point while the surrounding entrance provides scale.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: half-open rooftop-room entrance in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: rooftop-room iron entrance door (half-open) — Its exterior-facing side is visible at an oblique opening angle, exposing part of the entrance beyond; used as Central architectural frame around the dark interior gap; rooftop-room interior (dark); used as Deep focal void visible through the doorway.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambience keeps the palette restrained while preserving the doorway and its dark interior as distinct tonal planes.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The forced rooftop-room entrance remains half open, exposing the dark interior; Suri-young's bicycle stays parked below in the courtyard.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Hold a disciplined eye-level wide view with near-symmetrical architectural geometry, keeping the half-open iron door small and centered within the surrounding entrance. Use deep focus and restrained nighttime exposure so the worn metal, threshold, and adjacent surfaces remain physically legible while the interior gap falls into a dense, clearly bounded black void. Let subtle tonal separation rather than dramatic highlights pull the eye inward.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 수리영의 시점, 반쯤 열린 채 내부의 캄캄한 어둠을 드러낸 옥탑방 현관 철문.

LOCATION (lock): At the top of the exterior rooftop stairs, facing the half-open metal entrance door and the darkness beyond it. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From 수리영's exact eye line at rooftop height, the camera faces the rooftop-room entrance directly as the restrained dolly-in reaches its endpoint. The half-open iron door sits near the center and occupies less than two-fifths of the frame, with the visible interior gap held as the deepest point while the surrounding entrance provides scale.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: half-open rooftop-room entrance in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: rooftop-room iron entrance door (half-open) — Its exterior-facing side is visible at an oblique opening angle, exposing part of the entrance beyond; used as Central architectural frame around the dark interior gap; rooftop-room interior (dark); used as Deep focal void visible through the doorway.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambience keeps the palette restrained while preserving the doorway and its dark interior as distinct tonal planes.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The forced rooftop-room entrance remains half open, exposing the dark interior; Suri-young's bicycle stays parked below in the courtyard.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Build the wide frame around strong foreground-to-background perspective, allowing the rooftop landing and entrance architecture to form quiet converging lines toward the middle-center doorway. Keep the camera at the fixed eye line and the door under two-fifths of the image, with the oblique metal slab creating a sharp layered edge against the recessed darkness. Use soft, low-key night ambience with gentle sideward falloff across the metal and surrounding surfaces, preserving a deep tonal plunge beyond the threshold.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Change the door material to a solid, flat iron/metal slab.
- Remove the bicycle from the rooftop.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 축 늘어진 민숙(강민숙)의 죽은 손아귀 안에 구겨진 사진 한 장이 살짝 삐져나온 클로즈업.

LOCATION (lock): On the floor behind the curtain in the daughter's bedroom, beside the seated body. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At hand height beside 강민숙, the dolly-in ends on an isolated detail of her lowered hand and the crumpled photograph protruding between closed fingers. The hand crosses the lower center while the photograph remains below one-third of the frame, with a narrow strip of floor and forearm preserving realistic scale and the wrist waiting just beyond the focal plane.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: crumpled photograph (crumpled and partially concealed) — The camera sees part of its image-bearing face protruding from the closed hand; the depicted content is not yet fully exposed; used as Primary insert detail held between the corpse's fingers; room floor (visible around the lowered hand); used as Thin contextual plane around the hand that maintains physical scale.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained low-key illumination isolates the pale hand and photograph without introducing a new light source or color beyond the scene's muted palette.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk is seated motionless on the bedroom floor behind the curtain with her head dropped forward over her body, with the torn shoulder wound and surrounding blood; one lifeless hand remains closed around a crumpled photograph, and her wrist bears the circular mark.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 축 늘어진 민숙(강민숙)의 죽은 손아귀 안에 구겨진 사진 한 장이 살짝 삐져나온 클로즈업.

LOCATION (lock): On the floor behind the curtain in the daughter's bedroom, beside the seated body. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At hand height beside 강민숙, the dolly-in ends on an isolated detail of her lowered hand and the crumpled photograph protruding between closed fingers. The hand crosses the lower center while the photograph remains below one-third of the frame, with a narrow strip of floor and forearm preserving realistic scale and the wrist waiting just beyond the focal plane.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: crumpled photograph (crumpled and partially concealed) — The camera sees part of its image-bearing face protruding from the closed hand; the depicted content is not yet fully exposed; used as Primary insert detail held between the corpse's fingers; room floor (visible around the lowered hand); used as Thin contextual plane around the hand that maintains physical scale.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained low-key illumination isolates the pale hand and photograph without introducing a new light source or color beyond the scene's muted palette.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk is seated motionless on the bedroom floor behind the curtain with her head dropped forward over her body, with the torn shoulder wound and surrounding blood; one lifeless hand remains closed around a crumpled photograph, and her wrist bears the circular mark.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a compressed, intimate lens feel with extremely selective focus placed on the creased photograph edge where it emerges between the fingers. Let the nearer hand contours and the forearm fall away softly, with the wrist already beyond focus; restrained low-key illumination catches only the paper ridges, pale knuckles, and slight skin texture against a nearly submerged floor plane.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 축 늘어진 민숙(강민숙)의 죽은 손아귀 안에 구겨진 사진 한 장이 살짝 삐져나온 클로즈업.

LOCATION (lock): On the floor behind the curtain in the daughter's bedroom, beside the seated body. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At hand height beside 강민숙, the dolly-in ends on an isolated detail of her lowered hand and the crumpled photograph protruding between closed fingers. The hand crosses the lower center while the photograph remains below one-third of the frame, with a narrow strip of floor and forearm preserving realistic scale and the wrist waiting just beyond the focal plane.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: crumpled photograph (crumpled and partially concealed) — The camera sees part of its image-bearing face protruding from the closed hand; the depicted content is not yet fully exposed; used as Primary insert detail held between the corpse's fingers; room floor (visible around the lowered hand); used as Thin contextual plane around the hand that maintains physical scale.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained low-key illumination isolates the pale hand and photograph without introducing a new light source or color beyond the scene's muted palette.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk is seated motionless on the bedroom floor behind the curtain with her head dropped forward over her body, with the torn shoulder wound and surrounding blood; one lifeless hand remains closed around a crumpled photograph, and her wrist bears the circular mark.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a natural close-focus perspective from the locked hand-height position, rendering the closed hand, crushed paper, and thin surrounding floor plane with sober physical clarity while the wrist slips gently beyond the focal plane. Emphasize the diagonal weight of the lowered forearm and the rigid enclosure of the fingers around the photograph; soft directional falloff from the existing scene light reveals paper compression, skin folds, and floor texture without exposing the concealed image.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Replace the right hand with a left hand holding the photograph to match the pose in the reference image.
- Redraw the fingers to curl naturally inward toward the hidden palm, removing the visible fingernails from this angle.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붓으로 칠한 듯한 붉은색 원형 표식이 선명하게 드러난 정지 상태.

LOCATION (lock): At the wall directly above the bed in the daughter's bedroom of the rooftop apartment. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the low position near 강민숙, the completed upward tilt holds absolutely still on the wall above the bed. The fully formed red circle sits in the upper-middle portion and remains under one-third of the frame, while the top edge of the bed anchors the lower quarter and confirms the mark's location.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: wall bearing the red circular mark in the upper-center of the frame, background; bed below the mark in the lower-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: wall above the bed (red circular mark fully visible) — The camera-facing wall surface clearly bears a complete, brush-like red circular mark; used as Locked focal surface carrying the supernatural reveal; bed (present) — Its upper edge and the side nearest the wall face the camera from below the mark; used as Lower-frame spatial anchor establishing that the mark is above it.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The still, low-key interior rendering suppresses surrounding color so the fully visible red circle becomes the sole emphatic accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's seated corpse and bloody wounds remain behind the curtain, but the photograph has now been removed from her hand by Suri-young. The wrist mark has turned red, and a new red circle remains visible on the wall above the bed.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붓으로 칠한 듯한 붉은색 원형 표식이 선명하게 드러난 정지 상태.

LOCATION (lock): At the wall directly above the bed in the daughter's bedroom of the rooftop apartment. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the low position near 강민숙, the completed upward tilt holds absolutely still on the wall above the bed. The fully formed red circle sits in the upper-middle portion and remains under one-third of the frame, while the top edge of the bed anchors the lower quarter and confirms the mark's location.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: wall bearing the red circular mark in the upper-center of the frame, background; bed below the mark in the lower-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: wall above the bed (red circular mark fully visible) — The camera-facing wall surface clearly bears a complete, brush-like red circular mark; used as Locked focal surface carrying the supernatural reveal; bed (present) — Its upper edge and the side nearest the wall face the camera from below the mark; used as Lower-frame spatial anchor establishing that the mark is above it.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The still, low-key interior rendering suppresses surrounding color so the fully visible red circle becomes the sole emphatic accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's seated corpse and bloody wounds remain behind the curtain, but the photograph has now been removed from her hand by Suri-young. The wrist mark has turned red, and a new red circle remains visible on the wall above the bed.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use an austere, near-symmetrical medium composition from the locked low upward angle, with a natural perspective and restrained depth extending from the bed edge to the wall. Hold the complete brush-stroked red ring crisply in the upper center while the bed forms a quiet, clearly legible anchor across the lower quarter. Dim, soft interior light falls evenly enough to preserve the wall’s real texture and the ring’s uneven painted edges, with surrounding colors muted into cool shadow so the red alone commands attention.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붓으로 칠한 듯한 붉은색 원형 표식이 선명하게 드러난 정지 상태.

LOCATION (lock): At the wall directly above the bed in the daughter's bedroom of the rooftop apartment. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the low position near 강민숙, the completed upward tilt holds absolutely still on the wall above the bed. The fully formed red circle sits in the upper-middle portion and remains under one-third of the frame, while the top edge of the bed anchors the lower quarter and confirms the mark's location.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: wall bearing the red circular mark in the upper-center of the frame, background; bed below the mark in the lower-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: wall above the bed (red circular mark fully visible) — The camera-facing wall surface clearly bears a complete, brush-like red circular mark; used as Locked focal surface carrying the supernatural reveal; bed (present) — Its upper edge and the side nearest the wall face the camera from below the mark; used as Lower-frame spatial anchor establishing that the mark is above it.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The still, low-key interior rendering suppresses surrounding color so the fully visible red circle becomes the sole emphatic accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's seated corpse and bloody wounds remain behind the curtain, but the photograph has now been removed from her hand by Suri-young. The wrist mark has turned red, and a new red circle remains visible on the wall above the bed.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the locked medium framing with a compressed lens feel, isolating the wall mark as the plane of sharpest focus while allowing the bed edge below to fall gently soft without losing its spatial identity. Let low, directional light graze across the wall, revealing the physical drag, thickness, and irregular absorption of the red brush stroke against the surface. Keep the lower frame dense and subdued, creating a tense depth separation in which the complete red ring appears starkly present rather than graphic or luminous.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Lower the bed and its headboard so their upper edge begins within the lower quarter of the frame, preserving the centered wall mark and all other framing.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 혜수가 두 손으로 수리영의 양어깨를 단단히 붙잡고 마주 선 정면 구도.

LOCATION (lock): In the exterior yard beside the residential building, near the newly arrived vehicle at night. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level directly in front of the pair, the camera holds a static two-shot across their face-to-face axis rather than presenting either woman frontally. 혜수 occupies the left half in profile with both hands locked around 수리영's shoulders, while 수리영 remains on the right, slightly lower and rigid within the same midground plane.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 혜수 in the middle-left of the frame, midground, reaches for 수리영's shoulders; 수리영 in the middle-right of the frame, midground, looks toward 혜수.
- KEY BACKGROUND ELEMENTS: rooftop-room exterior area (visible at night); used as Unobtrusive nighttime exterior context retained behind the confrontation; staircase (present) — Its approach lies behind the pair and away from the current frontal camera axis; used as Background route toward which the camera will later reposition.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Available nighttime exterior illumination keeps both profiles readable in restrained, low-to-mid-key contrast without softening the shock.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same villa yard, alley surfaces, streetlamp lighting, and nighttime atmosphere. Preserve the young woman's clothing and fixed standing position in that spot. Exclude the earlier solitary composition and introduce only the approaching officer who grips her shoulders.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's corpse and the bloody, marked bedroom remain inside the rooftop room at this point, with no removal yet shown.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 혜수가 두 손으로 수리영의 양어깨를 단단히 붙잡고 마주 선 정면 구도.

LOCATION (lock): In the exterior yard beside the residential building, near the newly arrived vehicle at night. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level directly in front of the pair, the camera holds a static two-shot across their face-to-face axis rather than presenting either woman frontally. 혜수 occupies the left half in profile with both hands locked around 수리영's shoulders, while 수리영 remains on the right, slightly lower and rigid within the same midground plane.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 혜수 in the middle-left of the frame, midground, reaches for 수리영's shoulders; 수리영 in the middle-right of the frame, midground, looks toward 혜수.
- KEY BACKGROUND ELEMENTS: rooftop-room exterior area (visible at night); used as Unobtrusive nighttime exterior context retained behind the confrontation; staircase (present) — Its approach lies behind the pair and away from the current frontal camera axis; used as Background route toward which the camera will later reposition.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Available nighttime exterior illumination keeps both profiles readable in restrained, low-to-mid-key contrast without softening the shock.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same villa yard, alley surfaces, streetlamp lighting, and nighttime atmosphere. Preserve the young woman's clothing and fixed standing position in that spot. Exclude the earlier solitary composition and introduce only the approaching officer who grips her shoulders.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's corpse and the bloody, marked bedroom remain inside the rooftop room at this point, with no removal yet shown.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a natural perspective with restrained depth compression, holding both profiles and the locked shoulder grip in crisp focus while the rooftop exterior remains quietly legible behind them. Keep the composition laterally balanced and static, with available streetlamp illumination grazing faces, hands, hair, and fabric in firm but realistic contrast. Favor muted night color, tactile surface detail, and an unsensational observational tension.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 혜수가 두 손으로 수리영의 양어깨를 단단히 붙잡고 마주 선 정면 구도.

LOCATION (lock): In the exterior yard beside the residential building, near the newly arrived vehicle at night. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level directly in front of the pair, the camera holds a static two-shot across their face-to-face axis rather than presenting either woman frontally. 혜수 occupies the left half in profile with both hands locked around 수리영's shoulders, while 수리영 remains on the right, slightly lower and rigid within the same midground plane.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 혜수 in the middle-left of the frame, midground, reaches for 수리영's shoulders; 수리영 in the middle-right of the frame, midground, looks toward 혜수.
- KEY BACKGROUND ELEMENTS: rooftop-room exterior area (visible at night); used as Unobtrusive nighttime exterior context retained behind the confrontation; staircase (present) — Its approach lies behind the pair and away from the current frontal camera axis; used as Background route toward which the camera will later reposition.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Available nighttime exterior illumination keeps both profiles readable in restrained, low-to-mid-key contrast without softening the shock.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same villa yard, alley surfaces, streetlamp lighting, and nighttime atmosphere. Preserve the young woman's clothing and fixed standing position in that spot. Exclude the earlier solitary composition and introduce only the approaching officer who grips her shoulders.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's corpse and the bloody, marked bedroom remain inside the rooftop room at this point, with no removal yet shown.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a subtly compressed lens feel and shallow depth of field to isolate the two profiles and the pressure of the hands on the shoulders, allowing the nighttime exterior context to recede into soft, unobtrusive shapes. Preserve the fixed eye-level medium two-shot while concentrating visual weight in the narrow space between their faces and along the rigid shoulder contact. Let the available exterior light create delicate edge separation and subdued facial modeling, with restrained highlights and dense natural shadows.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove the extra jacket sleeve and arm segment protruding from Hyesu's lower torso so she has only one normal right arm.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 도저히 믿을 수 없다는 듯 당혹감에 사로잡혀 창백하게 질린 수리영의 얼굴 클로즈업.

LOCATION (lock): Inside the daughter's newly cleaned bedroom, facing the empty area where the blood and body had appeared. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Just inside the room at 수리영's eye level, the dolly-in finishes at close facial distance as she freezes after entering. Her pale face occupies the left-center of the frame in three-quarter view, with a narrow, softly legible portion of the immaculate room retained over her far shoulder as the object of her disbelief.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-left of the frame, foreground.
- KEY BACKGROUND ELEMENTS: carefully arranged room (clean, with no blood, body, or red mark visible); used as Soft background evidence contrasting with 수리영's shocked expression; bed (carefully arranged) — Only part of the side facing the threshold remains visible behind 수리영; used as Defocused spatial cue behind her shoulder.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral interior ambience keeps her pallor legible in restrained color and low-to-mid-key contrast, with no supernatural red remaining in frame.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same spotless bedroom, its nighttime lighting, and the clean wall and curtain state. Preserve the young woman's clothing from the ongoing inspection. Exclude all blood, the corpse, and the red mark, and do not reproduce the preceding wide empty-room framing.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The spotless, altered room remains empty of Minsuk's corpse, bloodstains, and the red circle.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 도저히 믿을 수 없다는 듯 당혹감에 사로잡혀 창백하게 질린 수리영의 얼굴 클로즈업.

LOCATION (lock): Inside the daughter's newly cleaned bedroom, facing the empty area where the blood and body had appeared. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Just inside the room at 수리영's eye level, the dolly-in finishes at close facial distance as she freezes after entering. Her pale face occupies the left-center of the frame in three-quarter view, with a narrow, softly legible portion of the immaculate room retained over her far shoulder as the object of her disbelief.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-left of the frame, foreground.
- KEY BACKGROUND ELEMENTS: carefully arranged room (clean, with no blood, body, or red mark visible); used as Soft background evidence contrasting with 수리영's shocked expression; bed (carefully arranged) — Only part of the side facing the threshold remains visible behind 수리영; used as Defocused spatial cue behind her shoulder.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral interior ambience keeps her pallor legible in restrained color and low-to-mid-key contrast, with no supernatural red remaining in frame.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same spotless bedroom, its nighttime lighting, and the clean wall and curtain state. Preserve the young woman's clothing from the ongoing inspection. Exclude all blood, the corpse, and the red mark, and do not reproduce the preceding wide empty-room framing.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The spotless, altered room remains empty of Minsuk's corpse, bloodstains, and the red circle.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use an intimate, gently compressed close-up with extremely selective focus: her nearest eye and the minute tension around her mouth are critically sharp, while her hair and the immaculate room fall away gradually into softness. Keep the softly recognizable bed and orderly space as restrained evidence over her far shoulder. Neutral ambient light wraps across her face with delicate shadow modeling, preserving natural skin texture while making her pallor and frozen disbelief the emotional center.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 도저히 믿을 수 없다는 듯 당혹감에 사로잡혀 창백하게 질린 수리영의 얼굴 클로즈업.

LOCATION (lock): Inside the daughter's newly cleaned bedroom, facing the empty area where the blood and body had appeared. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Just inside the room at 수리영's eye level, the dolly-in finishes at close facial distance as she freezes after entering. Her pale face occupies the left-center of the frame in three-quarter view, with a narrow, softly legible portion of the immaculate room retained over her far shoulder as the object of her disbelief.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-left of the frame, foreground.
- KEY BACKGROUND ELEMENTS: carefully arranged room (clean, with no blood, body, or red mark visible); used as Soft background evidence contrasting with 수리영's shocked expression; bed (carefully arranged) — Only part of the side facing the threshold remains visible behind 수리영; used as Defocused spatial cue behind her shoulder.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral interior ambience keeps her pallor legible in restrained color and low-to-mid-key contrast, with no supernatural red remaining in frame.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same spotless bedroom, its nighttime lighting, and the clean wall and curtain state. Preserve the young woman's clothing from the ongoing inspection. Exclude all blood, the corpse, and the red mark, and do not reproduce the preceding wide empty-room framing.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The spotless, altered room remains empty of Minsuk's corpse, bloodstains, and the red circle.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the close-up with a subtly wider, spatially immediate lens feel, letting her foreground face feel present while the room recedes visibly beyond her far shoulder. Use the narrow background opening as deliberate negative space, with the arranged bed softly defocused yet clearly readable as part of the spotless room. Shape the neutral interior ambience with gentle side direction, holding restrained contrast across her rigid three-quarter expression and emphasizing the disconnect between what she sees and the clean physical evidence behind her.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Replace the replicated wide-shot background plate with a correctly scaled, narrow, softly defocused portion of the room over her far shoulder, obscuring the left hallway and showing only a partial view of the bed.
- Move the camera closer and tighten the close-up so only a narrow, softly defocused slice of the immaculate room and part of the bed’s threshold-facing side remain visible over her far shoulder, while keeping her face in the left-center.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 혜수가 특정 전화번호가 띄워진 자신의 휴대전화 화면을 의자에 앉은 김형사의 눈앞으로 불쑥 내민 찰나.

LOCATION (lock): Beside the duty desk inside the police office at night. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 김형사's seated eye level beside the desk, complete the dolly-in within arm's reach as 혜수 thrusts the phone into the lower-central foreground, where its screen occupies roughly one third of the frame. Keep 김형사's eyes sharply visible just beyond the phone and 혜수 leaning in from the left edge, creating a compressed two-person confrontation without losing the workstation context.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 혜수의 휴대전화 화면 (on and displaying 민숙's saved number) — The screen face is turned toward 김형사 and the camera, displaying the saved telephone number; used as The active screen is the sharp foreground focal plane, with 김형사's eyes retained beyond it; 김형사의 책상 (in use during duty work) — Its side edge recedes behind the raised phone toward 김형사; used as Provides the shared spatial boundary beside both characters and guides the camera's curved endpoint.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Desaturated, low-to-mid-key office illumination holds both faces in grounded contrast while the active phone screen receives selective emphasis.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Hye-soo's phone continues to display Minsuk's saved number as she presents it to Detective Kim for location tracing.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴); 김형사 (한국인 남성, 30대, 짧은 검은 머리, 평범한 성인 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 혜수가 특정 전화번호가 띄워진 자신의 휴대전화 화면을 의자에 앉은 김형사의 눈앞으로 불쑥 내민 찰나.

LOCATION (lock): Beside the duty desk inside the police office at night. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 김형사's seated eye level beside the desk, complete the dolly-in within arm's reach as 혜수 thrusts the phone into the lower-central foreground, where its screen occupies roughly one third of the frame. Keep 김형사's eyes sharply visible just beyond the phone and 혜수 leaning in from the left edge, creating a compressed two-person confrontation without losing the workstation context.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 혜수의 휴대전화 화면 (on and displaying 민숙's saved number) — The screen face is turned toward 김형사 and the camera, displaying the saved telephone number; used as The active screen is the sharp foreground focal plane, with 김형사's eyes retained beyond it; 김형사의 책상 (in use during duty work) — Its side edge recedes behind the raised phone toward 김형사; used as Provides the shared spatial boundary beside both characters and guides the camera's curved endpoint.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Desaturated, low-to-mid-key office illumination holds both faces in grounded contrast while the active phone screen receives selective emphasis.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Hye-soo's phone continues to display Minsuk's saved number as she presents it to Detective Kim for location tracing.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴); 김형사 (한국인 남성, 30대, 짧은 검은 머리, 평범한 성인 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a near-frontal, moderately wide perspective with disciplined deep focus, making the sharply rendered phone screen a blunt lower-central block while Detective Kim’s eyes remain equally legible directly beyond it. Let the desk edge form a firm receding line into the workstation, and hold Hye-soo’s left-edge lean in tense profile. Shape the desaturated office light into controlled facial contrast, with restrained screen glow and crisp, realistic surface detail.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 혜수가 특정 전화번호가 띄워진 자신의 휴대전화 화면을 의자에 앉은 김형사의 눈앞으로 불쑥 내민 찰나.

LOCATION (lock): Beside the duty desk inside the police office at night. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 김형사's seated eye level beside the desk, complete the dolly-in within arm's reach as 혜수 thrusts the phone into the lower-central foreground, where its screen occupies roughly one third of the frame. Keep 김형사's eyes sharply visible just beyond the phone and 혜수 leaning in from the left edge, creating a compressed two-person confrontation without losing the workstation context.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 혜수의 휴대전화 화면 (on and displaying 민숙's saved number) — The screen face is turned toward 김형사 and the camera, displaying the saved telephone number; used as The active screen is the sharp foreground focal plane, with 김형사's eyes retained beyond it; 김형사의 책상 (in use during duty work) — Its side edge recedes behind the raised phone toward 김형사; used as Provides the shared spatial boundary beside both characters and guides the camera's curved endpoint.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Desaturated, low-to-mid-key office illumination holds both faces in grounded contrast while the active phone screen receives selective emphasis.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Hye-soo's phone continues to display Minsuk's saved number as she presents it to Detective Kim for location tracing.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴); 김형사 (한국인 남성, 30대, 짧은 검은 머리, 평범한 성인 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Favor a compressed lens feel and tight asymmetrical layering: the phone looms in the lower center, Hye-soo presses in from the left edge, and Detective Kim’s sharply visible eyes appear narrowly trapped above and behind the screen. Keep the workstation context subdued but readable through the receding side of the desk and softly separated background planes. Use low-to-mid-key office illumination with a gentle falloff across the faces, allowing the active screen to provide the cleanest local emphasis without looking artificially luminous.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Redraw Hye-soo's hand holding the phone to have correct human anatomy with a natural structure and exactly five properly proportioned fingers.
- Dolly in tighter while maintaining Detective Kim’s seated eye-level axis, enlarging the phone screen to roughly one third of the frame in the lower center and retaining his eyes immediately above it.
- Redirect Detective Kim’s gaze downward onto the presented phone screen without changing any other pose or framing element.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 휴대전화를 귀에 바짝 댄 수리영이 미간을 찌푸린 채 먼 곳을 응시하는 정지된 얼굴.

LOCATION (lock): Outside the supermarket near the exterior CCTV coverage area in daylight. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Settle directly before 수리영 at eye level in a close facial frame, allowing her face and the phone pressed to her ear to occupy most of the image while the store exterior falls soft behind her. Her eyes look past the lens rather than into it, turning the frontal camera position into a tense observation of her distant concentration.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 휴대전화 (in use during a call to 혜수) — Its back and side edge face the camera while its speaker is pressed to 수리영's ear; used as Held against the side of her face while she explains the CCTV discovery; 마트 외부 (open for early-morning business) — The building face lies behind 수리영 and outside the primary focus plane; used as Retained only as softened exterior context behind the close portrait.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained natural early-morning light keeps the close portrait desaturated and solemn without adding an unestablished artificial source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same daytime market exterior, facade materials, overhead CCTV placement, and natural light. Preserve the young woman's clothing from the continuing inspection. Exclude the earlier rear-view pose and the male employee, and do not force the CCTV camera into the tight facial crop.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has her mobile phone and doll-adorned backpack with her as she calls Hye-soo from outside the mart.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 휴대전화를 귀에 바짝 댄 수리영이 미간을 찌푸린 채 먼 곳을 응시하는 정지된 얼굴.

LOCATION (lock): Outside the supermarket near the exterior CCTV coverage area in daylight. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Settle directly before 수리영 at eye level in a close facial frame, allowing her face and the phone pressed to her ear to occupy most of the image while the store exterior falls soft behind her. Her eyes look past the lens rather than into it, turning the frontal camera position into a tense observation of her distant concentration.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 휴대전화 (in use during a call to 혜수) — Its back and side edge face the camera while its speaker is pressed to 수리영's ear; used as Held against the side of her face while she explains the CCTV discovery; 마트 외부 (open for early-morning business) — The building face lies behind 수리영 and outside the primary focus plane; used as Retained only as softened exterior context behind the close portrait.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained natural early-morning light keeps the close portrait desaturated and solemn without adding an unestablished artificial source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same daytime market exterior, facade materials, overhead CCTV placement, and natural light. Preserve the young woman's clothing from the continuing inspection. Exclude the earlier rear-view pose and the male employee, and do not force the CCTV camera into the tight facial crop.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has her mobile phone and doll-adorned backpack with her as she calls Hye-soo from outside the mart.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a tightly compressed, intimate close-up with an almost symmetrical frontal composition, holding Suri-young’s face at the middle-center as the dominant visual mass. Keep the focus critically precise on her furrowed brow and eyes fixed beyond the lens, with the phone’s back and side edge sharply present against her ear; let her hair, the far cheek plane, and the supermarket exterior dissolve progressively into soft early-morning depth. Favor restrained contrast, cool desaturated skin tones, and delicate natural texture so her frozen concentration feels isolated and solemn.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 휴대전화를 귀에 바짝 댄 수리영이 미간을 찌푸린 채 먼 곳을 응시하는 정지된 얼굴.

LOCATION (lock): Outside the supermarket near the exterior CCTV coverage area in daylight. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Settle directly before 수리영 at eye level in a close facial frame, allowing her face and the phone pressed to her ear to occupy most of the image while the store exterior falls soft behind her. Her eyes look past the lens rather than into it, turning the frontal camera position into a tense observation of her distant concentration.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 휴대전화 (in use during a call to 혜수) — Its back and side edge face the camera while its speaker is pressed to 수리영's ear; used as Held against the side of her face while she explains the CCTV discovery; 마트 외부 (open for early-morning business) — The building face lies behind 수리영 and outside the primary focus plane; used as Retained only as softened exterior context behind the close portrait.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained natural early-morning light keeps the close portrait desaturated and solemn without adding an unestablished artificial source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same daytime market exterior, facade materials, overhead CCTV placement, and natural light. Preserve the young woman's clothing from the continuing inspection. Exclude the earlier rear-view pose and the male employee, and do not force the CCTV camera into the tight facial crop.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has her mobile phone and doll-adorned backpack with her as she calls Hye-soo from outside the mart.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the close-up with a more immediate, spatially present lens feel, still directly frontal and at eye level, allowing the side of the phone, the hand holding it firmly to her face, and the full contour of her head to shape the frame without weakening the facial emphasis. Use the softened lines and tonal blocks of the supermarket exterior as subdued depth behind her, while maintaining clear separation from the background rather than reducing it to abstraction. Let the natural early-morning light rake gently across her features, revealing the tension between her knitted brows and motionless distant gaze with sober, realistic contrast.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Add the backpack's shoulder straps over her shoulders on top of the hoodie.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 한국인 남성 보안직원이 혜수를 향해 고개를 끄덕인 채 멈춘 측면.

LOCATION (lock): At the CCTV workstation inside the supermarket's administrative security office, lit in part by the monitor screens. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At seated eye level beside 한국인 남성 보안직원, hold his close side profile in the left foreground at the arrested endpoint of a nod, with 혜수 retained across the workstation in the right midground. The static composition uses the shared work surface to connect his quiet agreement to her request without changing the established room axis.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 한국인 남성 보안직원 in the middle-left of the frame, foreground, looks toward Hyesu across the workstation; 혜수 in the middle-right of the frame, midground, looks toward security employee; shared workstation in the lower-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: CCTV 작업대 (in use during the CCTV review) — Its edge extends from the foreground employee toward 혜수 across the frame; used as The shared anchor separating and visually linking the employee's nod with 혜수's request; CCTV 모니터 (on) — The active screen face is angled away from the camera and toward the seated figures, with its footage not emphasized in this shot; used as Remains secondary beside the exchange as evidence of the footage they have reviewed.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained, desaturated interior illumination holds the nod in solemn low-to-mid-key contrast without assigning an unestablished light color or source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains behind Hye-soo and the security employee with her doll-adorned backpack as the same dark CCTV segment is reviewed.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 한국인 남성 보안직원 (한국인 남성, 성인, 단정한 짧은 머리, 평범한 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 한국인 남성 보안직원이 혜수를 향해 고개를 끄덕인 채 멈춘 측면.

LOCATION (lock): At the CCTV workstation inside the supermarket's administrative security office, lit in part by the monitor screens. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At seated eye level beside 한국인 남성 보안직원, hold his close side profile in the left foreground at the arrested endpoint of a nod, with 혜수 retained across the workstation in the right midground. The static composition uses the shared work surface to connect his quiet agreement to her request without changing the established room axis.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 한국인 남성 보안직원 in the middle-left of the frame, foreground, looks toward Hyesu across the workstation; 혜수 in the middle-right of the frame, midground, looks toward security employee; shared workstation in the lower-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: CCTV 작업대 (in use during the CCTV review) — Its edge extends from the foreground employee toward 혜수 across the frame; used as The shared anchor separating and visually linking the employee's nod with 혜수's request; CCTV 모니터 (on) — The active screen face is angled away from the camera and toward the seated figures, with its footage not emphasized in this shot; used as Remains secondary beside the exchange as evidence of the footage they have reviewed.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained, desaturated interior illumination holds the nod in solemn low-to-mid-key contrast without assigning an unestablished light color or source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains behind Hye-soo and the security employee with her doll-adorned backpack as the same dark CCTV segment is reviewed.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 한국인 남성 보안직원 (한국인 남성, 성인, 단정한 짧은 머리, 평범한 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained shallow depth of field, holding the security employee’s arrested side profile in precise focus while Hye-soo remains recognizable but gently softened across the workstation. Let the workstation edge form a quiet diagonal bridge through the softer plane, with subtle monitor spill shaping his cheek and jaw against subdued office falloff. Preserve natural skin texture and an unembellished, solemn stillness.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 한국인 남성 보안직원이 혜수를 향해 고개를 끄덕인 채 멈춘 측면.

LOCATION (lock): At the CCTV workstation inside the supermarket's administrative security office, lit in part by the monitor screens. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At seated eye level beside 한국인 남성 보안직원, hold his close side profile in the left foreground at the arrested endpoint of a nod, with 혜수 retained across the workstation in the right midground. The static composition uses the shared work surface to connect his quiet agreement to her request without changing the established room axis.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 한국인 남성 보안직원 in the middle-left of the frame, foreground, looks toward Hyesu across the workstation; 혜수 in the middle-right of the frame, midground, looks toward security employee; shared workstation in the lower-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: CCTV 작업대 (in use during the CCTV review) — Its edge extends from the foreground employee toward 혜수 across the frame; used as The shared anchor separating and visually linking the employee's nod with 혜수's request; CCTV 모니터 (on) — The active screen face is angled away from the camera and toward the seated figures, with its footage not emphasized in this shot; used as Remains secondary beside the exchange as evidence of the footage they have reviewed.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained, desaturated interior illumination holds the nod in solemn low-to-mid-key contrast without assigning an unestablished light color or source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains behind Hye-soo and the security employee with her doll-adorned backpack as the same dark CCTV segment is reviewed.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 한국인 남성 보안직원 (한국인 남성, 성인, 단정한 짧은 머리, 평범한 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the exchange as a compressed two-plane tableau with enough depth of field for both the security employee’s profile and Hye-soo’s answering gaze to remain clearly legible. Emphasize the workstation as a firm horizontal structure separating and linking them, while the angled active monitor stays visually subordinate. Keep the illumination even but low-key, allowing restrained contrast and desaturated physical textures to carry the gravity of the agreement.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Direct the male security guard's gaze forward so he is looking at Hyesu.
- Remove all text and grid lines from the papers pinned to the wall in the top left.
- Remove the child in the background, leaving only the doll and backpack resting on the chair as seen in the reference image.
- Raise and turn the security employee’s gaze toward Hye-soo while preserving his arrested nod, side profile, and all other framing.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 사진을 내려다보는 수리영의 두 눈이 공포로 크게 확장된 채 딱딱하게 굳어버린 얼굴 클로즈업.

LOCATION (lock): At the detective's desk inside the otherwise empty police office, over crime-scene photographs spread across its surface. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 수리영's eye level, complete the tracking arc by settling into a face-filling close-up from a slight three-quarter angle. Her rigid face occupies most of the frame, with her enlarged downward gaze held sharp and only a narrow, softened strip of photographs remaining along the lower edge.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 살인사건 확대 사진들 (책상 위에 펼쳐져 있음) — Their printed faces lie upward toward 수리영 and are only partially visible to the camera at the bottom edge; used as Appears as a narrow lower-frame cue for the source of her terror; 책상 가장자리 (사진들이 놓여 있음) — Its front edge crosses the lower frame at an oblique angle; used as Provides a restrained lower boundary beneath the close-up.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral daytime-interior ambience is kept desaturated and controlled, allowing modest facial contrast to harden 수리영's terrified expression without introducing a new light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same daylight police office, desk area, institutional materials, and unattended atmosphere. Preserve the young woman's clothing and the crime-scene photographs spread across the desk. Exclude the preceding wide rear view and any officers from this tight facial reaction shot.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The gruesome enlarged murder photographs remain spread across Hye-soo's desk as Suri-young examines them; her doll-adorned backpack stays 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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 사진을 내려다보는 수리영의 두 눈이 공포로 크게 확장된 채 딱딱하게 굳어버린 얼굴 클로즈업.

LOCATION (lock): At the detective's desk inside the otherwise empty police office, over crime-scene photographs spread across its surface. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 수리영's eye level, complete the tracking arc by settling into a face-filling close-up from a slight three-quarter angle. Her rigid face occupies most of the frame, with her enlarged downward gaze held sharp and only a narrow, softened strip of photographs remaining along the lower edge.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 살인사건 확대 사진들 (책상 위에 펼쳐져 있음) — Their printed faces lie upward toward 수리영 and are only partially visible to the camera at the bottom edge; used as Appears as a narrow lower-frame cue for the source of her terror; 책상 가장자리 (사진들이 놓여 있음) — Its front edge crosses the lower frame at an oblique angle; used as Provides a restrained lower boundary beneath the close-up.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral daytime-interior ambience is kept desaturated and controlled, allowing modest facial contrast to harden 수리영's terrified expression without introducing a new light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same daylight police office, desk area, institutional materials, and unattended atmosphere. Preserve the young woman's clothing and the crime-scene photographs spread across the desk. Exclude the preceding wide rear view and any officers from this tight facial reaction shot.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The gruesome enlarged murder photographs remain spread across Hye-soo's desk as Suri-young examines them; her doll-adorned backpack stays 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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use an intimate, gently compressed close-up with the camera held steady at eye level and just off frontal, isolating her rigid face against a softly dissolved office. Keep both widened, downward-looking eyes and the minute tension around her lids, jaw, and lips critically sharp, while the oblique desk edge and the narrow strip of upward-facing photographs fall quickly out of focus along the bottom. Shape the existing neutral late-morning interior ambience into restrained facial modeling, with subdued color and natural skin texture emphasizing her arrested terror.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 사진을 내려다보는 수리영의 두 눈이 공포로 크게 확장된 채 딱딱하게 굳어버린 얼굴 클로즈업.

LOCATION (lock): At the detective's desk inside the otherwise empty police office, over crime-scene photographs spread across its surface. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 수리영's eye level, complete the tracking arc by settling into a face-filling close-up from a slight three-quarter angle. Her rigid face occupies most of the frame, with her enlarged downward gaze held sharp and only a narrow, softened strip of photographs remaining along the lower edge.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 살인사건 확대 사진들 (책상 위에 펼쳐져 있음) — Their printed faces lie upward toward 수리영 and are only partially visible to the camera at the bottom edge; used as Appears as a narrow lower-frame cue for the source of her terror; 책상 가장자리 (사진들이 놓여 있음) — Its front edge crosses the lower frame at an oblique angle; used as Provides a restrained lower boundary beneath the close-up.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral daytime-interior ambience is kept desaturated and controlled, allowing modest facial contrast to harden 수리영's terrified expression without introducing a new light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same daylight police office, desk area, institutional materials, and unattended atmosphere. Preserve the young woman's clothing and the crime-scene photographs spread across the desk. Exclude the preceding wide rear view and any officers from this tight facial reaction shot.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The gruesome enlarged murder photographs remain spread across Hye-soo's desk as Suri-young examines them; her doll-adorned backpack stays 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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Favor a close-focus perspective that lets the oblique desk boundary and thin lower-edge band of photographs act as a restrained foreground vector rising toward her face, while still allowing her face to fill the frame from the required slight three-quarter angle. Hold enough depth for the photographic cue to remain faintly legible as physical prints, but make her enlarged downward gaze the decisive point of focus; crop tightly so her frozen expression feels pinned inside the frame. Keep the neutral daytime office light broad and controlled, using modest contrast and desaturated surfaces for a stark, observational realism.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Tighten and recenter the close-up so her rigid face occupies most of the frame, leaving only minimal softened office background around it.
- Reduce the visible tabletop and photographs to a narrow strip along the bottom edge, with the desk’s front edge crossing that strip at a clear oblique angle.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 텅 빈 사무실 문 밖으로 반쯤 몸을 내민 채 주위를 훔쳐보는 수리영의 뒷모습.

LOCATION (lock): At the open doorway of the empty police office, looking out into the adjoining station corridor. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Hold just inside the office at shoulder height, centered behind 수리영 on the doorway axis after the tracking move stops. Frame her back in a medium view with one half of her body beyond the threshold and the other half still inside, using the doorway to divide concealment from exposure.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: office doorway enclosing 수리영's half-exited body in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 사무실 출입문 (열려 있음) — The doorway is viewed straight along its opening axis from inside the office; used as Bisects 수리영's body and fixes the exit route at frame center; 사무실 내부 (아무도 없이 비어 있음); used as Remains behind 수리영 as negative space and confirms that nobody is watching.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral ambient illumination appropriate to the daytime interior remains restrained and desaturated, with modest contrast across the doorway boundary.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same daylight police office layout, desks, doorway, and empty unattended state. Preserve the young woman's clothing and the existing desk clutter. Exclude the seated pose and prominently displayed crime-scene photographs from the doorway-focused frame, and include no officers.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young carries the handwritten coordinate note folded in her pocket and keeps her doll-adorned backpack with her as she slips out.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 텅 빈 사무실 문 밖으로 반쯤 몸을 내민 채 주위를 훔쳐보는 수리영의 뒷모습.

LOCATION (lock): At the open doorway of the empty police office, looking out into the adjoining station corridor. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Hold just inside the office at shoulder height, centered behind 수리영 on the doorway axis after the tracking move stops. Frame her back in a medium view with one half of her body beyond the threshold and the other half still inside, using the doorway to divide concealment from exposure.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: office doorway enclosing 수리영's half-exited body in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 사무실 출입문 (열려 있음) — The doorway is viewed straight along its opening axis from inside the office; used as Bisects 수리영's body and fixes the exit route at frame center; 사무실 내부 (아무도 없이 비어 있음); used as Remains behind 수리영 as negative space and confirms that nobody is watching.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral ambient illumination appropriate to the daytime interior remains restrained and desaturated, with modest contrast across the doorway boundary.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same daylight police office layout, desks, doorway, and empty unattended state. Preserve the young woman's clothing and the existing desk clutter. Exclude the seated pose and prominently displayed crime-scene photographs from the doorway-focused frame, and include no officers.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young carries the handwritten coordinate note folded in her pocket and keeps her doll-adorned backpack with her as she slips out.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, architectural composition with firm central symmetry and deep focus, keeping the doorway edges, her half-exited posture, and the vacant office surfaces crisply legible. Let the straight lines of the doorway pin her at the center while the empty interior holds as austere negative space; render the late-morning ambient light evenly, with subtle tonal separation across the threshold and cool, desaturated surface detail.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 텅 빈 사무실 문 밖으로 반쯤 몸을 내민 채 주위를 훔쳐보는 수리영의 뒷모습.

LOCATION (lock): At the open doorway of the empty police office, looking out into the adjoining station corridor. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Hold just inside the office at shoulder height, centered behind 수리영 on the doorway axis after the tracking move stops. Frame her back in a medium view with one half of her body beyond the threshold and the other half still inside, using the doorway to divide concealment from exposure.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: office doorway enclosing 수리영's half-exited body in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 사무실 출입문 (열려 있음) — The doorway is viewed straight along its opening axis from inside the office; used as Bisects 수리영's body and fixes the exit route at frame center; 사무실 내부 (아무도 없이 비어 있음); used as Remains behind 수리영 as negative space and confirms that nobody is watching.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral ambient illumination appropriate to the daytime interior remains restrained and desaturated, with modest contrast across the doorway boundary.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same daylight police office layout, desks, doorway, and empty unattended state. Preserve the young woman's clothing and the existing desk clutter. Exclude the seated pose and prominently displayed crime-scene photographs from the doorway-focused frame, and include no officers.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young carries the handwritten coordinate note folded in her pocket and keeps her doll-adorned backpack with her as she slips out.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Give the medium view an intimate, watchful lens feel with selective focus concentrated on her back, hair, clothing folds, and doll-adorned backpack, while the adjoining spaces fall gently softer without losing their physical identity. Emphasize the tentative weight shift of her half-concealed body and the narrow doorway boundary, using restrained late-morning ambience, soft falloff, and modest contrast to create quiet, immediate suspense.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove all text from the blue sign in the corridor background and from the paper in the back pocket.
- Move the doll-adorned backpack from the door onto Suri-young's back so she is carrying it.
- Change the paper in the back pocket to be folded and tucked deeper inside.
- Shift Suri-young left across the threshold so the doorway boundary bisects her torso, leaving approximately half of her body inside the office and half exposed in the corridor while preserving the camera and framing.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 침대 매트리스 위에 두 다리의 힘이 풀려 주저앉은 채 초점을 잃은 수리영의 전신.

LOCATION (lock): On the bed inside the daughter's ransacked bedroom at dusk. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Cut across the bedroom to a waist-height wide frame that contains 수리영's full body and the bed. Hold the exact instant her legs lose strength and her weight lands on the mattress, placing her slightly off-center while the disordered room remains legible around her.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 침대와 매트리스 (수리영이 주저앉음) — The long side of the bed faces the camera, with the mattress receiving 수리영's falling weight; used as Catches and contains the physical collapse in a full-body composition; 엉망이 된 방 안 (가재도구가 헤집어진 상태); used as Keeps the cause of her overwhelmed state present in the surrounding frame.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural dusk ambience remains desaturated and low-to-mid-key, holding her physical collapse in a tragic, unembellished register.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same dim bedroom, wall finish, mattress placement, dusk lighting, and the large red circle as an ongoing state. Preserve the young woman's clothing and the disordered condition established in the room. Exclude the earlier wall-only composition and any close emphasis on the photograph, widening instead to her collapsed full-body pose on the mattress.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room remains ransacked and the red wall circle remains, but Suri-young has removed the bloodstained photograph from its center. She wears the backpack containing the maps and keeps the photograph tightly in hand.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 침대 매트리스 위에 두 다리의 힘이 풀려 주저앉은 채 초점을 잃은 수리영의 전신.

LOCATION (lock): On the bed inside the daughter's ransacked bedroom at dusk. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Cut across the bedroom to a waist-height wide frame that contains 수리영's full body and the bed. Hold the exact instant her legs lose strength and her weight lands on the mattress, placing her slightly off-center while the disordered room remains legible around her.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 침대와 매트리스 (수리영이 주저앉음) — The long side of the bed faces the camera, with the mattress receiving 수리영's falling weight; used as Catches and contains the physical collapse in a full-body composition; 엉망이 된 방 안 (가재도구가 헤집어진 상태); used as Keeps the cause of her overwhelmed state present in the surrounding frame.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural dusk ambience remains desaturated and low-to-mid-key, holding her physical collapse in a tragic, unembellished register.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same dim bedroom, wall finish, mattress placement, dusk lighting, and the large red circle as an ongoing state. Preserve the young woman's clothing and the disordered condition established in the room. Exclude the earlier wall-only composition and any close emphasis on the photograph, widening instead to her collapsed full-body pose on the mattress.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room remains ransacked and the red wall circle remains, but Suri-young has removed the bloodstained photograph from its center. She wears the backpack containing the maps and keeps the photograph tightly in hand.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a level, rectilinear wide-lens perspective with restrained depth and minimal distortion, keeping the full figure, bed, and surrounding disorder clearly legible from front to back. Build the composition as a severe observational tableau, with her off-center placement counterweighted by the violated room and the red wall circle. Let soft lateral dusk ambience reveal fabric weight, mattress compression, and scattered material textures without beautifying the collapse.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 침대 매트리스 위에 두 다리의 힘이 풀려 주저앉은 채 초점을 잃은 수리영의 전신.

LOCATION (lock): On the bed inside the daughter's ransacked bedroom at dusk. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Cut across the bedroom to a waist-height wide frame that contains 수리영's full body and the bed. Hold the exact instant her legs lose strength and her weight lands on the mattress, placing her slightly off-center while the disordered room remains legible around her.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 침대와 매트리스 (수리영이 주저앉음) — The long side of the bed faces the camera, with the mattress receiving 수리영's falling weight; used as Catches and contains the physical collapse in a full-body composition; 엉망이 된 방 안 (가재도구가 헤집어진 상태); used as Keeps the cause of her overwhelmed state present in the surrounding frame.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural dusk ambience remains desaturated and low-to-mid-key, holding her physical collapse in a tragic, unembellished register.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same dim bedroom, wall finish, mattress placement, dusk lighting, and the large red circle as an ongoing state. Preserve the young woman's clothing and the disordered condition established in the room. Exclude the earlier wall-only composition and any close emphasis on the photograph, widening instead to her collapsed full-body pose on the mattress.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room remains ransacked and the red wall circle remains, but Suri-young has removed the bloodstained photograph from its center. She wears the backpack containing the maps and keeps the photograph tightly in hand.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a gently compressed wide-shot perspective from the locked waist height, arranging the room in overlapping depth layers while preserving the complete view of her body and the bed. Hold selective focus on her slackened posture and unfixed gaze, allowing the surrounding disorder and red wall circle to recede slightly softer but remain unmistakably readable. Keep the dusk exposure low and desaturated, with subtle edge falloff and quiet directional modeling across her face, clothing, backpack, clenched photograph, and the yielding mattress.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove the duplicate green backpack sitting on the floor under her left leg.
- Remove the foot and shoe sticking out from under the white blanket on the far left floor.
- Correct the anatomy of the right hand holding the photograph so it has a normal number of fingers.
- Reframe slightly wider and to the left so the entire red wall circle is visible and clearly readable while preserving Suri-young’s full-body scale, her off-center placement, and the full bed.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 배 위에 선 인우를 향해 간절한 눈빛을 띤 채 마주 선 수리영의 상체.

LOCATION (lock): At the foggy harbor's mooring edge beside the newly arrived fishing boat. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the shore-side dialogue axis at chest height, hold a static medium frame angled slightly upward, tightening only the camera distance so 수리영's upper body occupies the left-center while 인우 remains elevated at the upper-right edge on the boat. Keep her lifted eyeline and tense shoulders clear against the open harbor, preserving the unequal vertical relationship without changing the established axis.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 소형 어선 (At the harbor beside the shore) — Its shore-facing side is visible behind 수리영, with 인우 positioned above that edge; used as The boat's side establishes 인우's elevated position behind 수리영; 바다 (Fog-covered); used as The open water remains visible as restrained negative space behind the dialogue; 안개 (Dense across the harbor); used as It softens the distant harbor and limits background visibility.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Desaturated dusk ambience filtered through dense fog keeps the contrast low-to-mid-key and the exchange solemn.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young retains the backpack with the folded maps and the old bloodstained photograph while asking In-woo for passage.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, foggy.

SHOT TEXT (authoritative, Korean): 배 위에 선 인우를 향해 간절한 눈빛을 띤 채 마주 선 수리영의 상체.

LOCATION (lock): At the foggy harbor's mooring edge beside the newly arrived fishing boat. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the shore-side dialogue axis at chest height, hold a static medium frame angled slightly upward, tightening only the camera distance so 수리영's upper body occupies the left-center while 인우 remains elevated at the upper-right edge on the boat. Keep her lifted eyeline and tense shoulders clear against the open harbor, preserving the unequal vertical relationship without changing the established axis.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 소형 어선 (At the harbor beside the shore) — Its shore-facing side is visible behind 수리영, with 인우 positioned above that edge; used as The boat's side establishes 인우's elevated position behind 수리영; 바다 (Fog-covered); used as The open water remains visible as restrained negative space behind the dialogue; 안개 (Dense across the harbor); used as It softens the distant harbor and limits background visibility.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Desaturated dusk ambience filtered through dense fog keeps the contrast low-to-mid-key and the exchange solemn.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young retains the backpack with the folded maps and the old bloodstained photograph while asking In-woo for passage.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a gently compressed lens feel and very selective depth of field, holding critical focus on Suri-young’s lifted eyes and strained facial muscles while the elevated figure and boat edge fall slightly softer. Let the fog-diffused dusk wrap her face with subdued, cool tonal transitions, isolating the urgency of her performance against the quiet open water without turning the background into abstraction.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 배 위에 선 인우를 향해 간절한 눈빛을 띤 채 마주 선 수리영의 상체.

LOCATION (lock): At the foggy harbor's mooring edge beside the newly arrived fishing boat. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the shore-side dialogue axis at chest height, hold a static medium frame angled slightly upward, tightening only the camera distance so 수리영's upper body occupies the left-center while 인우 remains elevated at the upper-right edge on the boat. Keep her lifted eyeline and tense shoulders clear against the open harbor, preserving the unequal vertical relationship without changing the established axis.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 소형 어선 (At the harbor beside the shore) — Its shore-facing side is visible behind 수리영, with 인우 positioned above that edge; used as The boat's side establishes 인우's elevated position behind 수리영; 바다 (Fog-covered); used as The open water remains visible as restrained negative space behind the dialogue; 안개 (Dense across the harbor); used as It softens the distant harbor and limits background visibility.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Desaturated dusk ambience filtered through dense fog keeps the contrast low-to-mid-key and the exchange solemn.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young retains the backpack with the folded maps and the old bloodstained photograph while asking In-woo for passage.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a more spatial, moderately deep-focus rendering that keeps Suri-young, the boat’s shore-facing side, and the elevated position at the upper-right legible within one continuous plane of tension. Emphasize the boat edge as a firm compositional rise through the frame and preserve the fog-covered water as muted negative space; broad dusk ambience should reveal restrained surface wear and fabric texture with low-to-mid-key contrast.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Tuck the folded maps and photograph naturally into a physical pocket or compartment of the backpack.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 엄지손가락이 휴대전화 화면의 마이크 아이콘을 누른 채 기기 아랫부분을 입술 가까이 댄 클로즈업.

LOCATION (lock): At the harbor edge beside the moored boat, facing the fog-covered sea at dusk. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Begin at mouth-and-hand height just behind 수리영's phone side, holding a tight profile detail in which her thumb, the visible microphone icon, and her lips share the central and lower portions of the frame. Pause before the prescribed dolly-out so the gesture reads clearly, with the phone kept at a natural scale and part of her cheek and hand providing human reference.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 휴대전화 (Recording a voice message) — The active screen face is angled toward the camera, showing the microphone icon beneath her pressing thumb; used as Primary foreground focus beside 수리영's lips; 바다 (Obscured by dense fog); used as Reduced to a soft spatial trace beyond 수리영 as she addresses the sea.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Soft, desaturated dusk ambience maintains restrained contrast across her skin, hand, and phone without adding an unstated light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same foggy dusk harbor, muted wet surfaces, dockside light, and nearby boat placement. Preserve the young woman's clothing and phone from the continuing moment. Exclude the boatman and the earlier face-to-face arrangement from this tight hand-and-phone insert.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young uses her phone to leave Hye-soo a voice message while retaining the backpack of maps and the old photograph.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, foggy.

SHOT TEXT (authoritative, Korean): 수리영의 엄지손가락이 휴대전화 화면의 마이크 아이콘을 누른 채 기기 아랫부분을 입술 가까이 댄 클로즈업.

LOCATION (lock): At the harbor edge beside the moored boat, facing the fog-covered sea at dusk. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Begin at mouth-and-hand height just behind 수리영's phone side, holding a tight profile detail in which her thumb, the visible microphone icon, and her lips share the central and lower portions of the frame. Pause before the prescribed dolly-out so the gesture reads clearly, with the phone kept at a natural scale and part of her cheek and hand providing human reference.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 휴대전화 (Recording a voice message) — The active screen face is angled toward the camera, showing the microphone icon beneath her pressing thumb; used as Primary foreground focus beside 수리영's lips; 바다 (Obscured by dense fog); used as Reduced to a soft spatial trace beyond 수리영 as she addresses the sea.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Soft, desaturated dusk ambience maintains restrained contrast across her skin, hand, and phone without adding an unstated light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same foggy dusk harbor, muted wet surfaces, dockside light, and nearby boat placement. Preserve the young woman's clothing and phone from the continuing moment. Exclude the boatman and the earlier face-to-face arrangement from this tight hand-and-phone insert.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young uses her phone to leave Hye-soo a voice message while retaining the backpack of maps and the old photograph.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the tight profile detail with an intimate, shallow-focus lens feel, keeping the pressed thumb, visible microphone icon, lower edge of the phone, and nearby lips crisply legible while her cheek falls gently softer. Hold the camera steady at mouth-and-hand height, with the fog-covered sea dissolving into a faint, desaturated spatial trace beyond her. Let the soft dusk ambience reveal natural skin texture, fingertip pressure, and the phone’s physical surface without heightened contrast.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 수리영의 엄지손가락이 휴대전화 화면의 마이크 아이콘을 누른 채 기기 아랫부분을 입술 가까이 댄 클로즈업.

LOCATION (lock): At the harbor edge beside the moored boat, facing the fog-covered sea at dusk. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Begin at mouth-and-hand height just behind 수리영's phone side, holding a tight profile detail in which her thumb, the visible microphone icon, and her lips share the central and lower portions of the frame. Pause before the prescribed dolly-out so the gesture reads clearly, with the phone kept at a natural scale and part of her cheek and hand providing human reference.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 휴대전화 (Recording a voice message) — The active screen face is angled toward the camera, showing the microphone icon beneath her pressing thumb; used as Primary foreground focus beside 수리영's lips; 바다 (Obscured by dense fog); used as Reduced to a soft spatial trace beyond 수리영 as she addresses the sea.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Soft, desaturated dusk ambience maintains restrained contrast across her skin, hand, and phone without adding an unstated light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same foggy dusk harbor, muted wet surfaces, dockside light, and nearby boat placement. Preserve the young woman's clothing and phone from the continuing moment. Exclude the boatman and the earlier face-to-face arrangement from this tight hand-and-phone insert.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young uses her phone to leave Hye-soo a voice message while retaining the backpack of maps and the old photograph.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, slightly flatter close-up perspective that binds her lips, thumb, and angled phone screen into a precise profile composition, with the microphone icon clearly readable beneath the pressing thumb. Preserve a modest sense of depth through the partial cheek and hand at natural scale, while allowing the fog-covered sea to remain a soft but discernible layer behind her. Favor balanced focus across the central gesture and quiet, low-contrast dusk modeling rather than isolating a single detail.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Replace the protruding 3D button on the screen with a flat, 2D graphic of a microphone icon displayed natively on the screen.
- Redraw the pressing thumb with correct human anatomy, ensuring a natural fingernail and joint structure are visible.
- Add the black backpack strap crossing down over the dark grey hoodie on her visible shoulder.
- Remove the blue chat bubbles and illegible text scribbles from the phone screen, leaving a clean recording interface.
- Raise and move the phone closer to her mouth so its lower edge sits immediately beside her lips, and reframe so the lips, pressing thumb, and microphone icon share the central and lower frame.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 난장판이 된 옥탑방 거실 한가운데 서서 휴대전화 스피커를 귓가에 댄 채 두 눈을 크게 뜬 혜수의 굳은 얼굴.

LOCATION (lock): In the middle of the ransacked rooftop apartment living room at dusk, with the entrance door rattling in the wind. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the eye-level dolly-in on the head-on axis, settling into a medium portrait with 혜수 centered and the phone pressed beside her face. Her widened eyes and arrested movement carry the frame, while the disordered room remains peripheral rather than competing with her expression.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 휴대전화 (Playing 수리영's recorded message) — Its screen face angles away from the camera while the speaker side is held to her ear; screen content is unreadable; used as Held beside 혜수's face as the secondary focal point and the source of the recorded message; 난장판이 된 옥탑방 거실 (Disordered); used as Peripheral clutter frames 혜수's rigid isolation without obscuring her silhouette.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-to-mid-key ambient illumination appropriate to dusk renders the room desaturated and stark around 혜수's fixed face.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same wrecked rooftop-room living area, dusk lighting, open window, footprints, and toppled chairs as persistent conditions. Preserve the bleak, wind-disturbed atmosphere. Exclude the young woman from the reference and place only the female officer in the room; do not restore any displaced furniture.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains ransacked, with the open window, overturned chairs, and other signs of searching still undisturbed; the red circle remains on the bedroom wall without the removed photograph.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 난장판이 된 옥탑방 거실 한가운데 서서 휴대전화 스피커를 귓가에 댄 채 두 눈을 크게 뜬 혜수의 굳은 얼굴.

LOCATION (lock): In the middle of the ransacked rooftop apartment living room at dusk, with the entrance door rattling in the wind. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the eye-level dolly-in on the head-on axis, settling into a medium portrait with 혜수 centered and the phone pressed beside her face. Her widened eyes and arrested movement carry the frame, while the disordered room remains peripheral rather than competing with her expression.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 휴대전화 (Playing 수리영's recorded message) — Its screen face angles away from the camera while the speaker side is held to her ear; screen content is unreadable; used as Held beside 혜수's face as the secondary focal point and the source of the recorded message; 난장판이 된 옥탑방 거실 (Disordered); used as Peripheral clutter frames 혜수's rigid isolation without obscuring her silhouette.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-to-mid-key ambient illumination appropriate to dusk renders the room desaturated and stark around 혜수's fixed face.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same wrecked rooftop-room living area, dusk lighting, open window, footprints, and toppled chairs as persistent conditions. Preserve the bleak, wind-disturbed atmosphere. Exclude the young woman from the reference and place only the female officer in the room; do not restore any displaced furniture.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains ransacked, with the open window, overturned chairs, and other signs of searching still undisturbed; the red circle remains on the bedroom wall without the removed photograph.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, intimate lens feel with very shallow depth of field, holding crisp focus across 혜수's widened eyes, rigid facial muscles, and the phone beside her face while the wrecked room falls into soft, desaturated peripheral blur. Let the dusk illumination from the open window graze her face from the side, with gentle falloff into the room, creating a claustrophobic psychological portrait without losing the physical presence of the surrounding disorder.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 난장판이 된 옥탑방 거실 한가운데 서서 휴대전화 스피커를 귓가에 댄 채 두 눈을 크게 뜬 혜수의 굳은 얼굴.

LOCATION (lock): In the middle of the ransacked rooftop apartment living room at dusk, with the entrance door rattling in the wind. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the eye-level dolly-in on the head-on axis, settling into a medium portrait with 혜수 centered and the phone pressed beside her face. Her widened eyes and arrested movement carry the frame, while the disordered room remains peripheral rather than competing with her expression.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 휴대전화 (Playing 수리영's recorded message) — Its screen face angles away from the camera while the speaker side is held to her ear; screen content is unreadable; used as Held beside 혜수's face as the secondary focal point and the source of the recorded message; 난장판이 된 옥탑방 거실 (Disordered); used as Peripheral clutter frames 혜수's rigid isolation without obscuring her silhouette.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-to-mid-key ambient illumination appropriate to dusk renders the room desaturated and stark around 혜수's fixed face.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same wrecked rooftop-room living area, dusk lighting, open window, footprints, and toppled chairs as persistent conditions. Preserve the bleak, wind-disturbed atmosphere. Exclude the young woman from the reference and place only the female officer in the room; do not restore any displaced furniture.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains ransacked, with the open window, overturned chairs, and other signs of searching still undisturbed; the red circle remains on the bedroom wall without the removed photograph.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a more observational lens feel and moderately deep focus, preserving readable layers of the disordered living room around the centered medium portrait while keeping every background element subordinate in scale and contrast. Shape the dusk ambience with stark, restrained tonal separation: 혜수's still face and phone remain the clearest visual anchor, while the open window, toppled chairs, footprints, and wind-disturbed room recede as a bleak spatial enclosure around her.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Change the solid red disc on the wall into an open red ring of brush-width, showing the wallpaper texture inside it.
- Dress the woman in the brown leather jacket from her character reference over her grey t-shirt.
- Pull the camera back to a true medium shot, framing Hyesu from approximately the waist up while keeping her centered on the same eye-level head-on axis and preserving the room as peripheral context.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 사진을 보고 두 눈이 커진 채 어깨를 움츠리며 뒤로 주춤 물러선 인우의 당황한 얼굴.

LOCATION (lock): On the open deck of the small fishing boat at dusk, in front of the seated passenger and the wheelhouse. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the completed front three-quarter arc at 인우's eye height, begin a controlled dolly-out while holding his startled face near center and allowing his recoiling shoulders to enter the lower frame. Keep the photograph only as a partial near-edge threat, so the changed axis from the preceding shot is camera distance while his gaze and orientation remain continuous.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 낡은 흑백 사진 (Held close to 인우) — Only part of the printed front face enters from the lower edge, still directed toward 인우; used as A partially visible foreground cue motivating 인우's recoil; 조타실 입구 (Accessible from the deck) — The entrance faces obliquely toward the camera behind one of 인우's shoulders; used as The distant route of his impending escape, kept subdued behind his shoulder.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Desaturated dusk ambience and restrained contrast isolate 인우's widened eyes without introducing stylized illumination.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues holding the old photograph in front of In-woo, and her backpack of maps remains 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: 인우 (한국인 남성, 24세, 검은 머리, 수려한 이목구비) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 사진을 보고 두 눈이 커진 채 어깨를 움츠리며 뒤로 주춤 물러선 인우의 당황한 얼굴.

LOCATION (lock): On the open deck of the small fishing boat at dusk, in front of the seated passenger and the wheelhouse. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the completed front three-quarter arc at 인우's eye height, begin a controlled dolly-out while holding his startled face near center and allowing his recoiling shoulders to enter the lower frame. Keep the photograph only as a partial near-edge threat, so the changed axis from the preceding shot is camera distance while his gaze and orientation remain continuous.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 낡은 흑백 사진 (Held close to 인우) — Only part of the printed front face enters from the lower edge, still directed toward 인우; used as A partially visible foreground cue motivating 인우's recoil; 조타실 입구 (Accessible from the deck) — The entrance faces obliquely toward the camera behind one of 인우's shoulders; used as The distant route of his impending escape, kept subdued behind his shoulder.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Desaturated dusk ambience and restrained contrast isolate 인우's widened eyes without introducing stylized illumination.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues holding the old photograph in front of In-woo, and her backpack of maps remains 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: 인우 (한국인 남성, 24세, 검은 머리, 수려한 이목구비) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use an intimate, shallow-focus close-up that locks critical sharpness on In-woo’s widened eyes and startled facial tension as the dolly-out reveals his recoiling shoulders. Let the photograph remain a soft, partial intrusion at the lower edge and keep the wheelhouse entrance subdued behind his shoulder, barely legible through the falloff. Soft desaturated dusk ambience wraps his face with restrained contrast, preserving natural skin texture and minute changes in his brow, jaw, and gaze.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 사진을 보고 두 눈이 커진 채 어깨를 움츠리며 뒤로 주춤 물러선 인우의 당황한 얼굴.

LOCATION (lock): On the open deck of the small fishing boat at dusk, in front of the seated passenger and the wheelhouse. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the completed front three-quarter arc at 인우's eye height, begin a controlled dolly-out while holding his startled face near center and allowing his recoiling shoulders to enter the lower frame. Keep the photograph only as a partial near-edge threat, so the changed axis from the preceding shot is camera distance while his gaze and orientation remain continuous.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 낡은 흑백 사진 (Held close to 인우) — Only part of the printed front face enters from the lower edge, still directed toward 인우; used as A partially visible foreground cue motivating 인우's recoil; 조타실 입구 (Accessible from the deck) — The entrance faces obliquely toward the camera behind one of 인우's shoulders; used as The distant route of his impending escape, kept subdued behind his shoulder.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Desaturated dusk ambience and restrained contrast isolate 인우's widened eyes without introducing stylized illumination.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues holding the old photograph in front of In-woo, and her backpack of maps remains 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: 인우 (한국인 남성, 24세, 검은 머리, 수려한 이목구비) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the close-up with a restrained compressed perspective and moderately deep focus, organizing the partial photograph, In-woo’s centered startled face and recoiling shoulders, and the distant wheelhouse entrance along one tense depth axis. Preserve the completed front three-quarter eye-level view while allowing the controlled dolly-out to make his backward movement read through changing spatial separation rather than exaggerated blur. Keep the dusk light flat, cool, and desaturated, with understated tonal distinction between his face, the foreground print, and the worn background.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Modify the hand holding the photograph so it enters from the left and holds the left edge of the photo, matching the continuity of the previous shot.
- Remove the garbled text from the sticker on the wheelhouse behind the character and from the building in the background.
- Move the camera to In-woo’s eye-level front three-quarter axis so the wheelhouse entrance appears obliquely behind one shoulder, while keeping his face near center.
- Stage In-woo’s upper body recoiling backward with both shoulders visibly drawn up, preserving his centered close-up placement.
- Keep In-woo’s gaze orientation continuous with the preceding shot and reposition the photograph along that same sightline.
- Reduce the photograph to a narrow, soft partial intrusion from the lower edge without changing the rest of the framing.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 조타실 입구에서 조타기를 향해 뻗은 인우의 팔을 두 손으로 꽉 움켜쥔 수리영의 정지된 전신.

LOCATION (lock): At the wheelhouse entrance on the fishing boat's open deck, immediately beside the controls inside. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Hold a static wide profile from waist height beside the wheelhouse entrance, several meters away, so both full bodies and the blocked path to the helm remain legible. 수리영 anchors the lower-left in a braced pull while 인우 stretches diagonally toward the right-side helm, freezing the struggle at maximum extension.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 조타실 입구 (Open) — Its open side faces the camera in profile, with both figures caught across the threshold; used as Frames the collision and marks the boundary between deck and confined interior; 조타기 (Within reach but not yet grasped) — Its operating side faces 인우 and is seen obliquely by the camera; used as The destination of 인우's extended arm, visible inside the wheelhouse without becoming oversized; 갑판 (Occupied by 수리영 and 인우); used as Provides the wider exterior plane behind the locked struggle.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural dusk ambience remains desaturated and low-to-mid-key, preserving tactile realism in the physical struggle.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wheelhouse already contains numerous circular motifs, including the red circle revealed moments later. Suri-young still has her backpack and the old photograph as she grabs In-woo's arm.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 인우 (한국인 남성, 24세, 검은 머리, 수려한 이목구비) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 조타실 입구에서 조타기를 향해 뻗은 인우의 팔을 두 손으로 꽉 움켜쥔 수리영의 정지된 전신.

LOCATION (lock): At the wheelhouse entrance on the fishing boat's open deck, immediately beside the controls inside. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Hold a static wide profile from waist height beside the wheelhouse entrance, several meters away, so both full bodies and the blocked path to the helm remain legible. 수리영 anchors the lower-left in a braced pull while 인우 stretches diagonally toward the right-side helm, freezing the struggle at maximum extension.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 조타실 입구 (Open) — Its open side faces the camera in profile, with both figures caught across the threshold; used as Frames the collision and marks the boundary between deck and confined interior; 조타기 (Within reach but not yet grasped) — Its operating side faces 인우 and is seen obliquely by the camera; used as The destination of 인우's extended arm, visible inside the wheelhouse without becoming oversized; 갑판 (Occupied by 수리영 and 인우); used as Provides the wider exterior plane behind the locked struggle.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural dusk ambience remains desaturated and low-to-mid-key, preserving tactile realism in the physical struggle.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wheelhouse already contains numerous circular motifs, including the red circle revealed moments later. Suri-young still has her backpack and the old photograph as she grabs In-woo's arm.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 인우 (한국인 남성, 24세, 검은 머리, 수려한 이목구비) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, rectilinear wide-lens feel with deep focus, turning the wheelhouse threshold into a rigid architectural frame around the struggle. Preserve clear separation among the braced lower-left figure, the opposing diagonal reach, and the helm beyond, with the open deck providing sober negative space. Let soft natural dusk fall broadly across worn surfaces, retaining subdued shadow detail and an observational, tactile realism.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 조타실 입구에서 조타기를 향해 뻗은 인우의 팔을 두 손으로 꽉 움켜쥔 수리영의 정지된 전신.

LOCATION (lock): At the wheelhouse entrance on the fishing boat's open deck, immediately beside the controls inside. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Hold a static wide profile from waist height beside the wheelhouse entrance, several meters away, so both full bodies and the blocked path to the helm remain legible. 수리영 anchors the lower-left in a braced pull while 인우 stretches diagonally toward the right-side helm, freezing the struggle at maximum extension.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 조타실 입구 (Open) — Its open side faces the camera in profile, with both figures caught across the threshold; used as Frames the collision and marks the boundary between deck and confined interior; 조타기 (Within reach but not yet grasped) — Its operating side faces 인우 and is seen obliquely by the camera; used as The destination of 인우's extended arm, visible inside the wheelhouse without becoming oversized; 갑판 (Occupied by 수리영 and 인우); used as Provides the wider exterior plane behind the locked struggle.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural dusk ambience remains desaturated and low-to-mid-key, preserving tactile realism in the physical struggle.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wheelhouse already contains numerous circular motifs, including the red circle revealed moments later. Suri-young still has her backpack and the old photograph as she grabs In-woo's arm.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 인우 (한국인 남성, 24세, 검은 머리, 수려한 이목구비) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a mildly compressed lens feel from the prescribed static profile position, visually tightening the distance between the locked hands, the fully extended arm, and the helm while keeping both complete bodies and the blocked route readable. Build the composition around the taut diagonal from the lower-left brace toward the right-side controls, with the threshold layers closely stacked behind it. Shape the natural dusk as restrained side light, allowing firmer shadow and delicate edge separation to emphasize muscular strain without losing realistic texture.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Re-render the background to show the wheelhouse entrance in profile, and position the figures so they are caught across the threshold.
- Change In-woo's pose so he is stretching his arm diagonally toward the helm, with Suri-young tightly gripping that reaching arm.
- Angle the photograph in Suri-young's hand so its front side does not perfectly face the camera.
- Move the camera to a waist-height side-profile position beside the wheelhouse entrance, several meters away, while preserving the wide full-body framing.
- Restage In-woo across the threshold with his body and extended arm reaching diagonally toward the visible right-side helm, while Suri-young remains braced in the lower-left pulling him back.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 검지손가락이 낡은 흑백 사진 속 어린 여자아이의 얼굴을 꾹 짚고 있는 클로즈업.

LOCATION (lock): Inside the cramped fishing-boat wheelhouse, beside the helm where the old photograph is being examined. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Directly above the photograph at hand height, hold an extreme insert in which 수리영's fingertip presses into the pictured girl's face at center, with only a narrow surrounding portion of the print retained for context. Keep both the human fingertip and the printed face in the same shallow focal plane, excluding the wider confrontation entirely.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: 낡은 흑백 사진 (Old black-and-white photograph) — The printed front face is square to the overhead camera, showing the young girl's face directly beneath 수리영's index fingertip; used as The isolated focal surface beneath 수리영's fingertip.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral, subdued dusk-appropriate illumination preserves the photograph's monochrome detail and the tactile pressure of the fingertip.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same cramped wheelhouse, dusk illumination, worn interior materials, controls, and circular markings. Preserve the clothing of both people and the old photograph used in the confrontation. Exclude the preceding full-body struggle and steering-wheel emphasis from this tight finger-and-photograph insert.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still holds the same old photograph while pointing to the child identified as Minsuk; her backpack of maps remains with her, and the wheelhouse circles remain unchanged.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 수리영의 검지손가락이 낡은 흑백 사진 속 어린 여자아이의 얼굴을 꾹 짚고 있는 클로즈업.

LOCATION (lock): Inside the cramped fishing-boat wheelhouse, beside the helm where the old photograph is being examined. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Directly above the photograph at hand height, hold an extreme insert in which 수리영's fingertip presses into the pictured girl's face at center, with only a narrow surrounding portion of the print retained for context. Keep both the human fingertip and the printed face in the same shallow focal plane, excluding the wider confrontation entirely.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: 낡은 흑백 사진 (Old black-and-white photograph) — The printed front face is square to the overhead camera, showing the young girl's face directly beneath 수리영's index fingertip; used as The isolated focal surface beneath 수리영's fingertip.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral, subdued dusk-appropriate illumination preserves the photograph's monochrome detail and the tactile pressure of the fingertip.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same cramped wheelhouse, dusk illumination, worn interior materials, controls, and circular markings. Preserve the clothing of both people and the old photograph used in the confrontation. Exclude the preceding full-body struggle and steering-wheel emphasis from this tight finger-and-photograph insert.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still holds the same old photograph while pointing to the child identified as Minsuk; her backpack of maps remains with her, and the wheelhouse circles remain unchanged.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Treat the insert as a stark, evidentiary image: rigidly centered, nearly symmetrical, and visually still. Use soft, even dusk illumination with restrained contrast so the monochrome facial detail remains legible through the point of contact, while gentle edge falloff isolates the central identification without losing the photograph’s physical wear.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 수리영의 검지손가락이 낡은 흑백 사진 속 어린 여자아이의 얼굴을 꾹 짚고 있는 클로즈업.

LOCATION (lock): Inside the cramped fishing-boat wheelhouse, beside the helm where the old photograph is being examined. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Directly above the photograph at hand height, hold an extreme insert in which 수리영's fingertip presses into the pictured girl's face at center, with only a narrow surrounding portion of the print retained for context. Keep both the human fingertip and the printed face in the same shallow focal plane, excluding the wider confrontation entirely.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: 낡은 흑백 사진 (Old black-and-white photograph) — The printed front face is square to the overhead camera, showing the young girl's face directly beneath 수리영's index fingertip; used as The isolated focal surface beneath 수리영's fingertip.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral, subdued dusk-appropriate illumination preserves the photograph's monochrome detail and the tactile pressure of the fingertip.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same cramped wheelhouse, dusk illumination, worn interior materials, controls, and circular markings. Preserve the clothing of both people and the old photograph used in the confrontation. Exclude the preceding full-body struggle and steering-wheel emphasis from this tight finger-and-photograph insert.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still holds the same old photograph while pointing to the child identified as Minsuk; her backpack of maps remains with her, and the wheelhouse circles remain unchanged.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Build the insert around tactile pressure, letting the finger enter on a strong diagonal toward the centered face. Shape the subdued dusk light at a shallow side angle so minute relief, contact shadow, paper grain, and the fingertip’s compression become palpable; allow the narrow outer edges to fall softly away while keeping fingertip and printed face equally sharp.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Replace the printed image on the photograph with the exact scene from the prop reference showing two girls sitting in front of a building.
- Move the camera directly above the photograph and align the print square to the image plane, preserving the same tight insert framing.
- Reorient the entering index finger along a strong diagonal toward the centered girl's face while preserving its contact point and everything else.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 힘없이 무너져 내린 수리영의 머리가 자신을 서늘하게 노려보는 인우의 어깨 위에 기대어진 정지 순간.

LOCATION (lock): Inside the fishing boat's narrow wheelhouse at dusk, immediately beside the helm. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At shoulder height beside the pair, dolly backward just enough to gather both upper bodies, then stop precisely as 수리영's head settles on 인우's shoulder. Place her slack profile across the left-center and his rigid three-quarter face at the upper-right, using their physical contact rather than a tighter cut to hold the menace.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 좁은 조타실 내부 (Occupied by 수리영 and 인우); used as Confines the held two-shot and leaves little open space around the bodies; 조타기 (No longer the immediate focus) — Its operating side is partly visible behind 인우's body; used as Remains partly visible behind 인우 as a reminder of the interrupted attempt to turn the boat.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Desaturated low-to-mid-key ambient light appropriate to dusk keeps 수리영's collapse tragic while 인우's fixed expression remains cold and grounded.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same narrow wheelhouse, steering controls, worn surfaces, dusk light, and circular markings. Preserve both characters' clothing and their positions near the controls while changing them to the collapse described here. Exclude the old photograph and the earlier blocking struggle, showing only the unconscious woman resting on the boatman's shoulder.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Suriyoung has collapsed against Inwoo with her body slack and her head resting on his shoulder.

IMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious
exerts NO muscular effort. Every part of their body — head, torso,
arms, hands, fingers, legs — rests fully on whatever supports it
(floor, wall, furniture, their own lap) and hangs or slumps with
gravity. NEVER show any part of an immobile person's body lifted,
raised, held up in the air, or posed as if presenting something:
an object in their grip stays clenched in a hand that itself lies
fallen on a support — the hand does not hold the object up. If the
canonical pose leaves a body part unspecified, resolve it as the
most gravity-compliant, fully-supported position.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suriyoung has collapsed against Inwoo with her body slack and her head resting on his shoulder, still carrying her backpack; absent any shown release, the photograph remains in her hand. The wheelhouse's many circles, including the red one, remain in place.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 인우 (한국인 남성, 24세, 검은 머리, 수려한 이목구비) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 힘없이 무너져 내린 수리영의 머리가 자신을 서늘하게 노려보는 인우의 어깨 위에 기대어진 정지 순간.

LOCATION (lock): Inside the fishing boat's narrow wheelhouse at dusk, immediately beside the helm. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At shoulder height beside the pair, dolly backward just enough to gather both upper bodies, then stop precisely as 수리영's head settles on 인우's shoulder. Place her slack profile across the left-center and his rigid three-quarter face at the upper-right, using their physical contact rather than a tighter cut to hold the menace.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 좁은 조타실 내부 (Occupied by 수리영 and 인우); used as Confines the held two-shot and leaves little open space around the bodies; 조타기 (No longer the immediate focus) — Its operating side is partly visible behind 인우's body; used as Remains partly visible behind 인우 as a reminder of the interrupted attempt to turn the boat.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Desaturated low-to-mid-key ambient light appropriate to dusk keeps 수리영's collapse tragic while 인우's fixed expression remains cold and grounded.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same narrow wheelhouse, steering controls, worn surfaces, dusk light, and circular markings. Preserve both characters' clothing and their positions near the controls while changing them to the collapse described here. Exclude the old photograph and the earlier blocking struggle, showing only the unconscious woman resting on the boatman's shoulder.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Suriyoung has collapsed against Inwoo with her body slack and her head resting on his shoulder.

IMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious
exerts NO muscular effort. Every part of their body — head, torso,
arms, hands, fingers, legs — rests fully on whatever supports it
(floor, wall, furniture, their own lap) and hangs or slumps with
gravity. NEVER show any part of an immobile person's body lifted,
raised, held up in the air, or posed as if presenting something:
an object in their grip stays clenched in a hand that itself lies
fallen on a support — the hand does not hold the object up. If the
canonical pose leaves a body part unspecified, resolve it as the
most gravity-compliant, fully-supported position.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suriyoung has collapsed against Inwoo with her body slack and her head resting on his shoulder, still carrying her backpack; absent any shown release, the photograph remains in her hand. The wheelhouse's many circles, including the red one, remain in place.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 인우 (한국인 남성, 24세, 검은 머리, 수려한 이목구비) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, intimate lens feel with shallow depth of field, isolating Suriyoung’s slack left-center profile, the weight of her head on Inwoo’s shoulder, and his rigid three-quarter face at upper-right. Hold crisp focus across their point of contact and Inwoo’s cold gaze toward her, while the cramped wheelhouse and partly visible helm controls fall softly away. Shape the desaturated dusk ambience into gentle facial modeling, preserving natural skin texture and subdued shadow detail.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 힘없이 무너져 내린 수리영의 머리가 자신을 서늘하게 노려보는 인우의 어깨 위에 기대어진 정지 순간.

LOCATION (lock): Inside the fishing boat's narrow wheelhouse at dusk, immediately beside the helm. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At shoulder height beside the pair, dolly backward just enough to gather both upper bodies, then stop precisely as 수리영's head settles on 인우's shoulder. Place her slack profile across the left-center and his rigid three-quarter face at the upper-right, using their physical contact rather than a tighter cut to hold the menace.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 좁은 조타실 내부 (Occupied by 수리영 and 인우); used as Confines the held two-shot and leaves little open space around the bodies; 조타기 (No longer the immediate focus) — Its operating side is partly visible behind 인우's body; used as Remains partly visible behind 인우 as a reminder of the interrupted attempt to turn the boat.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Desaturated low-to-mid-key ambient light appropriate to dusk keeps 수리영's collapse tragic while 인우's fixed expression remains cold and grounded.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same narrow wheelhouse, steering controls, worn surfaces, dusk light, and circular markings. Preserve both characters' clothing and their positions near the controls while changing them to the collapse described here. Exclude the old photograph and the earlier blocking struggle, showing only the unconscious woman resting on the boatman's shoulder.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Suriyoung has collapsed against Inwoo with her body slack and her head resting on his shoulder.

IMMOBILE BODIES OBEY GRAVITY: a person who is dead or unconscious
exerts NO muscular effort. Every part of their body — head, torso,
arms, hands, fingers, legs — rests fully on whatever supports it
(floor, wall, furniture, their own lap) and hangs or slumps with
gravity. NEVER show any part of an immobile person's body lifted,
raised, held up in the air, or posed as if presenting something:
an object in their grip stays clenched in a hand that itself lies
fallen on a support — the hand does not hold the object up. If the
canonical pose leaves a body part unspecified, resolve it as the
most gravity-compliant, fully-supported position.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suriyoung has collapsed against Inwoo with her body slack and her head resting on his shoulder, still carrying her backpack; absent any shown release, the photograph remains in her hand. The wheelhouse's many circles, including the red one, remain in place.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 인우 (한국인 남성, 24세, 검은 머리, 수려한 이목구비) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Favor a firmer, deeper-focus rendering that keeps both upper bodies and the nearby wheelhouse structure legible, using the confined interior lines to press tightly around the pair. Let Inwoo’s rigid posture form a hard vertical anchor at upper-right while Suriyoung’s gravity-led collapse cuts softly across the left-center; retain the operating side of the helm partly behind him as a quiet trace of the interrupted turn. Keep the dusk light flat, cool, and desaturated, with restrained contrast and tactile wear visible on the surrounding surfaces.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Redirect Inwoo's eyes to look down and to his right, fixing his cold gaze directly on Suriyoung.
- Remove the black text from the white panel on the right edge of the frame, leaving a blank surface.
- Redirect Inwoo’s gaze downward toward Suriyoung while preserving the camera, framing, poses, and all other elements.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 낡은 다세대 빌라 건물의 옥탑방이 내려다보이는 주간의 부감 구도.

LOCATION (lock): Above the rooftop of an aging low-rise residential building, overlooking the exterior of its rooftop room in daylight. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the descending crane move in a direct overhead wide shot, settling with the rooftop room near the center and the upper portion of the old multi-unit villa surrounding it. Keep the building's roof geometry square to the frame so the rooftop room reads as the destination of the preceding aerial approach rather than as an abstract shape.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: rooftop room in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 옥탑방 (Part of the old villa) — Its top and perimeter face the directly overhead camera; used as The rooftop room is the central destination of the overhead approach; 낡은 다세대 빌라 (Old multi-unit residential building) — Its roof and upper outline face the camera from directly below; used as The upper building mass provides scale and spatial context around the rooftop room; 인천 변두리 (Daytime exterior); used as The surrounding district remains visible at the outer frame as location context.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight appropriate to the stated daytime exterior is rendered with restrained saturation and grounded contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 낡은 다세대 빌라 건물의 옥탑방이 내려다보이는 주간의 부감 구도.

LOCATION (lock): Above the rooftop of an aging low-rise residential building, overlooking the exterior of its rooftop room in daylight. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the descending crane move in a direct overhead wide shot, settling with the rooftop room near the center and the upper portion of the old multi-unit villa surrounding it. Keep the building's roof geometry square to the frame so the rooftop room reads as the destination of the preceding aerial approach rather than as an abstract shape.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: rooftop room in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 옥탑방 (Part of the old villa) — Its top and perimeter face the directly overhead camera; used as The rooftop room is the central destination of the overhead approach; 낡은 다세대 빌라 (Old multi-unit residential building) — Its roof and upper outline face the camera from directly below; used as The upper building mass provides scale and spatial context around the rooftop room; 인천 변두리 (Daytime exterior); used as The surrounding district remains visible at the outer frame as location context.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight appropriate to the stated daytime exterior is rendered with restrained saturation and grounded contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a rectilinear, deep-focus overhead view with disciplined architectural precision. Keep the roof edges parallel to the frame, the rooftop room clearly resolved at the center, and the surrounding upper building mass and outer district legible in layered detail. Render the daylight neutrally, emphasizing authentic weathering, roof textures, and grounded spatial scale.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 낡은 다세대 빌라 건물의 옥탑방이 내려다보이는 주간의 부감 구도.

LOCATION (lock): Above the rooftop of an aging low-rise residential building, overlooking the exterior of its rooftop room in daylight. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the descending crane move in a direct overhead wide shot, settling with the rooftop room near the center and the upper portion of the old multi-unit villa surrounding it. Keep the building's roof geometry square to the frame so the rooftop room reads as the destination of the preceding aerial approach rather than as an abstract shape.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: rooftop room in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 옥탑방 (Part of the old villa) — Its top and perimeter face the directly overhead camera; used as The rooftop room is the central destination of the overhead approach; 낡은 다세대 빌라 (Old multi-unit residential building) — Its roof and upper outline face the camera from directly below; used as The upper building mass provides scale and spatial context around the rooftop room; 인천 변두리 (Daytime exterior); used as The surrounding district remains visible at the outer frame as location context.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight appropriate to the stated daytime exterior is rendered with restrained saturation and grounded contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the direct overhead wide view with a gently compressed lens feel, making the rooftop room register as the visual endpoint while the surrounding villa roof forms a dense enclosing field. Hold the center with crisp material detail and allow a subtle, natural reduction of definition toward the outer district, without losing its location context. Keep contrast restrained and let tonal separation rather than exaggerated color guide the eye inward.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Change the camera angle to a direct 90-degree overhead shot pointing straight down at the roof, so only the top surfaces are visible.
- Replace the window on the green door of the rooftop room with a solid green panel to match the structure reference.
- Move the camera to a true vertical bird’s-eye position directly above the villa, keeping the roof geometry square to the frame and the rooftop room centered while preserving the wide framing.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 꼬리를 내리고 바닥에 얌전히 엎드린 로트와일러의 전신.

LOCATION (lock): Inside a dog enclosure within the animal shelter. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the dolly backward from near the dog's head at body height, settling into a low frontal wide composition that contains its entire body. Keep the 로트와일러 centered in the lower-middle frame with visible space around its tucked tail and lowered posture, preparing the camera to rise and leave it behind.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: shelter floor (Visible beneath the dog); used as Provides the ground plane that makes the dog's complete submissive posture legible.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daytime ambient light preserves a restrained, desaturated palette and grounded contrast without glamorizing the animal's submission.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The Rottweiler's aggression has subsided under Suri-young's gaze, leaving it docile for the injection.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 꼬리를 내리고 바닥에 얌전히 엎드린 로트와일러의 전신.

LOCATION (lock): Inside a dog enclosure within the animal shelter. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the dolly backward from near the dog's head at body height, settling into a low frontal wide composition that contains its entire body. Keep the 로트와일러 centered in the lower-middle frame with visible space around its tucked tail and lowered posture, preparing the camera to rise and leave it behind.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: shelter floor (Visible beneath the dog); used as Provides the ground plane that makes the dog's complete submissive posture legible.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daytime ambient light preserves a restrained, desaturated palette and grounded contrast without glamorizing the animal's submission.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The Rottweiler's aggression has subsided under Suri-young's gaze, leaving it docile for the injection.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, low frontal wide view with a natural, minimally distorted lens feel. Hold the Rottweiler precisely centered in the lower-middle frame, its entire body and tucked tail clearly separated against the shelter floor, while deep focus preserves the enclosure’s physical depth and worn surfaces. Keep the daytime ambient light broad and unsentimental, with muted color and firm but natural tonal separation.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 꼬리를 내리고 바닥에 얌전히 엎드린 로트와일러의 전신.

LOCATION (lock): Inside a dog enclosure within the animal shelter. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the dolly backward from near the dog's head at body height, settling into a low frontal wide composition that contains its entire body. Keep the 로트와일러 centered in the lower-middle frame with visible space around its tucked tail and lowered posture, preparing the camera to rise and leave it behind.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: shelter floor (Visible beneath the dog); used as Provides the ground plane that makes the dog's complete submissive posture legible.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daytime ambient light preserves a restrained, desaturated palette and grounded contrast without glamorizing the animal's submission.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The Rottweiler's aggression has subsided under Suri-young's gaze, leaving it docile for the injection.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph from the same low frontal position with a more expansive wide-angle sense of floor depth, letting the ground plane lead toward the Rottweiler while maintaining ample clear space around its complete body and tucked tail. Keep the dog crisply resolved as the enclosure recedes with gentle focus falloff, emphasizing how low and still its posture has become. Shape the available daytime ambient light softly across its coat and the floor, retaining desaturated color and grounded contrast.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Angle the dog's body slightly so its entire length, hindquarters, and tucked tail are clearly visible against the floor.
- Remove the illegible text signs from the wall below the background windows.
- Shift the low camera slightly off the dog's head-on axis while keeping a frontal wide view, so the entire body and tucked tail are visibly separated against the floor, with the dog still centered in the lower-middle frame.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 시점, 반쯤 열린 채 내부의 캄캄한 어둠을 드러낸 옥탑방 현관 철문.

LOCATION (lock): At the top of the exterior rooftop stairs, facing the half-open metal entrance door and the darkness beyond it. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From 수리영's exact eye line at rooftop height, the camera faces the rooftop-room entrance directly as the restrained dolly-in reaches its endpoint. The half-open iron door sits near the center and occupies less than two-fifths of the frame, with the visible interior gap held as the deepest point while the surrounding entrance provides scale.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: half-open rooftop-room entrance in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: rooftop-room iron entrance door (half-open) — Its exterior-facing side is visible at an oblique opening angle, exposing part of the entrance beyond; used as Central architectural frame around the dark interior gap; rooftop-room interior (dark); used as Deep focal void visible through the doorway.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambience keeps the palette restrained while preserving the doorway and its dark interior as distinct tonal planes.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The forced rooftop-room entrance remains half open, exposing the dark interior; Suri-young's bicycle stays parked below in the courtyard.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 시점, 반쯤 열린 채 내부의 캄캄한 어둠을 드러낸 옥탑방 현관 철문.

LOCATION (lock): At the top of the exterior rooftop stairs, facing the half-open metal entrance door and the darkness beyond it. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From 수리영's exact eye line at rooftop height, the camera faces the rooftop-room entrance directly as the restrained dolly-in reaches its endpoint. The half-open iron door sits near the center and occupies less than two-fifths of the frame, with the visible interior gap held as the deepest point while the surrounding entrance provides scale.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: half-open rooftop-room entrance in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: rooftop-room iron entrance door (half-open) — Its exterior-facing side is visible at an oblique opening angle, exposing part of the entrance beyond; used as Central architectural frame around the dark interior gap; rooftop-room interior (dark); used as Deep focal void visible through the doorway.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambience keeps the palette restrained while preserving the doorway and its dark interior as distinct tonal planes.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The forced rooftop-room entrance remains half open, exposing the dark interior; Suri-young's bicycle stays parked below in the courtyard.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Hold a disciplined eye-level wide view with near-symmetrical architectural geometry, keeping the half-open iron door small and centered within the surrounding entrance. Use deep focus and restrained nighttime exposure so the worn metal, threshold, and adjacent surfaces remain physically legible while the interior gap falls into a dense, clearly bounded black void. Let subtle tonal separation rather than dramatic highlights pull the eye inward.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 수리영의 시점, 반쯤 열린 채 내부의 캄캄한 어둠을 드러낸 옥탑방 현관 철문.

LOCATION (lock): At the top of the exterior rooftop stairs, facing the half-open metal entrance door and the darkness beyond it. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From 수리영's exact eye line at rooftop height, the camera faces the rooftop-room entrance directly as the restrained dolly-in reaches its endpoint. The half-open iron door sits near the center and occupies less than two-fifths of the frame, with the visible interior gap held as the deepest point while the surrounding entrance provides scale.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: half-open rooftop-room entrance in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: rooftop-room iron entrance door (half-open) — Its exterior-facing side is visible at an oblique opening angle, exposing part of the entrance beyond; used as Central architectural frame around the dark interior gap; rooftop-room interior (dark); used as Deep focal void visible through the doorway.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime ambience keeps the palette restrained while preserving the doorway and its dark interior as distinct tonal planes.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The forced rooftop-room entrance remains half open, exposing the dark interior; Suri-young's bicycle stays parked below in the courtyard.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Build the wide frame around strong foreground-to-background perspective, allowing the rooftop landing and entrance architecture to form quiet converging lines toward the middle-center doorway. Keep the camera at the fixed eye line and the door under two-fifths of the image, with the oblique metal slab creating a sharp layered edge against the recessed darkness. Use soft, low-key night ambience with gentle sideward falloff across the metal and surrounding surfaces, preserving a deep tonal plunge beyond the threshold.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Change the door material to a solid, flat iron/metal slab.
- Remove the bicycle from the rooftop.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 젖혀진 커튼 뒤, 머리를 푹 숙인 채 방바닥에 앉아 미동도 없는 민숙(강민숙)의 창백한 시신.

LOCATION (lock): Behind the window curtain in the daughter's bedroom of the rooftop apartment, above a blood-soaked floor. 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: Inside 수리영's room, the advancing camera settles into a static, slightly high three-quarter view at the end of the dolly, revealing 강민숙's entire seated body behind the displaced curtain. She occupies the right-center midground while the curtain edge frames the left foreground and the blood-marked floor leads toward her lowered hand, preparing the next downward move without changing the viewing axis.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: curtain (drawn aside); used as Parted foreground frame that completes the corpse reveal; room floor with blood and footprints (blood pooled and marked by bloody footprints); used as Ground plane leading the eye from the room toward the body; bed (present) — The side nearest 강민숙 and the wall above it are visible behind her; used as Spatial reference behind the seated body and for the later wall reveal.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key interior illumination renders the corpse pale against a restrained, desaturated room, with the blood retained as the deepest selective red.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's corpse remains seated motionless on the bedroom floor behind the curtain with her head dropped forward over her body, her shoulder and collarbone torn open amid pooled blood and bloody tracks. One lifeless hand remains closed around a crumpled photograph, and the circular mark remains on her wrist.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 젖혀진 커튼 뒤, 머리를 푹 숙인 채 방바닥에 앉아 미동도 없는 민숙(강민숙)의 창백한 시신.

LOCATION (lock): Behind the window curtain in the daughter's bedroom of the rooftop apartment, above a blood-soaked floor. 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: Inside 수리영's room, the advancing camera settles into a static, slightly high three-quarter view at the end of the dolly, revealing 강민숙's entire seated body behind the displaced curtain. She occupies the right-center midground while the curtain edge frames the left foreground and the blood-marked floor leads toward her lowered hand, preparing the next downward move without changing the viewing axis.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: curtain (drawn aside); used as Parted foreground frame that completes the corpse reveal; room floor with blood and footprints (blood pooled and marked by bloody footprints); used as Ground plane leading the eye from the room toward the body; bed (present) — The side nearest 강민숙 and the wall above it are visible behind her; used as Spatial reference behind the seated body and for the later wall reveal.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key interior illumination renders the corpse pale against a restrained, desaturated room, with the blood retained as the deepest selective red.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's corpse remains seated motionless on the bedroom floor behind the curtain with her head dropped forward over her body, her shoulder and collarbone torn open amid pooled blood and bloody tracks. One lifeless hand remains closed around a crumpled photograph, and the circular mark remains on her wrist.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained wide-lens feel with deep focus and clear spatial separation from the parted curtain in the left foreground, across the glossy blood-marked floor, to the entire seated body in the right-center midground and the bed beyond. Keep the slightly high three-quarter viewpoint clinically stable, letting floor lines, pooled blood, and footprints pull the eye toward the lowered hand and crumpled photograph. Shape the low-key illumination with soft directional falloff, preserving tactile fabric, skin, and liquid detail while the pale corpse stands in stark, desaturated isolation.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 젖혀진 커튼 뒤, 머리를 푹 숙인 채 방바닥에 앉아 미동도 없는 민숙(강민숙)의 창백한 시신.

LOCATION (lock): Behind the window curtain in the daughter's bedroom of the rooftop apartment, above a blood-soaked floor. 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: Inside 수리영's room, the advancing camera settles into a static, slightly high three-quarter view at the end of the dolly, revealing 강민숙's entire seated body behind the displaced curtain. She occupies the right-center midground while the curtain edge frames the left foreground and the blood-marked floor leads toward her lowered hand, preparing the next downward move without changing the viewing axis.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: curtain (drawn aside); used as Parted foreground frame that completes the corpse reveal; room floor with blood and footprints (blood pooled and marked by bloody footprints); used as Ground plane leading the eye from the room toward the body; bed (present) — The side nearest 강민숙 and the wall above it are visible behind her; used as Spatial reference behind the seated body and for the later wall reveal.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key interior illumination renders the corpse pale against a restrained, desaturated room, with the blood retained as the deepest selective red.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's corpse remains seated motionless on the bedroom floor behind the curtain with her head dropped forward over her body, her shoulder and collarbone torn open amid pooled blood and bloody tracks. One lifeless hand remains closed around a crumpled photograph, and the circular mark remains on her wrist.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Give the wide composition a compressed, observational lens feel, with the soft curtain edge looming as an intimate foreground veil while the entire seated body remains sharply resolved behind it and the bed settles close in depth. Hold the static slightly elevated three-quarter angle so her collapsed posture, torn shoulder and collarbone, closed hand, wrist mark, and absolute stillness dominate without changing her right-center placement. Use dense shadow and narrowly controlled low-key light across her pallor, allowing the blood to catch sparse wet highlights as the only forceful color in the room.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Change the red smudge on the right wrist into a clearly drawn circular mark.
- Make the hand tightly closed around a clearly recognizable crumpled photograph.
- Redraw the bloody footprints on the floor to match anatomically correct human foot proportions and toe counts.
- Correct the toes on the visible foot to have normal human anatomy.
- Shift the parted curtain farther left so Minsuk’s entire seated body, including both feet and all extremities, is unobstructed while preserving her right-center midground placement and the same camera axis.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 축 늘어진 민숙(강민숙)의 죽은 손아귀 안에 구겨진 사진 한 장이 살짝 삐져나온 클로즈업.

LOCATION (lock): On the floor behind the curtain in the daughter's bedroom, beside the seated body. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At hand height beside 강민숙, the dolly-in ends on an isolated detail of her lowered hand and the crumpled photograph protruding between closed fingers. The hand crosses the lower center while the photograph remains below one-third of the frame, with a narrow strip of floor and forearm preserving realistic scale and the wrist waiting just beyond the focal plane.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: crumpled photograph (crumpled and partially concealed) — The camera sees part of its image-bearing face protruding from the closed hand; the depicted content is not yet fully exposed; used as Primary insert detail held between the corpse's fingers; room floor (visible around the lowered hand); used as Thin contextual plane around the hand that maintains physical scale.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained low-key illumination isolates the pale hand and photograph without introducing a new light source or color beyond the scene's muted palette.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk is seated motionless on the bedroom floor behind the curtain with her head dropped forward over her body, with the torn shoulder wound and surrounding blood; one lifeless hand remains closed around a crumpled photograph, and her wrist bears the circular mark.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 축 늘어진 민숙(강민숙)의 죽은 손아귀 안에 구겨진 사진 한 장이 살짝 삐져나온 클로즈업.

LOCATION (lock): On the floor behind the curtain in the daughter's bedroom, beside the seated body. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At hand height beside 강민숙, the dolly-in ends on an isolated detail of her lowered hand and the crumpled photograph protruding between closed fingers. The hand crosses the lower center while the photograph remains below one-third of the frame, with a narrow strip of floor and forearm preserving realistic scale and the wrist waiting just beyond the focal plane.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: crumpled photograph (crumpled and partially concealed) — The camera sees part of its image-bearing face protruding from the closed hand; the depicted content is not yet fully exposed; used as Primary insert detail held between the corpse's fingers; room floor (visible around the lowered hand); used as Thin contextual plane around the hand that maintains physical scale.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained low-key illumination isolates the pale hand and photograph without introducing a new light source or color beyond the scene's muted palette.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk is seated motionless on the bedroom floor behind the curtain with her head dropped forward over her body, with the torn shoulder wound and surrounding blood; one lifeless hand remains closed around a crumpled photograph, and her wrist bears the circular mark.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a compressed, intimate lens feel with extremely selective focus placed on the creased photograph edge where it emerges between the fingers. Let the nearer hand contours and the forearm fall away softly, with the wrist already beyond focus; restrained low-key illumination catches only the paper ridges, pale knuckles, and slight skin texture against a nearly submerged floor plane.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 축 늘어진 민숙(강민숙)의 죽은 손아귀 안에 구겨진 사진 한 장이 살짝 삐져나온 클로즈업.

LOCATION (lock): On the floor behind the curtain in the daughter's bedroom, beside the seated body. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At hand height beside 강민숙, the dolly-in ends on an isolated detail of her lowered hand and the crumpled photograph protruding between closed fingers. The hand crosses the lower center while the photograph remains below one-third of the frame, with a narrow strip of floor and forearm preserving realistic scale and the wrist waiting just beyond the focal plane.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: crumpled photograph (crumpled and partially concealed) — The camera sees part of its image-bearing face protruding from the closed hand; the depicted content is not yet fully exposed; used as Primary insert detail held between the corpse's fingers; room floor (visible around the lowered hand); used as Thin contextual plane around the hand that maintains physical scale.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained low-key illumination isolates the pale hand and photograph without introducing a new light source or color beyond the scene's muted palette.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk is seated motionless on the bedroom floor behind the curtain with her head dropped forward over her body, with the torn shoulder wound and surrounding blood; one lifeless hand remains closed around a crumpled photograph, and her wrist bears the circular mark.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a natural close-focus perspective from the locked hand-height position, rendering the closed hand, crushed paper, and thin surrounding floor plane with sober physical clarity while the wrist slips gently beyond the focal plane. Emphasize the diagonal weight of the lowered forearm and the rigid enclosure of the fingers around the photograph; soft directional falloff from the existing scene light reveals paper compression, skin folds, and floor texture without exposing the concealed image.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Replace the right hand with a left hand holding the photograph to match the pose in the reference image.
- Redraw the fingers to curl naturally inward toward the hidden palm, removing the visible fingernails from this angle.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붓으로 칠한 듯한 붉은색 원형 표식이 선명하게 드러난 정지 상태.

LOCATION (lock): At the wall directly above the bed in the daughter's bedroom of the rooftop apartment. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the low position near 강민숙, the completed upward tilt holds absolutely still on the wall above the bed. The fully formed red circle sits in the upper-middle portion and remains under one-third of the frame, while the top edge of the bed anchors the lower quarter and confirms the mark's location.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: wall bearing the red circular mark in the upper-center of the frame, background; bed below the mark in the lower-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: wall above the bed (red circular mark fully visible) — The camera-facing wall surface clearly bears a complete, brush-like red circular mark; used as Locked focal surface carrying the supernatural reveal; bed (present) — Its upper edge and the side nearest the wall face the camera from below the mark; used as Lower-frame spatial anchor establishing that the mark is above it.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The still, low-key interior rendering suppresses surrounding color so the fully visible red circle becomes the sole emphatic accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's seated corpse and bloody wounds remain behind the curtain, but the photograph has now been removed from her hand by Suri-young. The wrist mark has turned red, and a new red circle remains visible on the wall above the bed.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붓으로 칠한 듯한 붉은색 원형 표식이 선명하게 드러난 정지 상태.

LOCATION (lock): At the wall directly above the bed in the daughter's bedroom of the rooftop apartment. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the low position near 강민숙, the completed upward tilt holds absolutely still on the wall above the bed. The fully formed red circle sits in the upper-middle portion and remains under one-third of the frame, while the top edge of the bed anchors the lower quarter and confirms the mark's location.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: wall bearing the red circular mark in the upper-center of the frame, background; bed below the mark in the lower-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: wall above the bed (red circular mark fully visible) — The camera-facing wall surface clearly bears a complete, brush-like red circular mark; used as Locked focal surface carrying the supernatural reveal; bed (present) — Its upper edge and the side nearest the wall face the camera from below the mark; used as Lower-frame spatial anchor establishing that the mark is above it.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The still, low-key interior rendering suppresses surrounding color so the fully visible red circle becomes the sole emphatic accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's seated corpse and bloody wounds remain behind the curtain, but the photograph has now been removed from her hand by Suri-young. The wrist mark has turned red, and a new red circle remains visible on the wall above the bed.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use an austere, near-symmetrical medium composition from the locked low upward angle, with a natural perspective and restrained depth extending from the bed edge to the wall. Hold the complete brush-stroked red ring crisply in the upper center while the bed forms a quiet, clearly legible anchor across the lower quarter. Dim, soft interior light falls evenly enough to preserve the wall’s real texture and the ring’s uneven painted edges, with surrounding colors muted into cool shadow so the red alone commands attention.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붓으로 칠한 듯한 붉은색 원형 표식이 선명하게 드러난 정지 상태.

LOCATION (lock): At the wall directly above the bed in the daughter's bedroom of the rooftop apartment. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the low position near 강민숙, the completed upward tilt holds absolutely still on the wall above the bed. The fully formed red circle sits in the upper-middle portion and remains under one-third of the frame, while the top edge of the bed anchors the lower quarter and confirms the mark's location.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: wall bearing the red circular mark in the upper-center of the frame, background; bed below the mark in the lower-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: wall above the bed (red circular mark fully visible) — The camera-facing wall surface clearly bears a complete, brush-like red circular mark; used as Locked focal surface carrying the supernatural reveal; bed (present) — Its upper edge and the side nearest the wall face the camera from below the mark; used as Lower-frame spatial anchor establishing that the mark is above it.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The still, low-key interior rendering suppresses surrounding color so the fully visible red circle becomes the sole emphatic accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk's seated corpse and bloody wounds remain behind the curtain, but the photograph has now been removed from her hand by Suri-young. The wrist mark has turned red, and a new red circle remains visible on the wall above the bed.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the locked medium framing with a compressed lens feel, isolating the wall mark as the plane of sharpest focus while allowing the bed edge below to fall gently soft without losing its spatial identity. Let low, directional light graze across the wall, revealing the physical drag, thickness, and irregular absorption of the red brush stroke against the surface. Keep the lower frame dense and subdued, creating a tense depth separation in which the complete red ring appears starkly present rather than graphic or luminous.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Lower the bed and its headboard so their upper edge begins within the lower quarter of the frame, preserving the centered wall mark and all other framing.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 핏자국이나 벽의 붉은 표식, 시신 하나 없이 지나치게 말끔히 정돈된 수리영의 빈 방 안 전경.

LOCATION (lock): Inside the daughter's bedroom of the rooftop apartment, now unnaturally clean and orderly with the curtain and bed area empty. 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 standing eye level on the threshold, the static wide frame presents the full room as an unnervingly orderly arrangement. The bed and bare wall occupy the central depth, the curtain area remains visible to one side, and open floor space in the foreground confirms that no body, blood, footprints, or red mark remains.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: bed (carefully arranged) — Its long side and the wall-facing end are visible from the threshold; used as Central spatial anchor proving the room has been reset; wall above the bed (blank and clean) — Its camera-facing surface is blank, with no red circular mark visible; used as Exposed content surface where the red mark should have been; curtain area (no body visible); used as Side-frame area where the corpse had been found; room floor (clean, with no blood or bloody footprints); used as Broad foreground evidence plane.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral interior ambient light presents the desaturated, carefully ordered room with controlled mid-key clarity and no red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bedroom has been unnaturally cleaned and reordered: Minsuk's corpse, all blood, and the red wall mark are gone, and the furniture and belongings are slightly displaced from their earlier positions.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 핏자국이나 벽의 붉은 표식, 시신 하나 없이 지나치게 말끔히 정돈된 수리영의 빈 방 안 전경.

LOCATION (lock): Inside the daughter's bedroom of the rooftop apartment, now unnaturally clean and orderly with the curtain and bed area empty. 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 standing eye level on the threshold, the static wide frame presents the full room as an unnervingly orderly arrangement. The bed and bare wall occupy the central depth, the curtain area remains visible to one side, and open floor space in the foreground confirms that no body, blood, footprints, or red mark remains.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: bed (carefully arranged) — Its long side and the wall-facing end are visible from the threshold; used as Central spatial anchor proving the room has been reset; wall above the bed (blank and clean) — Its camera-facing surface is blank, with no red circular mark visible; used as Exposed content surface where the red mark should have been; curtain area (no body visible); used as Side-frame area where the corpse had been found; room floor (clean, with no blood or bloody footprints); used as Broad foreground evidence plane.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral interior ambient light presents the desaturated, carefully ordered room with controlled mid-key clarity and no red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bedroom has been unnaturally cleaned and reordered: Minsuk's corpse, all blood, and the red wall mark are gone, and the furniture and belongings are slightly displaced from their earlier positions.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, rectilinear wide-lens feel with near-frontal geometry and deep focus from foreground to back wall. Hold the composition rigid and balanced around the central depth anchor, letting straight architectural lines and evenly legible surfaces create a clinical, evidence-like stillness. Keep the neutral ambient illumination broad and controlled, with subdued contrast, desaturated color, and precise material detail.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 핏자국이나 벽의 붉은 표식, 시신 하나 없이 지나치게 말끔히 정돈된 수리영의 빈 방 안 전경.

LOCATION (lock): Inside the daughter's bedroom of the rooftop apartment, now unnaturally clean and orderly with the curtain and bed area empty. 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 standing eye level on the threshold, the static wide frame presents the full room as an unnervingly orderly arrangement. The bed and bare wall occupy the central depth, the curtain area remains visible to one side, and open floor space in the foreground confirms that no body, blood, footprints, or red mark remains.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: bed (carefully arranged) — Its long side and the wall-facing end are visible from the threshold; used as Central spatial anchor proving the room has been reset; wall above the bed (blank and clean) — Its camera-facing surface is blank, with no red circular mark visible; used as Exposed content surface where the red mark should have been; curtain area (no body visible); used as Side-frame area where the corpse had been found; room floor (clean, with no blood or bloody footprints); used as Broad foreground evidence plane.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral interior ambient light presents the desaturated, carefully ordered room with controlled mid-key clarity and no red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bedroom has been unnaturally cleaned and reordered: Minsuk's corpse, all blood, and the red wall mark are gone, and the furniture and belongings are slightly displaced from their earlier positions.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Favor a subtly more expansive wide-angle perspective while retaining the locked standing-height threshold view, giving the open foreground plane greater visual weight and allowing converging room lines to draw the eye into the central depth. Compose with deliberate asymmetrical tension between the central anchor and the visible side area, creating unease through negative space rather than dramatic lighting. Maintain natural depth, gentle edge falloff, controlled mid-key exposure, and cool-neutral, desaturated surfaces.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Restore the dark wooden headboard to the far end of the bed against the wall.
- Narrow the back wall so the right edge of the window and curtain are immediately adjacent to the room's right corner, matching the reference architecture.
- Remove the small wooden cabinet located against the back wall beneath the window.
- Reframe slightly to the right so the bed occupies the central depth as the primary spatial anchor, with its long side and wall-facing end fully visible, while retaining the curtain area at one side and the broad open foreground floor.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 푸르스름한 새벽 여명이 밝아오는 하늘 아래, 노란 불빛이 새어 나오는 옥탑방 창문을 올려다보는 검은 고양이의 모습.

LOCATION (lock): On the residential building's rooftop at dawn, outside a rooftop room whose window emits yellow interior light. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the black cat's rear three-quarter side near ground level, hold a wide static composition with the cat crouched low in the lower-right and the lit rooftop-room window high in the upper-left. The steep upward relationship between animal and window establishes the cat's eyeline while preserving lateral space for its coming turn toward the wall.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 검은 고양이 in the lower-right of the frame, foreground, looks toward lit rooftop-room window; lit rooftop-room window in the upper-left of the frame, background.
- KEY BACKGROUND ELEMENTS: 옥탑방 창문 (lit from inside) — The camera sees the illuminated room side through the window from below; used as The elevated visual anchor receiving the cat's upward look; 담 (fixed boundary beside the rooftop room) — Its side rises across the cat's intended lateral path; used as Defines the route the cat will cross after turning away from the window.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Bluish dawn light is held in a restrained palette against the muted yellow illumination emerging from the rooftop-room window.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains lit through dawn after the night's events.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 푸르스름한 새벽 여명이 밝아오는 하늘 아래, 노란 불빛이 새어 나오는 옥탑방 창문을 올려다보는 검은 고양이의 모습.

LOCATION (lock): On the residential building's rooftop at dawn, outside a rooftop room whose window emits yellow interior light. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the black cat's rear three-quarter side near ground level, hold a wide static composition with the cat crouched low in the lower-right and the lit rooftop-room window high in the upper-left. The steep upward relationship between animal and window establishes the cat's eyeline while preserving lateral space for its coming turn toward the wall.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 검은 고양이 in the lower-right of the frame, foreground, looks toward lit rooftop-room window; lit rooftop-room window in the upper-left of the frame, background.
- KEY BACKGROUND ELEMENTS: 옥탑방 창문 (lit from inside) — The camera sees the illuminated room side through the window from below; used as The elevated visual anchor receiving the cat's upward look; 담 (fixed boundary beside the rooftop room) — Its side rises across the cat's intended lateral path; used as Defines the route the cat will cross after turning away from the window.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Bluish dawn light is held in a restrained palette against the muted yellow illumination emerging from the rooftop-room window.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains lit through dawn after the night's events.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use deep focus and a restrained, rectilinear wide composition, keeping the crouched cat, the rising boundary, and the elevated window clearly legible across the full depth. Emphasize the severe lower-right-to-upper-left diagonal of the cat’s gaze, with broad areas of cool dawn-toned architecture creating isolation around the two anchors. Let the yellow window light remain contained and softly luminous against crisp bluish ambient detail, with natural shadow density and minimal bloom.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 푸르스름한 새벽 여명이 밝아오는 하늘 아래, 노란 불빛이 새어 나오는 옥탑방 창문을 올려다보는 검은 고양이의 모습.

LOCATION (lock): On the residential building's rooftop at dawn, outside a rooftop room whose window emits yellow interior light. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the black cat's rear three-quarter side near ground level, hold a wide static composition with the cat crouched low in the lower-right and the lit rooftop-room window high in the upper-left. The steep upward relationship between animal and window establishes the cat's eyeline while preserving lateral space for its coming turn toward the wall.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 검은 고양이 in the lower-right of the frame, foreground, looks toward lit rooftop-room window; lit rooftop-room window in the upper-left of the frame, background.
- KEY BACKGROUND ELEMENTS: 옥탑방 창문 (lit from inside) — The camera sees the illuminated room side through the window from below; used as The elevated visual anchor receiving the cat's upward look; 담 (fixed boundary beside the rooftop room) — Its side rises across the cat's intended lateral path; used as Defines the route the cat will cross after turning away from the window.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Bluish dawn light is held in a restrained palette against the muted yellow illumination emerging from the rooftop-room window.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains lit through dawn after the night's events.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph from the locked near-ground viewpoint with selective focus favoring the cat’s rear three-quarter form and tactile foreground detail, while the high window remains unmistakable but gently softened in the background. Use the boundary as a strong layered plane crossing the depth between cat and room, preserving the lateral route while making the upward eyeline feel steep and expectant. Allow the yellow light to bloom subtly into the cool dawn atmosphere, with restrained contrast and a quiet, watchful mood.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Change the rusty metal door on the rooftop structure to match the green door shown in the STRUCTURE LOOK reference photograph.
- Remove the freestanding brick and concrete wall in the middle of the rooftop to restore the open spatial layout of the location reference photograph.
- Lower the cat into a compact crouching posture in the lower-right while preserving its upward gaze, screen position, and all other framing.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 거울 표면에 비친 수리영의 등 뒤 욕실 타일 벽면에 선명하게 드러난 붉은 원형 표식.

LOCATION (lock): Inside the rooftop apartment's bathroom, facing the mirror and the tiled wall reflected behind it. 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 just behind and slightly beside 수리영 at shoulder height, push directly toward the mirror until her reflected upper body sits off-center and the reflected red circle becomes fully legible over her shoulder. Settle into a brief, unnervingly static hold, keeping the mirror frame visible enough to establish that both 수리영 and the mark are seen only within its reflected space.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 욕실 거울 (showing the sudden reflected anomaly) — The mirror reflects 수리영's upper body and the tiled wall behind her, where the red circular mark is visible; the mirror frame remains partially in view; used as The primary image plane containing 수리영 and the otherwise impossible red mark; 욕실 타일 벽면 (a red circular mark is visible in the reflection) — Reflected behind 수리영, with the marked area held clearly in the composition; used as Appears inside the mirror behind 수리영 as the location of the circular mark; 세면대 (being used for support) — Its front edge sits below 수리영 and recedes toward the mirror; used as Provides a physical support point beneath the reflected figure.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral bathroom ambience remains desaturated and controlled while the reflected deep red circle becomes the sole forceful color accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young now has her doll-adorned backpack with her. The prior corpse and blood remain absent from the cleaned house.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 거울 표면에 비친 수리영의 등 뒤 욕실 타일 벽면에 선명하게 드러난 붉은 원형 표식.

LOCATION (lock): Inside the rooftop apartment's bathroom, facing the mirror and the tiled wall reflected behind it. 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 just behind and slightly beside 수리영 at shoulder height, push directly toward the mirror until her reflected upper body sits off-center and the reflected red circle becomes fully legible over her shoulder. Settle into a brief, unnervingly static hold, keeping the mirror frame visible enough to establish that both 수리영 and the mark are seen only within its reflected space.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 욕실 거울 (showing the sudden reflected anomaly) — The mirror reflects 수리영's upper body and the tiled wall behind her, where the red circular mark is visible; the mirror frame remains partially in view; used as The primary image plane containing 수리영 and the otherwise impossible red mark; 욕실 타일 벽면 (a red circular mark is visible in the reflection) — Reflected behind 수리영, with the marked area held clearly in the composition; used as Appears inside the mirror behind 수리영 as the location of the circular mark; 세면대 (being used for support) — Its front edge sits below 수리영 and recedes toward the mirror; used as Provides a physical support point beneath the reflected figure.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral bathroom ambience remains desaturated and controlled while the reflected deep red circle becomes the sole forceful color accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young now has her doll-adorned backpack with her. The prior corpse and blood remain absent from the cleaned house.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Treat the mirror as a cold, forensic image plane, with restrained depth and near-even clarity across the reflected upper body and tiled wall. Keep Suri-young visually subordinate and off-center while the red outlined circle holds the strongest compositional weight over her shoulder; use flat, cool early-morning ambience and precise surface detail for an unnervingly objective stillness.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 거울 표면에 비친 수리영의 등 뒤 욕실 타일 벽면에 선명하게 드러난 붉은 원형 표식.

LOCATION (lock): Inside the rooftop apartment's bathroom, facing the mirror and the tiled wall reflected behind it. 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 just behind and slightly beside 수리영 at shoulder height, push directly toward the mirror until her reflected upper body sits off-center and the reflected red circle becomes fully legible over her shoulder. Settle into a brief, unnervingly static hold, keeping the mirror frame visible enough to establish that both 수리영 and the mark are seen only within its reflected space.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 욕실 거울 (showing the sudden reflected anomaly) — The mirror reflects 수리영's upper body and the tiled wall behind her, where the red circular mark is visible; the mirror frame remains partially in view; used as The primary image plane containing 수리영 and the otherwise impossible red mark; 욕실 타일 벽면 (a red circular mark is visible in the reflection) — Reflected behind 수리영, with the marked area held clearly in the composition; used as Appears inside the mirror behind 수리영 as the location of the circular mark; 세면대 (being used for support) — Its front edge sits below 수리영 and recedes toward the mirror; used as Provides a physical support point beneath the reflected figure.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral bathroom ambience remains desaturated and controlled while the reflected deep red circle becomes the sole forceful color accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young now has her doll-adorned backpack with her. The prior corpse and blood remain absent from the cleaned house.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Build a claustrophobic layered composition through the visible mirror frame and the receding sink edge, drawing the eye inward toward Suri-young’s reflected upper body before it lands on the unmistakable red ring behind her. Use gentle focus separation while preserving the mark’s clear shape, with subtly directional early-morning ambience leaving the reflected tile field in controlled falloff and the deep red stroke as the only forceful color.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove the physical foreground figure of Suri-young and her backpack from the right side of the frame so she appears solely within the mirror's reflection.
- Lower or widen the framing slightly to include the sink’s front edge beneath Suri-young, visibly receding toward the mirror, while preserving the current camera axis and reflected placements.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 주관적 시점, 사진 속 민숙(강민숙)의 환하게 웃는 얼굴 표면이 기괴하게 일그러진 채 반쯤 흘러내린 끔찍한 환각의 정지 순간.

LOCATION (lock): At the dining table in the rooftop apartment's living area, where a family photograph is displayed. 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 수리영's exact subjective eye point, hold squarely on the photograph while cropping to the mother's side so the distorted face becomes the human primary subject and the POV character's pictured likeness remains outside the frame. Keep the photograph within a natural portion of the composition, with its edges and a narrow band of the table still visible as the smiling facial surface appears grotesquely displaced downward.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 식탁 위 사진 (subjectively distorted in 수리영's hallucination) — The printed front face is square to the camera, cropped to 강민숙's smiling portrait as it appears distorted and partially melted; used as The fixed content plane on which the facial hallucination occurs; 식탁 (holding the photograph); used as A narrow surrounding strip preserves the photograph's real-world scale and placement.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient daylight remains desaturated and naturalistic while the facial deformation carries the oppressive visual emphasis without introducing a new light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the doll-adorned backpack she took out before entering the bathroom; the apparent distortion of Minsuk's face is only a transient hallucination and leaves the photograph unchanged.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 주관적 시점, 사진 속 민숙(강민숙)의 환하게 웃는 얼굴 표면이 기괴하게 일그러진 채 반쯤 흘러내린 끔찍한 환각의 정지 순간.

LOCATION (lock): At the dining table in the rooftop apartment's living area, where a family photograph is displayed. 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 수리영's exact subjective eye point, hold squarely on the photograph while cropping to the mother's side so the distorted face becomes the human primary subject and the POV character's pictured likeness remains outside the frame. Keep the photograph within a natural portion of the composition, with its edges and a narrow band of the table still visible as the smiling facial surface appears grotesquely displaced downward.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 식탁 위 사진 (subjectively distorted in 수리영's hallucination) — The printed front face is square to the camera, cropped to 강민숙's smiling portrait as it appears distorted and partially melted; used as The fixed content plane on which the facial hallucination occurs; 식탁 (holding the photograph); used as A narrow surrounding strip preserves the photograph's real-world scale and placement.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient daylight remains desaturated and naturalistic while the facial deformation carries the oppressive visual emphasis without introducing a new light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the doll-adorned backpack she took out before entering the bathroom; the apparent distortion of Minsuk's face is only a transient hallucination and leaves the photograph unchanged.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a rigid, centered close-up with a restrained normal-lens perspective, keeping the printed plane, its visible edges, and the narrow strip of table crisply resolved. Let the subdued early-morning ambience fall evenly across the image so the grotesque downward displacement of the bright smile reads with clinical clarity against the photograph’s otherwise stable physical geometry.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 수리영의 주관적 시점, 사진 속 민숙(강민숙)의 환하게 웃는 얼굴 표면이 기괴하게 일그러진 채 반쯤 흘러내린 끔찍한 환각의 정지 순간.

LOCATION (lock): At the dining table in the rooftop apartment's living area, where a family photograph is displayed. 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 수리영's exact subjective eye point, hold squarely on the photograph while cropping to the mother's side so the distorted face becomes the human primary subject and the POV character's pictured likeness remains outside the frame. Keep the photograph within a natural portion of the composition, with its edges and a narrow band of the table still visible as the smiling facial surface appears grotesquely displaced downward.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 식탁 위 사진 (subjectively distorted in 수리영's hallucination) — The printed front face is square to the camera, cropped to 강민숙's smiling portrait as it appears distorted and partially melted; used as The fixed content plane on which the facial hallucination occurs; 식탁 (holding the photograph); used as A narrow surrounding strip preserves the photograph's real-world scale and placement.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient daylight remains desaturated and naturalistic while the facial deformation carries the oppressive visual emphasis without introducing a new light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the doll-adorned backpack she took out before entering the bathroom; the apparent distortion of Minsuk's face is only a transient hallucination and leaves the photograph unchanged.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Favor a claustrophobic close-up with the distorted smiling face weighted strongly within the crop, using shallow optical falloff so the facial surface commands attention while the photograph edges and table strip recede softly without disappearing. Shape the existing desaturated morning daylight into a gentle oblique wash, allowing slight tonal falloff across the print to make the downward-sliding hallucination feel immediate and oppressive.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Confine the distorted, melted facial features completely to the flat 2D printed surface within the borders of the photograph.
- Extend the physical photograph off one side of the screen so the camera framing crops out the rest of the family photo, rather than showing a complete four-sided portrait.
- Reposition the camera directly perpendicular to the photograph so its printed face is square to the lens, preserving everything else.
- Move in tighter so the distorted smiling face dominates the close-up while leaving only the photograph edges and a narrow surrounding strip of table visible.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): PC방 모니터 화면에 바다 위 특정 지점에 붉은 핀이 꽂힌 지도가 띄워져 있는 모습.

LOCATION (lock): At a computer cubicle inside an internet café, with a mapped sea coordinate displayed on the monitor. 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: Place the camera directly in front of the monitor at seated eye level and hold a static close view with the device frame still visible around the display. Center the sea map and its red pin, keeping the screen within a natural proportion rather than cropping away all surrounding monitor edges.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: PC방 모니터 화면 (지도와 붉은 위치 핀이 표시되어 있음) — The active front face is square to the camera and shows a map centered on a specific point at sea with a red pin; used as Acts as the sole focal plane and presents the mapped destination through a digital display; 모니터 외곽 (화면이 켜져 있음) — The front bezel faces the camera directly around the displayed map; used as Provides a narrow physical border that identifies the image as device-mediated.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Ambient interior illumination remains neutral and desaturated, while the displayed red pin supplies the single controlled deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The location entered from Suri-young's coordinate note is displayed on the map, and her doll-adorned backpack remains with her for the printed maps.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): PC방 모니터 화면에 바다 위 특정 지점에 붉은 핀이 꽂힌 지도가 띄워져 있는 모습.

LOCATION (lock): At a computer cubicle inside an internet café, with a mapped sea coordinate displayed on the monitor. 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: Place the camera directly in front of the monitor at seated eye level and hold a static close view with the device frame still visible around the display. Center the sea map and its red pin, keeping the screen within a natural proportion rather than cropping away all surrounding monitor edges.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: PC방 모니터 화면 (지도와 붉은 위치 핀이 표시되어 있음) — The active front face is square to the camera and shows a map centered on a specific point at sea with a red pin; used as Acts as the sole focal plane and presents the mapped destination through a digital display; 모니터 외곽 (화면이 켜져 있음) — The front bezel faces the camera directly around the displayed map; used as Provides a narrow physical border that identifies the image as device-mediated.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Ambient interior illumination remains neutral and desaturated, while the displayed red pin supplies the single controlled deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The location entered from Suri-young's coordinate note is displayed on the map, and her doll-adorned backpack remains with her for the printed maps.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, forensic visual treatment with exact frontal symmetry and a natural-perspective lens feel. Keep the display surface and narrow surrounding bezel evenly crisp, with controlled screen exposure, minimal glare, and neutral ambient illumination falling uniformly across the device. Render the deep-red accent with clean separation from the desaturated image, making the discovery feel precise and evidentiary.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): PC방 모니터 화면에 바다 위 특정 지점에 붉은 핀이 꽂힌 지도가 띄워져 있는 모습.

LOCATION (lock): At a computer cubicle inside an internet café, with a mapped sea coordinate displayed on the monitor. 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: Place the camera directly in front of the monitor at seated eye level and hold a static close view with the device frame still visible around the display. Center the sea map and its red pin, keeping the screen within a natural proportion rather than cropping away all surrounding monitor edges.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: PC방 모니터 화면 (지도와 붉은 위치 핀이 표시되어 있음) — The active front face is square to the camera and shows a map centered on a specific point at sea with a red pin; used as Acts as the sole focal plane and presents the mapped destination through a digital display; 모니터 외곽 (화면이 켜져 있음) — The front bezel faces the camera directly around the displayed map; used as Provides a narrow physical border that identifies the image as device-mediated.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Ambient interior illumination remains neutral and desaturated, while the displayed red pin supplies the single controlled deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The location entered from Suri-young's coordinate note is displayed on the map, and her doll-adorned backpack remains with her for the printed maps.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a more compressed, intimate lens feel while preserving the required frontal close-up and visible monitor border. Hold the illuminated display as the sole sharp plane, allowing the bezel to fall subtly softer toward the outer edges; let the surrounding ambient light recede gently so the screen seems to emerge from the subdued café interior. Give the red accent slight luminous density without bloom or graphic artificiality, creating a quiet sense of ominous destination.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove all text, labels, and numbers from the map, search bar, and user interface on the monitor screen.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 방 안쪽 벽면에 붉은색 도료로 거칠게 칠해진 커다란 원형 표식이 드러난 정지 구도.

LOCATION (lock): At the interior wall of the daughter's bedroom in the rooftop apartment, where a large red circle has been painted. 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 just inside the bedroom doorway at eye level, hold a still, frontal wide composition of the marked wall. Center the large red circle in the middle of the frame with the bloodied photograph fixed at its center, excluding 수리영 entirely and preserving empty wall around the symbol.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: large red circular wall mark with photograph fixed at its center in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 붉은 원형 표식이 그려진 벽 (커다란 붉은 원이 그려져 있음) — The marked face of the wall is square to the camera, displaying a large roughly painted red circle; used as Forms the symmetrical central image and prepares the straight dolly toward its center; 피묻은 사진 (피가 묻은 채 벽에 꽂혀 있음) — The photograph's image side faces the camera from the center of the circle, though its fine details remain small at this distance; used as Creates the precise focal point at the center of the circular mark; 침실 방문 (열려 있음) — The open doorway edges frame the marked wall from the room entrance; used as Provides a rigid foreground boundary for the frontal reveal.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained dusk ambience keeps the room desaturated and solemn, with the painted circle serving as the deliberate deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The ransacked state persists, and a large red circle is now painted on the bedroom wall with the bloodstained old photograph pinned at its center. Suri-young's backpack still contains the folded maps.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 방 안쪽 벽면에 붉은색 도료로 거칠게 칠해진 커다란 원형 표식이 드러난 정지 구도.

LOCATION (lock): At the interior wall of the daughter's bedroom in the rooftop apartment, where a large red circle has been painted. 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 just inside the bedroom doorway at eye level, hold a still, frontal wide composition of the marked wall. Center the large red circle in the middle of the frame with the bloodied photograph fixed at its center, excluding 수리영 entirely and preserving empty wall around the symbol.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: large red circular wall mark with photograph fixed at its center in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 붉은 원형 표식이 그려진 벽 (커다란 붉은 원이 그려져 있음) — The marked face of the wall is square to the camera, displaying a large roughly painted red circle; used as Forms the symmetrical central image and prepares the straight dolly toward its center; 피묻은 사진 (피가 묻은 채 벽에 꽂혀 있음) — The photograph's image side faces the camera from the center of the circle, though its fine details remain small at this distance; used as Creates the precise focal point at the center of the circular mark; 침실 방문 (열려 있음) — The open doorway edges frame the marked wall from the room entrance; used as Provides a rigid foreground boundary for the frontal reveal.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained dusk ambience keeps the room desaturated and solemn, with the painted circle serving as the deliberate deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The ransacked state persists, and a large red circle is now painted on the bedroom wall with the bloodstained old photograph pinned at its center. Suri-young's backpack still contains the folded maps.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a disciplined rectilinear lens feel with strict bilateral symmetry and deep focus from the doorway edges through the wall surface. Keep verticals true and the geometry rigid, allowing the rough brush ridges, uneven paint coverage, pinning point, dried blood, and surrounding wear to register with forensic clarity. Soft, cool dusk ambience spreads evenly across the room, while restrained contrast and natural color separation make the deep red feel stark against the desaturated setting.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 수리영의 방 안쪽 벽면에 붉은색 도료로 거칠게 칠해진 커다란 원형 표식이 드러난 정지 구도.

LOCATION (lock): At the interior wall of the daughter's bedroom in the rooftop apartment, where a large red circle has been painted. 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 just inside the bedroom doorway at eye level, hold a still, frontal wide composition of the marked wall. Center the large red circle in the middle of the frame with the bloodied photograph fixed at its center, excluding 수리영 entirely and preserving empty wall around the symbol.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: large red circular wall mark with photograph fixed at its center in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 붉은 원형 표식이 그려진 벽 (커다란 붉은 원이 그려져 있음) — The marked face of the wall is square to the camera, displaying a large roughly painted red circle; used as Forms the symmetrical central image and prepares the straight dolly toward its center; 피묻은 사진 (피가 묻은 채 벽에 꽂혀 있음) — The photograph's image side faces the camera from the center of the circle, though its fine details remain small at this distance; used as Creates the precise focal point at the center of the circular mark; 침실 방문 (열려 있음) — The open doorway edges frame the marked wall from the room entrance; used as Provides a rigid foreground boundary for the frontal reveal.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Restrained dusk ambience keeps the room desaturated and solemn, with the painted circle serving as the deliberate deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The ransacked state persists, and a large red circle is now painted on the bedroom wall with the bloodstained old photograph pinned at its center. Suri-young's backpack still contains the folded maps.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Let the doorway edges fall into soft, dark foreground defocus, creating a tunnel-like visual pull toward the precise center while the marked wall remains square and undistorted. Hold the photograph and nearby painted strokes at the sharpest plane, with clarity easing gently toward the outer wall and room edges. Shape the dusk exposure with subtle peripheral falloff and low-key tonal depth so the rough red pigment catches faint grazing texture and the centered image feels ominously isolated within the surrounding emptiness.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Mess up the bedsheets and scatter belongings on the floor to clearly show a ransacked state.
- Add Suri-young's backpack on the floor near the bed.
- Remove the camera and tripod silhouette from the window reflection.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 소형 어선의 뱃머리가 짙은 회색 안개 덩어리 속으로 절반쯤 들어간 채, 물살을 가르는 하얀 항적이 배 뒤편으로 길게 이어진 뒷모습.

LOCATION (lock): On the open sea at dusk, where the small fishing boat is crossing into a dense bank of gray fog. 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: Track from a low elevation several boat lengths behind, centered precisely on the small fishing boat's stern and forward course as its bow disappears halfway into the fog bank. The boat remains in the upper-center at environmental scale, while the long white wake begins beneath it and runs toward the lower-center foreground as the principal depth line.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: dense fog bank in the upper-center of the frame, background; long white wake in the lower-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 소형 어선 (Bow partly inside the fog) — Its stern faces the camera while its bow points into the upper-center fog bank; used as Primary moving subject seen from behind as it crosses the visual boundary; 짙은 안개 띠 (Dense and erasing the distant boundary); used as Forms the upper-center boundary that obscures the boat's forward half; 하얀 항적 (Long and continuous behind the moving boat); used as Creates a long central perspective line from the stern toward the camera; 바다 (Cut by the boat and its wake) — The surface reflects the setting sun as a golden path beneath the gray fog boundary; used as Carries the setting sun's explicitly described golden reflection around the boat's route; 지는 해 (Slowly setting); used as Provides the distant source of the golden reflection and the scene's final temporal marker.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Muted golden sunset reflection meets the dense gray fog in a desaturated, solemn low-to-mid-key finish.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The unconscious Suri-young remains aboard In-woo's boat with her backpack and the old photograph as the vessel enters the fog; no recovery, unloading, or removal of her belongings is shown.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 소형 어선의 뱃머리가 짙은 회색 안개 덩어리 속으로 절반쯤 들어간 채, 물살을 가르는 하얀 항적이 배 뒤편으로 길게 이어진 뒷모습.

LOCATION (lock): On the open sea at dusk, where the small fishing boat is crossing into a dense bank of gray fog. 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: Track from a low elevation several boat lengths behind, centered precisely on the small fishing boat's stern and forward course as its bow disappears halfway into the fog bank. The boat remains in the upper-center at environmental scale, while the long white wake begins beneath it and runs toward the lower-center foreground as the principal depth line.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: dense fog bank in the upper-center of the frame, background; long white wake in the lower-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 소형 어선 (Bow partly inside the fog) — Its stern faces the camera while its bow points into the upper-center fog bank; used as Primary moving subject seen from behind as it crosses the visual boundary; 짙은 안개 띠 (Dense and erasing the distant boundary); used as Forms the upper-center boundary that obscures the boat's forward half; 하얀 항적 (Long and continuous behind the moving boat); used as Creates a long central perspective line from the stern toward the camera; 바다 (Cut by the boat and its wake) — The surface reflects the setting sun as a golden path beneath the gray fog boundary; used as Carries the setting sun's explicitly described golden reflection around the boat's route; 지는 해 (Slowly setting); used as Provides the distant source of the golden reflection and the scene's final temporal marker.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Muted golden sunset reflection meets the dense gray fog in a desaturated, solemn low-to-mid-key finish.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The unconscious Suri-young remains aboard In-woo's boat with her backpack and the old photograph as the vessel enters the fog; no recovery, unloading, or removal of her belongings is shown.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained telephoto feel from the prescribed low trailing position, compressing the small upper-center boat against the dense fog boundary while preserving its environmental scale. Hold the composition in austere symmetry, with the continuous white wake forming a clean central axis through the darker sea. Keep the fog softly opaque and the muted golden reflection narrowly contained around the route, creating a solemn, compressed sense of disappearance.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 소형 어선의 뱃머리가 짙은 회색 안개 덩어리 속으로 절반쯤 들어간 채, 물살을 가르는 하얀 항적이 배 뒤편으로 길게 이어진 뒷모습.

LOCATION (lock): On the open sea at dusk, where the small fishing boat is crossing into a dense bank of gray fog. 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: Track from a low elevation several boat lengths behind, centered precisely on the small fishing boat's stern and forward course as its bow disappears halfway into the fog bank. The boat remains in the upper-center at environmental scale, while the long white wake begins beneath it and runs toward the lower-center foreground as the principal depth line.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: dense fog bank in the upper-center of the frame, background; long white wake in the lower-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 소형 어선 (Bow partly inside the fog) — Its stern faces the camera while its bow points into the upper-center fog bank; used as Primary moving subject seen from behind as it crosses the visual boundary; 짙은 안개 띠 (Dense and erasing the distant boundary); used as Forms the upper-center boundary that obscures the boat's forward half; 하얀 항적 (Long and continuous behind the moving boat); used as Creates a long central perspective line from the stern toward the camera; 바다 (Cut by the boat and its wake) — The surface reflects the setting sun as a golden path beneath the gray fog boundary; used as Carries the setting sun's explicitly described golden reflection around the boat's route; 지는 해 (Slowly setting); used as Provides the distant source of the golden reflection and the scene's final temporal marker.
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.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Muted golden sunset reflection meets the dense gray fog in a desaturated, solemn low-to-mid-key finish.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The unconscious Suri-young remains aboard In-woo's boat with her backpack and the old photograph as the vessel enters the fog; no recovery, unloading, or removal of her belongings is shown.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use an immersive wide-angle feel at the specified low elevation, letting the wake occupy the foreground with strong natural perspective before tapering toward the small stern in the upper-center. Render the nearby water and churned white trail with crisp tactile detail, then allow contrast and definition to fall away progressively into the gray fog. Let the subdued sunset sheen spread across the disturbed surface without overpowering the desaturated, low-key atmosphere.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Obscure the forward half of the boat in the dense gray fog so only the stern remains clearly visible.
- Lower the camera to a near-waterline tracking height while preserving the centered stern axis and wide framing.
- Move the boat farther into the upper-center fog bank so its bow and forward half are obscured while the stern remains visible.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 네온사인과 포장마차가 늘어선 번화가 거리에서 자전거 안장에 앉아 한쪽 무릎은 내려가고 반대쪽 무릎은 올라온 페달링 중 자세의 수리영 전신.

LOCATION (lock): On the busy commercial street outside a large supermarket, between neon signs and street-food stalls at dusk. The shot takes place here — the attached STORYBOARD SKETCH fixes the staging, camera and figure placement of this exact place. No location photograph is attached — build the location itself strictly from the location text above and the shot text, inventing nothing beyond them.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Dusk ambient light and the explicitly present neon signage are balanced in a restrained, desaturated grade with selective muted color accents.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues traveling on her bicycle through the shopping district.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 네온사인과 포장마차가 늘어선 번화가 거리에서 자전거 안장에 앉아 한쪽 무릎은 내려가고 반대쪽 무릎은 올라온 페달링 중 자세의 수리영 전신.

LOCATION (lock): On the busy commercial street outside a large supermarket, between neon signs and street-food stalls at dusk. The shot takes place here — the attached STORYBOARD SKETCH fixes the staging, camera and figure placement of this exact place. No location photograph is attached — build the location itself strictly from the location text above and the shot text, inventing nothing beyond them.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Dusk ambient light and the explicitly present neon signage are balanced in a restrained, desaturated grade with selective muted color accents.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues traveling on her bicycle through the shopping district.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the moment as an eye-level lateral tracking view, keeping Suri-young’s entire figure and bicycle clearly legible in a clean full-body composition. Let the commercial street recede in layered depth behind her, with restrained dusk ambience and muted neon reflections separating her from the street-food stalls. Preserve natural directional movement with a crisp subject and only subtle softness in the receding surroundings.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 네온사인과 포장마차가 늘어선 번화가 거리에서 자전거 안장에 앉아 한쪽 무릎은 내려가고 반대쪽 무릎은 올라온 페달링 중 자세의 수리영 전신.

LOCATION (lock): On the busy commercial street outside a large supermarket, between neon signs and street-food stalls at dusk. The shot takes place here — the attached STORYBOARD SKETCH fixes the staging, camera and figure placement of this exact place. No location photograph is attached — build the location itself strictly from the location text above and the shot text, inventing nothing beyond them.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Dusk ambient light and the explicitly present neon signage are balanced in a restrained, desaturated grade with selective muted color accents.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues traveling on her bicycle through the shopping district.

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, 긴 검은 머리, 타원형의 젊은 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a low frontal three-quarter viewpoint that gives the bicycle and Suri-young’s full pedaling posture immediate visual weight while retaining her complete body in frame. Compress the neon signs and street-food stalls into a dense backdrop, using shallow but believable depth so her raised and lowered knees read distinctly against separated planes. Shape the dusk light softly across her and allow restrained neon accents to edge the real metal, fabric, and street surfaces.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove all other people from the background, leaving only Suri-young in the scene.
- Remove all legible text and characters from the neon signs and storefronts, replacing them with abstract light shapes.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

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

SHOT TEXT (authoritative, Korean): 풀숲 그림자에 반쯤 가려진 불길한 주관적 시야 틈새로, 멀찍이 서 있는 혜수와 한쪽 다리를 공중에 띄운 채 달려가는 자세인 수리영의 실루엣이 담긴 구도.

LOCATION (lock): From concealed vegetation near the coastal bus stop, looking toward the bench area and the road where the two women separate. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime contrast leaves the distant figures as muted silhouettes while the foreground grass remains in concealing shadow.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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 ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 풀숲 그림자에 반쯤 가려진 불길한 주관적 시야 틈새로, 멀찍이 서 있는 혜수와 한쪽 다리를 공중에 띄운 채 달려가는 자세인 수리영의 실루엣이 담긴 구도.

LOCATION (lock): From concealed vegetation near the coastal bus stop, looking toward the bench area and the road where the two women separate. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime contrast leaves the distant figures as muted silhouettes while the foreground grass remains in concealing shadow.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph from a very low concealed eye line with a compressed long-lens feel, peering through a narrow, irregular gap in the shadowed grass. Keep the foreground vegetation soft and heavily occluding, while the distant Hye-su and Su-ri-young remain clearly readable as separate human figures; hold Su-ri-young’s airborne leg at the visual peak of the frame and counterbalance her motion with Hye-su’s stillness. Use restrained low-key night illumination and compressed depth to create the ominous sense of a hidden watcher.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

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

SHOT TEXT (authoritative, Korean): 풀숲 그림자에 반쯤 가려진 불길한 주관적 시야 틈새로, 멀찍이 서 있는 혜수와 한쪽 다리를 공중에 띄운 채 달려가는 자세인 수리영의 실루엣이 담긴 구도.

LOCATION (lock): From concealed vegetation near the coastal bus stop, looking toward the bench area and the road where the two women separate. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key nighttime contrast leaves the distant figures as muted silhouettes while the foreground grass remains in concealing shadow.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

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.

NATURAL PERFORMANCE (default only — every explicit direction above
wins): when no pose contract, immobility contract or shot-text
direction says otherwise, people read as alive in mid-moment —
believable weight shift, hands engaged with something real, gaze on
the target the SHOT TEXT implies; avoid a stiff attention stance (feet
together, arms hanging straight down) and a blank stare into the lens.
If the SHOT TEXT or any POSE/IMMOBILE contract above stages stillness,
death, sleep, unconsciousness, restraint, drill or an explicit
direct-to-camera look, follow THAT exactly — this clause never
overrides it.

DRAWN MARKS KEEP THEIR SHAPE: any mark the text describes as drawn,
painted or traced (a circle, a line, a symbol) is a STROKE sitting on
the surface — an outline whose interior still shows the underlying
surface (wall, skin, paper). Render its stated shape faithfully: a
drawn circle stays an open ring of brush-width, never filled into a
solid disc, unless the text explicitly says it is filled.

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, 긴 검은 머리, 타원형의 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 단정한 검은 머리, 성숙한 얼굴) — 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.

VISUAL APPROACH — this take (camera, framing, composition):
Use a wider subjective view from within the vegetation, with dark blades and clumps of grass occupying much of the near frame and leaving an off-center opening toward the distant women. Build strong layered depth: tactile foreground grass in partial focus, a broad zone of nocturnal darkness, then Hye-su standing and Su-ri-young caught running with one leg lifted in the far plane. Frame them small and asymmetrically with ample surrounding darkness, preserving enough muted edge light and tonal separation for their real bodies, clothing, and contrasting postures to remain legible.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove the long, thick dark line stretching across the ground between the two characters.
- Widen the view and place both women farther into the background so they appear substantially smaller within a broader zone of darkness.
- Shift the vegetation gap and the distant figures off-center to create a more asymmetrical concealed viewpoint while preserving all poses and motion directions.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.