E2E8 갤러리 v3 — 샷별 전체 생성 계보

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

SHOT TEXT (authoritative, Korean): 수리영이 강민숙의 어깨에 코를 묻은 채 눈을 감고 멈춘 상태.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron and retains the longstanding small circular mark on her inner wrist.

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, 짙은색 머리, 평범한 중년 얼굴); 수리영 (한국인 여성, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, narrow sunlight through a small window.

SHOT TEXT (authoritative, Korean): 수리영이 강민숙의 어깨에 코를 묻은 채 눈을 감고 멈춘 상태.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron and retains the longstanding small circular mark on her inner wrist.

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, 짙은색 머리, 평범한 중년 얼굴); 수리영 (한국인 여성, 21세, 짙은색 머리, 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 in an intimate shoulder-height close-up with a gently compressed lens feel. Frame Suriyoung’s closed eyes and the physical contact of her nose against Minsuk’s shoulder as the visual center, letting Minsuk’s apron and partial profile anchor the foreground. Use shallow depth of field and narrow window light grazing their faces and fabric, preserving the absolute stillness of the pose.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, narrow sunlight through a small window.

SHOT TEXT (authoritative, Korean): 수리영이 강민숙의 어깨에 코를 묻은 채 눈을 감고 멈춘 상태.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron and retains the longstanding small circular mark on her inner wrist.

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, 짙은색 머리, 평범한 중년 얼굴); 수리영 (한국인 여성, 21세, 짙은색 머리, 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 medium-wide view from across the compact room, at natural standing height, holding both women within the closely packed domestic interior. Arrange the window, kitchenette, dining table, and bedroom thresholds as quiet depth layers around their motionless embrace, with clean negative space emphasizing the pause. Let the narrow daylight remain directional and localized, while the rest of the room falls into soft, natural interior shadow with broad depth of field.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, narrow sunlight through a small window.

SHOT TEXT (authoritative, Korean): 수리영이 강민숙의 어깨에 코를 묻은 채 눈을 감고 멈춘 상태.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron and retains the longstanding small circular mark on her inner wrist.

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, 짙은색 머리, 평범한 중년 얼굴); 수리영 (한국인 여성, 21세, 짙은색 머리, 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 in an intimate shoulder-height close-up with a gently compressed lens feel. Frame Suriyoung’s closed eyes and the physical contact of her nose against Minsuk’s shoulder as the visual center, letting Minsuk’s apron and partial profile anchor the foreground. Use shallow depth of field and narrow window light grazing their faces and fabric, preserving the absolute stillness of the pose.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, narrow sunlight through a small window.

SHOT TEXT (authoritative, Korean): 수리영이 강민숙의 어깨에 코를 묻은 채 눈을 감고 멈춘 상태.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron and retains the longstanding small circular mark on her inner wrist.

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, 짙은색 머리, 평범한 중년 얼굴); 수리영 (한국인 여성, 21세, 짙은색 머리, 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 medium-wide view from across the compact room, at natural standing height, holding both women within the closely packed domestic interior. Arrange the window, kitchenette, dining table, and bedroom thresholds as quiet depth layers around their motionless embrace, with clean negative space emphasizing the pause. Let the narrow daylight remain directional and localized, while the rest of the room falls into soft, natural interior shadow with broad depth of field.

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:
- Fully close Suriyoung's eyes so that her eyelids are completely shut and no part of the eye is visible.
- Replace Minsuk's full denim shirt with the beige t-shirt and light blue denim apron from her 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 철창 밖에서 무표정한 얼굴로 개의 눈을 뚫어지게 응시하는 수리영의 정면 상체.

LOCATION (lock): A dog shelter with enclosed kennels for multiple dogs and practical areas for veterinary injections, grooming, treatment, and washing. 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.

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.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 철창 밖에서 무표정한 얼굴로 개의 눈을 뚫어지게 응시하는 수리영의 정면 상체.

LOCATION (lock): A dog shelter with enclosed kennels for multiple dogs and practical areas for veterinary injections, grooming, treatment, and washing. 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.

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.

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, 21세, 짙은색 머리, 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 her in a tight, frontal upper-body portrait from the dog’s eye level, with the camera positioned across the kennel bars. Use a compressed lens feel and near-symmetrical framing, keeping her unwavering gaze and restrained facial muscles critically sharp while the bars fall softly out of focus in the immediate foreground. Shape the available daytime light gently across her face, preserving a quiet, clinical 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 철창 밖에서 무표정한 얼굴로 개의 눈을 뚫어지게 응시하는 수리영의 정면 상체.

LOCATION (lock): A dog shelter with enclosed kennels for multiple dogs and practical areas for veterinary injections, grooming, treatment, and washing. 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.

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.

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, 21세, 짙은색 머리, 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):
Frame a wider frontal medium shot that retains her full upper body and gives the kennel bars a strong geometric presence between camera and subject. Use a natural perspective with deeper focus, arranging the shelter space in receding layers around her while her fixed gaze remains the compositional anchor. Let the practical daytime illumination feel harder and more observational, emphasizing physical distance and emotional restraint.

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

SHOT TEXT (authoritative, Korean): 철창 밖에서 무표정한 얼굴로 개의 눈을 뚫어지게 응시하는 수리영의 정면 상체.

LOCATION (lock): A dog shelter with enclosed kennels for multiple dogs and practical areas for veterinary injections, grooming, treatment, and washing. 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.

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.

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, 21세, 짙은색 머리, 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 her in a tight, frontal upper-body portrait from the dog’s eye level, with the camera positioned across the kennel bars. Use a compressed lens feel and near-symmetrical framing, keeping her unwavering gaze and restrained facial muscles critically sharp while the bars fall softly out of focus in the immediate foreground. Shape the available daytime light gently across her face, preserving a quiet, clinical 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 철창 밖에서 무표정한 얼굴로 개의 눈을 뚫어지게 응시하는 수리영의 정면 상체.

LOCATION (lock): A dog shelter with enclosed kennels for multiple dogs and practical areas for veterinary injections, grooming, treatment, and washing. 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.

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.

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, 21세, 짙은색 머리, 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):
Frame a wider frontal medium shot that retains her full upper body and gives the kennel bars a strong geometric presence between camera and subject. Use a natural perspective with deeper focus, arranging the shelter space in receding layers around her while her fixed gaze remains the compositional anchor. Let the practical daytime illumination feel harder and more observational, emphasizing physical distance and emotional restraint.

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 character so she is standing outside the kennel structure, not inside the concrete run.
- Add the black bicycle helmet from the reference image onto the character's head.
- Add the green fanny pack and its cross-body strap over the character's jacket.

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

SHOT TEXT (authoritative, Korean): 마트 밖 길가에서 휴대전화 액정을 심각한 표정으로 들여다보며 멈춰 선 수리영.

LOCATION (lock): A busy commercial district beside a harbor, lined with neon signs, taxis, hawkers, and street-food stalls. A large supermarket with bicycle parking and stocked retail aisles anchors the area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young’s bicycle remains parked outside the mart while she uses her mobile phone to try Minsuk again.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, neon signs visible.

SHOT TEXT (authoritative, Korean): 마트 밖 길가에서 휴대전화 액정을 심각한 표정으로 들여다보며 멈춰 선 수리영.

LOCATION (lock): A busy commercial district beside a harbor, lined with neon signs, taxis, hawkers, and street-food stalls. A large supermarket with bicycle parking and stocked retail aisles anchors the area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young’s bicycle remains parked outside the mart while she uses her mobile phone to try Minsuk again.

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, 21세, 짙은색 머리, 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 in an intimate eye-level medium close-up, with the phone held naturally between Suri-young and the camera so its screen faces her and only its back and edge are visible. Keep her fixed gaze and restrained facial tension sharply legible while the harbor-side commercial lights fall into soft, layered neon blur behind her. Use a compressed, shallow-focus composition that makes her sudden stillness feel sealed off from the surrounding bustle.

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

SHOT TEXT (authoritative, Korean): 마트 밖 길가에서 휴대전화 액정을 심각한 표정으로 들여다보며 멈춰 선 수리영.

LOCATION (lock): A busy commercial district beside a harbor, lined with neon signs, taxis, hawkers, and street-food stalls. A large supermarket with bicycle parking and stocked retail aisles anchors the area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young’s bicycle remains parked outside the mart while she uses her mobile phone to try Minsuk again.

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, 21세, 짙은색 머리, 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 wide environmental composition from a slightly elevated viewpoint, holding Suri-young as a solitary stopped figure within the depth of the roadside setting. Arrange the parked bicycle and supermarket frontage as clear spatial anchors while taxis, stalls, and neon-lit harbor commerce form receding layers without overpowering her. Favor deeper focus and cool dusk ambience broken by directional neon reflections, emphasizing the contrast between the active surroundings and her grave, motionless attention to the phone.

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

SHOT TEXT (authoritative, Korean): 마트 밖 길가에서 휴대전화 액정을 심각한 표정으로 들여다보며 멈춰 선 수리영.

LOCATION (lock): A busy commercial district beside a harbor, lined with neon signs, taxis, hawkers, and street-food stalls. A large supermarket with bicycle parking and stocked retail aisles anchors the area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young’s bicycle remains parked outside the mart while she uses her mobile phone to try Minsuk again.

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, 21세, 짙은색 머리, 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 in an intimate eye-level medium close-up, with the phone held naturally between Suri-young and the camera so its screen faces her and only its back and edge are visible. Keep her fixed gaze and restrained facial tension sharply legible while the harbor-side commercial lights fall into soft, layered neon blur behind her. Use a compressed, shallow-focus composition that makes her sudden stillness feel sealed off from the surrounding bustle.

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

SHOT TEXT (authoritative, Korean): 마트 밖 길가에서 휴대전화 액정을 심각한 표정으로 들여다보며 멈춰 선 수리영.

LOCATION (lock): A busy commercial district beside a harbor, lined with neon signs, taxis, hawkers, and street-food stalls. A large supermarket with bicycle parking and stocked retail aisles anchors the area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young’s bicycle remains parked outside the mart while she uses her mobile phone to try Minsuk again.

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, 21세, 짙은색 머리, 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 wide environmental composition from a slightly elevated viewpoint, holding Suri-young as a solitary stopped figure within the depth of the roadside setting. Arrange the parked bicycle and supermarket frontage as clear spatial anchors while taxis, stalls, and neon-lit harbor commerce form receding layers without overpowering her. Favor deeper focus and cool dusk ambience broken by directional neon reflections, emphasizing the contrast between the active surroundings and her grave, motionless attention to the phone.

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 background people, pedestrians, and vendors from the street and stalls, leaving only Suri-young visible.
- Remove all text and lettering from the neon signs and stall banners on the right side of the street.

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

SHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 비친 실루엣, 거대한 그림자가 강민숙의 어깨를 물어뜯기 위해 덮치는 mid-action 순간.

LOCATION (lock): The rooftop of an old villa, fitted with a water tank, clotheslines, a low wooden platform holding dried herbs, and an iron entrance door to the rooftop dwelling. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk still bears the longstanding circular wrist mark as the intruder attacks and bites into 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: 옥탑방 전단지 남성 (한국인 성인 남성, 가려진 얼굴, 식별되지 않는 머리 모양); 강민숙 (한국인 여성, 40대 초반, 짙은색 머리, 평범한 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 비친 실루엣, 거대한 그림자가 강민숙의 어깨를 물어뜯기 위해 덮치는 mid-action 순간.

LOCATION (lock): The rooftop of an old villa, fitted with a water tank, clotheslines, a low wooden platform holding dried herbs, and an iron entrance door to the rooftop dwelling. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk still bears the longstanding circular wrist mark as the intruder attacks and bites into 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: 옥탑방 전단지 남성 (한국인 성인 남성, 가려진 얼굴, 식별되지 않는 머리 모양); 강민숙 (한국인 여성, 40대 초반, 짙은색 머리, 평범한 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 from a distant, level rooftop vantage with a compressed telephoto feel, making the illuminated rooftop-room window the visual anchor while retaining the surrounding rooftop structures as dark spatial layers. Inside the window, preserve recognizable human anatomy, clothing, and partial facial detail as the intruder surges into Minsuk’s shoulder mid-bite; use the interior backlight and depth alignment to cast his presence as an unnaturally large but physically plausible shadow across her. Hold the composition still and observational, with the violent overlap concentrated inside the bright rectangular window.

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

SHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 비친 실루엣, 거대한 그림자가 강민숙의 어깨를 물어뜯기 위해 덮치는 mid-action 순간.

LOCATION (lock): The rooftop of an old villa, fitted with a water tank, clotheslines, a low wooden platform holding dried herbs, and an iron entrance door to the rooftop dwelling. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk still bears the longstanding circular wrist mark as the intruder attacks and bites into 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: 옥탑방 전단지 남성 (한국인 성인 남성, 가려진 얼굴, 식별되지 않는 머리 모양); 강민숙 (한국인 여성, 40대 초반, 짙은색 머리, 평범한 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):
Move close to the window at a low, steeply oblique angle with a broad, immersive lens feel, cropping tightly around the intersecting bodies and the lit glass. Place Minsuk’s shoulder and marked wrist near the foreground edge while the intruder lunges from deeper in the room, his proximity to the window making his fully formed human figure and cast shadow loom disproportionately over her without becoming supernatural. Let the interior light rake across their profiles, hands, clothing, and the point of impact, freezing the attack at its most kinetic instant with shallow, urgent depth.

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

SHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 비친 실루엣, 거대한 그림자가 강민숙의 어깨를 물어뜯기 위해 덮치는 mid-action 순간.

LOCATION (lock): The rooftop of an old villa, fitted with a water tank, clotheslines, a low wooden platform holding dried herbs, and an iron entrance door to the rooftop dwelling. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk still bears the longstanding circular wrist mark as the intruder attacks and bites into 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: 옥탑방 전단지 남성 (한국인 성인 남성, 가려진 얼굴, 식별되지 않는 머리 모양); 강민숙 (한국인 여성, 40대 초반, 짙은색 머리, 평범한 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 from a distant, level rooftop vantage with a compressed telephoto feel, making the illuminated rooftop-room window the visual anchor while retaining the surrounding rooftop structures as dark spatial layers. Inside the window, preserve recognizable human anatomy, clothing, and partial facial detail as the intruder surges into Minsuk’s shoulder mid-bite; use the interior backlight and depth alignment to cast his presence as an unnaturally large but physically plausible shadow across her. Hold the composition still and observational, with the violent overlap concentrated inside the bright rectangular window.

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

SHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 비친 실루엣, 거대한 그림자가 강민숙의 어깨를 물어뜯기 위해 덮치는 mid-action 순간.

LOCATION (lock): The rooftop of an old villa, fitted with a water tank, clotheslines, a low wooden platform holding dried herbs, and an iron entrance door to the rooftop dwelling. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk still bears the longstanding circular wrist mark as the intruder attacks and bites into 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: 옥탑방 전단지 남성 (한국인 성인 남성, 가려진 얼굴, 식별되지 않는 머리 모양); 강민숙 (한국인 여성, 40대 초반, 짙은색 머리, 평범한 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):
Move close to the window at a low, steeply oblique angle with a broad, immersive lens feel, cropping tightly around the intersecting bodies and the lit glass. Place Minsuk’s shoulder and marked wrist near the foreground edge while the intruder lunges from deeper in the room, his proximity to the window making his fully formed human figure and cast shadow loom disproportionately over her without becoming supernatural. Let the interior light rake across their profiles, hands, clothing, and the point of impact, freezing the attack at its most kinetic instant with shallow, urgent depth.

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:
- Cast the male intruder's head in deep shadow to completely obscure his facial features and hairstyle.
- Resize the window to match the small, rectangular proportions and higher wall placement seen on the structure in the reference photographs.

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

SHOT TEXT (authoritative, Korean): 수리영의 어깨 너머로 보이는, 어둠 속에서 반쯤 열린 채 멈춰 있는 옥탑방 현관 철문.

LOCATION (lock): A narrow residential alley leading into the rear courtyard of a multi-unit villa. An exterior stairway climbs to a rooftop dwelling with a half-open iron door. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room’s iron entrance door remains half open after the intruder entered.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 수리영의 어깨 너머로 보이는, 어둠 속에서 반쯤 열린 채 멈춰 있는 옥탑방 현관 철문.

LOCATION (lock): A narrow residential alley leading into the rear courtyard of a multi-unit villa. An exterior stairway climbs to a rooftop dwelling with a half-open iron door. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room’s iron entrance door remains half open after the intruder entered.

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, 21세, 짙은색 머리, 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 a tight over-the-shoulder view at her shoulder height, with her dark-haired head and shoulder occupying a substantial soft foreground edge while the iron entrance door holds crisp focus in the darkness. Use a compressed lens feel and restrained negative space around the doorway, letting the existing night illumination fall away quickly so the half-open gap becomes the dominant point of 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 수리영의 어깨 너머로 보이는, 어둠 속에서 반쯤 열린 채 멈춰 있는 옥탑방 현관 철문.

LOCATION (lock): A narrow residential alley leading into the rear courtyard of a multi-unit villa. An exterior stairway climbs to a rooftop dwelling with a half-open iron door. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room’s iron entrance door remains half open after the intruder entered.

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, 21세, 짙은색 머리, 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 wider, static over-the-shoulder composition that preserves the spatial path from her near shoulder through the exterior stairway to the rooftop entrance. Keep the layered architecture legible in deeper focus, placing her only as a narrow foreground anchor while the half-open door sits farther away within the surrounding darkness; favor natural perspective and the location’s existing night-light direction for a watchful, ominous distance.

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

SHOT TEXT (authoritative, Korean): 수리영의 어깨 너머로 보이는, 어둠 속에서 반쯤 열린 채 멈춰 있는 옥탑방 현관 철문.

LOCATION (lock): A narrow residential alley leading into the rear courtyard of a multi-unit villa. An exterior stairway climbs to a rooftop dwelling with a half-open iron door. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room’s iron entrance door remains half open after the intruder entered.

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, 21세, 짙은색 머리, 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 a tight over-the-shoulder view at her shoulder height, with her dark-haired head and shoulder occupying a substantial soft foreground edge while the iron entrance door holds crisp focus in the darkness. Use a compressed lens feel and restrained negative space around the doorway, letting the existing night illumination fall away quickly so the half-open gap becomes the dominant point of 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 수리영의 어깨 너머로 보이는, 어둠 속에서 반쯤 열린 채 멈춰 있는 옥탑방 현관 철문.

LOCATION (lock): A narrow residential alley leading into the rear courtyard of a multi-unit villa. An exterior stairway climbs to a rooftop dwelling with a half-open iron door. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room’s iron entrance door remains half open after the intruder entered.

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, 21세, 짙은색 머리, 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 wider, static over-the-shoulder composition that preserves the spatial path from her near shoulder through the exterior stairway to the rooftop entrance. Keep the layered architecture legible in deeper focus, placing her only as a narrow foreground anchor while the half-open door sits farther away within the surrounding darkness; favor natural perspective and the location’s existing night-light direction for a watchful, ominous distance.

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 rooftop room's exterior walls to smooth grey concrete and adjust the placement of the door and window to match the structure look photograph.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, dim interior with a stand lamp and television on.

SHOT TEXT (authoritative, Korean): 살점이 뜯겨 피가 흐르는 참혹한 상처를 입은 강민숙이 고개를 떨구고 바닥에 앉아 있는 모습.

LOCATION (lock): A compact rooftop apartment containing a living room, dining table, main bedroom, and a separate bedroom with a curtained window. Bloodstains and footprints cover the latter room and lead behind the curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, and one hand tightly clutches a crumpled photograph.

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.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk is dead, seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, her shoulder and clavicle torn open and blood pooled and spattered around the room. Because she cannot grasp it later, one hand already tightly clutches a crumpled photograph.

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, 짙은색 머리, 평범한 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, dim interior with a stand lamp and television on.

SHOT TEXT (authoritative, Korean): 살점이 뜯겨 피가 흐르는 참혹한 상처를 입은 강민숙이 고개를 떨구고 바닥에 앉아 있는 모습.

LOCATION (lock): A compact rooftop apartment containing a living room, dining table, main bedroom, and a separate bedroom with a curtained window. Bloodstains and footprints cover the latter room and lead behind the curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, and one hand tightly clutches a crumpled photograph.

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.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk is dead, seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, her shoulder and clavicle torn open and blood pooled and spattered around the room. Because she cannot grasp it later, one hand already tightly clutches a crumpled photograph.

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, 짙은색 머리, 평범한 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 her from near floor height in a tight, intimate medium close view, framing the dropped head, slack torso, collapsed hand with the crumpled photograph resting on its support, and the torn shoulder and clavicle. Use a restrained natural perspective with shallow depth, letting the curtain and blood-marked floor fall softly out of focus around her. Shape the dim stand-lamp and television illumination into subdued side light, preserving heavy shadow while retaining realistic detail in the wound, face, and blood.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, dim interior with a stand lamp and television on.

SHOT TEXT (authoritative, Korean): 살점이 뜯겨 피가 흐르는 참혹한 상처를 입은 강민숙이 고개를 떨구고 바닥에 앉아 있는 모습.

LOCATION (lock): A compact rooftop apartment containing a living room, dining table, main bedroom, and a separate bedroom with a curtained window. Bloodstains and footprints cover the latter room and lead behind the curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, and one hand tightly clutches a crumpled photograph.

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.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk is dead, seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, her shoulder and clavicle torn open and blood pooled and spattered around the room. Because she cannot grasp it later, one hand already tightly clutches a crumpled photograph.

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, 짙은색 머리, 평범한 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 static, distanced wide composition with the curtain occupying a strong foreground edge and her collapsed seated body isolated deeper in the room. Keep the bloodstains, footprints, pooled blood, and surrounding floor legible as a visual path toward her, while allowing the compact interior to press around the figure. Hold broad depth and understated contrast, with the stand lamp and television providing uneven low-level night illumination rather than spotlighting 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.

Create ONE FINAL photorealistic live-action film still of the moment below — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, dim interior with a stand lamp and television on.

SHOT TEXT (authoritative, Korean): 살점이 뜯겨 피가 흐르는 참혹한 상처를 입은 강민숙이 고개를 떨구고 바닥에 앉아 있는 모습.

LOCATION (lock): A compact rooftop apartment containing a living room, dining table, main bedroom, and a separate bedroom with a curtained window. Bloodstains and footprints cover the latter room and lead behind the curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, and one hand tightly clutches a crumpled photograph.

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.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk is dead, seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, her shoulder and clavicle torn open and blood pooled and spattered around the room. Because she cannot grasp it later, one hand already tightly clutches a crumpled photograph.

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, 짙은색 머리, 평범한 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 her from near floor height in a tight, intimate medium close view, framing the dropped head, slack torso, collapsed hand with the crumpled photograph resting on its support, and the torn shoulder and clavicle. Use a restrained natural perspective with shallow depth, letting the curtain and blood-marked floor fall softly out of focus around her. Shape the dim stand-lamp and television illumination into subdued side light, preserving heavy shadow while retaining realistic detail in the wound, face, and blood.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, dim interior with a stand lamp and television on.

SHOT TEXT (authoritative, Korean): 살점이 뜯겨 피가 흐르는 참혹한 상처를 입은 강민숙이 고개를 떨구고 바닥에 앉아 있는 모습.

LOCATION (lock): A compact rooftop apartment containing a living room, dining table, main bedroom, and a separate bedroom with a curtained window. Bloodstains and footprints cover the latter room and lead behind the curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, and one hand tightly clutches a crumpled photograph.

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.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk is dead, seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, her shoulder and clavicle torn open and blood pooled and spattered around the room. Because she cannot grasp it later, one hand already tightly clutches a crumpled photograph.

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, 짙은색 머리, 평범한 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 static, distanced wide composition with the curtain occupying a strong foreground edge and her collapsed seated body isolated deeper in the room. Keep the bloodstains, footprints, pooled blood, and surrounding floor legible as a visual path toward her, while allowing the compact interior to press around the figure. Hold broad depth and understated contrast, with the stand lamp and television providing uneven low-level night illumination rather than spotlighting 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:
- Add a severe, torn-open flesh wound with heavy bleeding to the character's shoulder and clavicle, and add pooled and spattered blood on the floor directly around her body.
- Make the character's torso slump completely slack forward, and drop her right arm so it lies entirely limp on the floor, removing the muscular effort of gripping her other arm.
- Move the character backwards so that her seated body is positioned entirely behind the curtain inside the room.
- Remove all printed text and logos from the surface of the cardboard box in the right-hand bedroom.

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

SHOT TEXT (authoritative, Korean): 보안직원과 혜수 뒤에 선 수리영이 미간을 찌푸린 채 모니터를 응시하는 얼굴 클로즈업.

LOCATION (lock): A supermarket administrative and security office organized around CCTV monitors, playback equipment, and staff workstations. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her doll-adorned backpack while watching the CCTV playback.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 보안직원과 혜수 뒤에 선 수리영이 미간을 찌푸린 채 모니터를 응시하는 얼굴 클로즈업.

LOCATION (lock): A supermarket administrative and security office organized around CCTV monitors, playback equipment, and staff workstations. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her doll-adorned backpack while watching the CCTV playback.

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, 21세, 짙은색 머리, 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):
Shoot from beside the monitor at her eye level in an extremely tight, near-frontal facial close-up. Keep her eyes and furrowed brow critically sharp while the office equipment falls into soft blur behind her; let restrained monitor light model her face, with just enough shoulder visible to preserve the sense of the backpack she is carrying.

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

SHOT TEXT (authoritative, Korean): 보안직원과 혜수 뒤에 선 수리영이 미간을 찌푸린 채 모니터를 응시하는 얼굴 클로즈업.

LOCATION (lock): A supermarket administrative and security office organized around CCTV monitors, playback equipment, and staff workstations. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her doll-adorned backpack while watching the CCTV playback.

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, 21세, 짙은색 머리, 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 compressed three-quarter profile close-up from slightly above, placing her face off-center with breathing room along the direction of her gaze. Frame her through softly defocused edges of the playback equipment for a tense, enclosed composition, with directional screen illumination tracing her cheek and tightened brow while the backpack strap remains at the lower edge of frame.

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

SHOT TEXT (authoritative, Korean): 보안직원과 혜수 뒤에 선 수리영이 미간을 찌푸린 채 모니터를 응시하는 얼굴 클로즈업.

LOCATION (lock): A supermarket administrative and security office organized around CCTV monitors, playback equipment, and staff workstations. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her doll-adorned backpack while watching the CCTV playback.

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, 21세, 짙은색 머리, 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):
Shoot from beside the monitor at her eye level in an extremely tight, near-frontal facial close-up. Keep her eyes and furrowed brow critically sharp while the office equipment falls into soft blur behind her; let restrained monitor light model her face, with just enough shoulder visible to preserve the sense of the backpack she is carrying.

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

SHOT TEXT (authoritative, Korean): 보안직원과 혜수 뒤에 선 수리영이 미간을 찌푸린 채 모니터를 응시하는 얼굴 클로즈업.

LOCATION (lock): A supermarket administrative and security office organized around CCTV monitors, playback equipment, and staff workstations. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her doll-adorned backpack while watching the CCTV playback.

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, 21세, 짙은색 머리, 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 compressed three-quarter profile close-up from slightly above, placing her face off-center with breathing room along the direction of her gaze. Frame her through softly defocused edges of the playback equipment for a tense, enclosed composition, with directional screen illumination tracing her cheek and tightened brow while the backpack strap remains at the lower edge of frame.

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:
- Raise the camera to capture the close-up from slightly above her face, rather than looking up from below.
- Clothe Suri-young in the bright blue zip-up jacket and olive green crossbody strap shown in the character 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 수리영이 눈을 크게 뜨고 입을 살짝 벌린 채 굳어버린 얼굴 클로즈업.

LOCATION (lock): A busy police station office with clustered desks, computer monitors, case documents, enlarged crime-scene photographs, and adjoining access to a meeting area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The enlarged photographs of the two mutilated murder victims remain spread across Hye-soo’s desk as Suri-young recognizes their similarity to Minsuk’s apparent wounds.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 수리영이 눈을 크게 뜨고 입을 살짝 벌린 채 굳어버린 얼굴 클로즈업.

LOCATION (lock): A busy police station office with clustered desks, computer monitors, case documents, enlarged crime-scene photographs, and adjoining access to a meeting area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The enlarged photographs of the two mutilated murder victims remain spread across Hye-soo’s desk as Suri-young recognizes their similarity to Minsuk’s apparent wounds.

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, 21세, 짙은색 머리, 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 her in a tight, eye-level frontal close-up, with the face centered and the crop pressing close around the forehead, cheeks, and chin. Use a gently compressed lens feel and very shallow focus so her widened eyes, parted lips, and arrested facial muscles hold all attention while the police-office depth falls into soft, indistinct texture. Keep the light soft and restrained, preserving natural skin detail and the stunned stillness of the performance.

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

SHOT TEXT (authoritative, Korean): 수리영이 눈을 크게 뜨고 입을 살짝 벌린 채 굳어버린 얼굴 클로즈업.

LOCATION (lock): A busy police station office with clustered desks, computer monitors, case documents, enlarged crime-scene photographs, and adjoining access to a meeting area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The enlarged photographs of the two mutilated murder victims remain spread across Hye-soo’s desk as Suri-young recognizes their similarity to Minsuk’s apparent wounds.

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, 21세, 짙은색 머리, 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):
Take the close-up from a near three-quarter angle at slightly above eye level, placing her face off center as the office geometry recedes diagonally behind her. Use a closer, more immediate lens feel with moderately held depth, allowing recognizable fragments of the surrounding desks, monitors, documents, and enlarged photographs to remain layered behind the sharply focused face without competing with it. Let the existing interior illumination shape one side of her face more firmly than the other, emphasizing the abrupt, frozen realization.

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

SHOT TEXT (authoritative, Korean): 수리영이 눈을 크게 뜨고 입을 살짝 벌린 채 굳어버린 얼굴 클로즈업.

LOCATION (lock): A busy police station office with clustered desks, computer monitors, case documents, enlarged crime-scene photographs, and adjoining access to a meeting area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The enlarged photographs of the two mutilated murder victims remain spread across Hye-soo’s desk as Suri-young recognizes their similarity to Minsuk’s apparent wounds.

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, 21세, 짙은색 머리, 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 her in a tight, eye-level frontal close-up, with the face centered and the crop pressing close around the forehead, cheeks, and chin. Use a gently compressed lens feel and very shallow focus so her widened eyes, parted lips, and arrested facial muscles hold all attention while the police-office depth falls into soft, indistinct texture. Keep the light soft and restrained, preserving natural skin detail and the stunned stillness of the performance.

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

SHOT TEXT (authoritative, Korean): 수리영이 눈을 크게 뜨고 입을 살짝 벌린 채 굳어버린 얼굴 클로즈업.

LOCATION (lock): A busy police station office with clustered desks, computer monitors, case documents, enlarged crime-scene photographs, and adjoining access to a meeting area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The enlarged photographs of the two mutilated murder victims remain spread across Hye-soo’s desk as Suri-young recognizes their similarity to Minsuk’s apparent wounds.

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, 21세, 짙은색 머리, 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):
Take the close-up from a near three-quarter angle at slightly above eye level, placing her face off center as the office geometry recedes diagonally behind her. Use a closer, more immediate lens feel with moderately held depth, allowing recognizable fragments of the surrounding desks, monitors, documents, and enlarged photographs to remain layered behind the sharply focused face without competing with it. Let the existing interior illumination shape one side of her face more firmly than the other, emphasizing the abrupt, frozen realization.

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:
- Zoom in and crop the frame significantly tighter so the edges press closely around her forehead, cheeks, and chin, excluding her neck, shoulders, and the space above her head.
- Add the black bicycle helmet to her head and the blue jacket over her grey t-shirt to match the character 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 쪽지를 주머니에 반쯤 밀어넣은 상태로 멈춘 채 사무실 문 밖을 향해 서 있는 수리영의 뒷모습.

LOCATION (lock): A busy police station office with clustered desks, computer monitors, case documents, enlarged crime-scene photographs, and adjoining access to a meeting area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young carries the handwritten coordinate note folded inside her pocket as she leaves the police office.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 쪽지를 주머니에 반쯤 밀어넣은 상태로 멈춘 채 사무실 문 밖을 향해 서 있는 수리영의 뒷모습.

LOCATION (lock): A busy police station office with clustered desks, computer monitors, case documents, enlarged crime-scene photographs, and adjoining access to a meeting area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young carries the handwritten coordinate note folded inside her pocket as she leaves the police office.

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, 21세, 짙은색 머리, 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):
Frame a restrained eye-level medium-wide rear view, placing Suri-young’s still figure on a strong axis toward the office doorway. Keep her full posture and the hand paused at her pocket clearly readable, with the half-inserted note visible; use layered desks, monitors, documents, and crime-scene photographs to create controlled depth around her without distracting from the arrested gesture. Hold broad, natural interior clarity with subdued late-morning tonal 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 쪽지를 주머니에 반쯤 밀어넣은 상태로 멈춘 채 사무실 문 밖을 향해 서 있는 수리영의 뒷모습.

LOCATION (lock): A busy police station office with clustered desks, computer monitors, case documents, enlarged crime-scene photographs, and adjoining access to a meeting area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young carries the handwritten coordinate note folded inside her pocket as she leaves the police office.

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, 21세, 짙은색 머리, 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 from close behind at pocket height, making the stopped hand and half-inserted note the dominant foreground detail while her back and head lead upward toward the office doorway. Use a compressed, shallow-focus composition: the pocket gesture is crisp, her rigid orientation remains unmistakable, and the surrounding police-office clutter falls into soft layered shapes. Let gentle interior light skim the paper edge and hand, concentrating the tension in the unfinished movement.

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

SHOT TEXT (authoritative, Korean): 쪽지를 주머니에 반쯤 밀어넣은 상태로 멈춘 채 사무실 문 밖을 향해 서 있는 수리영의 뒷모습.

LOCATION (lock): A busy police station office with clustered desks, computer monitors, case documents, enlarged crime-scene photographs, and adjoining access to a meeting area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young carries the handwritten coordinate note folded inside her pocket as she leaves the police office.

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, 21세, 짙은색 머리, 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):
Frame a restrained eye-level medium-wide rear view, placing Suri-young’s still figure on a strong axis toward the office doorway. Keep her full posture and the hand paused at her pocket clearly readable, with the half-inserted note visible; use layered desks, monitors, documents, and crime-scene photographs to create controlled depth around her without distracting from the arrested gesture. Hold broad, natural interior clarity with subdued late-morning tonal 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 쪽지를 주머니에 반쯤 밀어넣은 상태로 멈춘 채 사무실 문 밖을 향해 서 있는 수리영의 뒷모습.

LOCATION (lock): A busy police station office with clustered desks, computer monitors, case documents, enlarged crime-scene photographs, and adjoining access to a meeting area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young carries the handwritten coordinate note folded inside her pocket as she leaves the police office.

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, 21세, 짙은색 머리, 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 from close behind at pocket height, making the stopped hand and half-inserted note the dominant foreground detail while her back and head lead upward toward the office doorway. Use a compressed, shallow-focus composition: the pocket gesture is crisp, her rigid orientation remains unmistakable, and the surrounding police-office clutter falls into soft layered shapes. Let gentle interior light skim the paper edge and hand, concentrating the tension in the unfinished movement.

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 form in the pocket with a plain, slightly folded piece of paper showing no visible text or lines.
- Redraw the right hand holding the note so the fingers are anatomically distinct and naturally positioned.
- Remove the two brown straps hanging from the back pockets of the jeans so the pockets match standard denim.

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

SHOT TEXT (authoritative, Korean): 조타실 입구에서 수리영이 인우의 앞을 가로막으며 뻗은 팔로 밀어내려는 팽팽한 미드액션.

LOCATION (lock): The open deck of a small fishing boat far offshore, with a compact wheelhouse and working deck space surrounded by open sea. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the backpack, maps, and old photograph with her as she blocks In-woo from turning the boat around.

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, 21세, 짙은색 머리, 젊은 얼굴); 인우 (한국인 남성, 24세, 짙은색 머리, 단정한 미청년 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 조타실 입구에서 수리영이 인우의 앞을 가로막으며 뻗은 팔로 밀어내려는 팽팽한 미드액션.

LOCATION (lock): The open deck of a small fishing boat far offshore, with a compact wheelhouse and working deck space surrounded by open sea. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the backpack, maps, and old photograph with her as she blocks In-woo from turning the boat around.

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, 21세, 짙은색 머리, 젊은 얼굴); 인우 (한국인 남성, 24세, 짙은색 머리, 단정한 미청년 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 confrontation as a tight, shoulder-height side-on medium close two-shot with an immediate handheld feel. Compress both actors against the wheelhouse entrance, using Suri-young’s extended arm as a strong diagonal between their clearly readable faces and opposing body weight. Keep the mid-action crisp, with shallow depth isolating their physical struggle while retaining enough of the doorway to anchor the exact location; shape their faces with directional dusk light from the open deck.

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

SHOT TEXT (authoritative, Korean): 조타실 입구에서 수리영이 인우의 앞을 가로막으며 뻗은 팔로 밀어내려는 팽팽한 미드액션.

LOCATION (lock): The open deck of a small fishing boat far offshore, with a compact wheelhouse and working deck space surrounded by open sea. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the backpack, maps, and old photograph with her as she blocks In-woo from turning the boat around.

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, 21세, 짙은색 머리, 젊은 얼굴); 인우 (한국인 남성, 24세, 짙은색 머리, 단정한 미청년 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, low camera position on the working deck, looking toward the wheelhouse entrance with a restrained, nearly static composition. Let the fixed structure frame the two figures and make their opposing stances and Suri-young’s blocking arm legible in full spatial context, with the open sea held in a separate depth layer beyond the boat. Favor deep focus, firm architectural lines, and cool, even dusk illumination so the tension comes from geometry, distance, and arrested motion rather than camera agitation.

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

SHOT TEXT (authoritative, Korean): 조타실 입구에서 수리영이 인우의 앞을 가로막으며 뻗은 팔로 밀어내려는 팽팽한 미드액션.

LOCATION (lock): The open deck of a small fishing boat far offshore, with a compact wheelhouse and working deck space surrounded by open sea. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the backpack, maps, and old photograph with her as she blocks In-woo from turning the boat around.

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, 21세, 짙은색 머리, 젊은 얼굴); 인우 (한국인 남성, 24세, 짙은색 머리, 단정한 미청년 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 confrontation as a tight, shoulder-height side-on medium close two-shot with an immediate handheld feel. Compress both actors against the wheelhouse entrance, using Suri-young’s extended arm as a strong diagonal between their clearly readable faces and opposing body weight. Keep the mid-action crisp, with shallow depth isolating their physical struggle while retaining enough of the doorway to anchor the exact location; shape their faces with directional dusk light from the open deck.

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

SHOT TEXT (authoritative, Korean): 조타실 입구에서 수리영이 인우의 앞을 가로막으며 뻗은 팔로 밀어내려는 팽팽한 미드액션.

LOCATION (lock): The open deck of a small fishing boat far offshore, with a compact wheelhouse and working deck space surrounded by open sea. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the backpack, maps, and old photograph with her as she blocks In-woo from turning the boat around.

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, 21세, 짙은색 머리, 젊은 얼굴); 인우 (한국인 남성, 24세, 짙은색 머리, 단정한 미청년 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, low camera position on the working deck, looking toward the wheelhouse entrance with a restrained, nearly static composition. Let the fixed structure frame the two figures and make their opposing stances and Suri-young’s blocking arm legible in full spatial context, with the open sea held in a separate depth layer beyond the boat. Favor deep focus, firm architectural lines, and cool, even dusk illumination so the tension comes from geometry, distance, and arrested motion rather than camera agitation.

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 wheelhouse structure and door to match the white paint and blue panels shown in the Structure Look photograph.
- Change Suri-young's clothing to the blue jacket and black helmet from her character 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, wheelhouse lighting unspecified.

SHOT TEXT (authoritative, Korean): 수리영의 손가락이 낡은 사진 속 한 여자아이의 얼굴을 꾹 누르고 있는 클로즈업.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues holding the old photograph and presses a finger to the girl she identifies as her mother; her backpack and maps remain aboard 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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, wheelhouse lighting unspecified.

SHOT TEXT (authoritative, Korean): 수리영의 손가락이 낡은 사진 속 한 여자아이의 얼굴을 꾹 누르고 있는 클로즈업.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues holding the old photograph and presses a finger to the girl she identifies as her mother; her backpack and maps remain aboard 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, 21세, 짙은색 머리, 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 in an almost perpendicular overhead close-up, with the old photograph filling nearly the entire frame. Use a restrained, natural perspective and precise focus on the fingertip and the girl's partially obscured face, allowing the photograph's edges and surrounding wheelhouse surfaces to fall softly out of focus. Cool dusk light from the windows gives the image a quiet, forensic 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, wheelhouse lighting unspecified.

SHOT TEXT (authoritative, Korean): 수리영의 손가락이 낡은 사진 속 한 여자아이의 얼굴을 꾹 누르고 있는 클로즈업.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues holding the old photograph and presses a finger to the girl she identifies as her mother; her backpack and maps remain aboard 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, 21세, 짙은색 머리, 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):
Shoot from a low, tight oblique angle nearly level with the photograph, making the downward pressure of the finger the dominant physical gesture. Let shallow focus travel across the fingertip into the girl's face while raking dusk light reveals the worn paper texture; dissolve the steering controls and circular interior markings into a compressed, dim background. The framing feels intimate and emotionally charged rather than 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, wheelhouse lighting unspecified.

SHOT TEXT (authoritative, Korean): 수리영의 손가락이 낡은 사진 속 한 여자아이의 얼굴을 꾹 누르고 있는 클로즈업.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues holding the old photograph and presses a finger to the girl she identifies as her mother; her backpack and maps remain aboard 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, 21세, 짙은색 머리, 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 in an almost perpendicular overhead close-up, with the old photograph filling nearly the entire frame. Use a restrained, natural perspective and precise focus on the fingertip and the girl's partially obscured face, allowing the photograph's edges and surrounding wheelhouse surfaces to fall softly out of focus. Cool dusk light from the windows gives the image a quiet, forensic 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, wheelhouse lighting unspecified.

SHOT TEXT (authoritative, Korean): 수리영의 손가락이 낡은 사진 속 한 여자아이의 얼굴을 꾹 누르고 있는 클로즈업.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues holding the old photograph and presses a finger to the girl she identifies as her mother; her backpack and maps remain aboard 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, 21세, 짙은색 머리, 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):
Shoot from a low, tight oblique angle nearly level with the photograph, making the downward pressure of the finger the dominant physical gesture. Let shallow focus travel across the fingertip into the girl's face while raking dusk light reveals the worn paper texture; dissolve the steering controls and circular interior markings into a compressed, dim background. The framing feels intimate and emotionally charged rather than 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.

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

CORRECTIONS:
- Reposition the right index finger so its tip firmly presses down directly onto the face of the girl sitting on the left in the photograph.
- Erase the gibberish text from the wall of the building in the photograph, replacing it with plain wall texture.
- Redraw the right hand to correct its anatomy, ensuring the thumb connects naturally to the side of the palm rather than protruding from under the wrist.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, narrow sunlight through a small window.

SHOT TEXT (authoritative, Korean): 냄비에서 하얀 김이 피어오르는 부엌, 앞치마를 두른 강민숙이 굳은 표정으로 TV 화면을 응시하는 상체.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk wears her apron and already bears the small circular mark on her inner wrist, which has been present since Suri-young was very young.

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, 짙은색 머리, 평범한 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, narrow sunlight through a small window.

SHOT TEXT (authoritative, Korean): 냄비에서 하얀 김이 피어오르는 부엌, 앞치마를 두른 강민숙이 굳은 표정으로 TV 화면을 응시하는 상체.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk wears her apron and already bears the small circular mark on her inner wrist, which has been present since Suri-young was very young.

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, 짙은색 머리, 평범한 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 her upper body in a tight side-profile close shot, holding her rigid expression and unwavering eyeline toward the television as the emotional center. Keep the steaming pot low in the near foreground, its white vapor rising through the narrow window light and partially veiling the cramped depth behind her; use shallow focus and restrained contrast for intimate, compressed 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, narrow sunlight through a small window.

SHOT TEXT (authoritative, Korean): 냄비에서 하얀 김이 피어오르는 부엌, 앞치마를 두른 강민숙이 굳은 표정으로 TV 화면을 응시하는 상체.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk wears her apron and already bears the small circular mark on her inner wrist, which has been present since Suri-young was very young.

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, 짙은색 머리, 평범한 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):
Place the camera close beside the television at seated eye height, looking back toward her so her upper body and fixed face register almost frontally while her gaze lands just off the camera. Use a moderately wide, deep composition that preserves the compact relationship between her, the stove, and the dining area, with the pot and its rising white steam clearly readable in a separate depth plane; let the narrow sunlight carve a firm directional strip through the modest interior.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, narrow sunlight through a small window.

SHOT TEXT (authoritative, Korean): 냄비에서 하얀 김이 피어오르는 부엌, 앞치마를 두른 강민숙이 굳은 표정으로 TV 화면을 응시하는 상체.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk wears her apron and already bears the small circular mark on her inner wrist, which has been present since Suri-young was very young.

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, 짙은색 머리, 평범한 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 her upper body in a tight side-profile close shot, holding her rigid expression and unwavering eyeline toward the television as the emotional center. Keep the steaming pot low in the near foreground, its white vapor rising through the narrow window light and partially veiling the cramped depth behind her; use shallow focus and restrained contrast for intimate, compressed 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, narrow sunlight through a small window.

SHOT TEXT (authoritative, Korean): 냄비에서 하얀 김이 피어오르는 부엌, 앞치마를 두른 강민숙이 굳은 표정으로 TV 화면을 응시하는 상체.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk wears her apron and already bears the small circular mark on her inner wrist, which has been present since Suri-young was very young.

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, 짙은색 머리, 평범한 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):
Place the camera close beside the television at seated eye height, looking back toward her so her upper body and fixed face register almost frontally while her gaze lands just off the camera. Use a moderately wide, deep composition that preserves the compact relationship between her, the stove, and the dining area, with the pot and its rising white steam clearly readable in a separate depth plane; let the narrow sunlight carve a firm directional strip through the modest interior.

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 and captions from the television 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, neon signs visible.

SHOT TEXT (authoritative, Korean): 네온사인이 켜진 해질녘 번화가, 수리영이 자전거 페달을 밟는 중간 자세로 핸들을 쥔 채 포장마차 사이를 지나는 순간, 옷자락이 뒤로 흩날리고 있다.

LOCATION (lock): A busy commercial district beside a harbor, lined with neon signs, taxis, hawkers, and street-food stalls. A large supermarket with bicycle parking and stocked retail aisles anchors the area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is still traveling with the same bicycle as she rides through the commercial 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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, neon signs visible.

SHOT TEXT (authoritative, Korean): 네온사인이 켜진 해질녘 번화가, 수리영이 자전거 페달을 밟는 중간 자세로 핸들을 쥔 채 포장마차 사이를 지나는 순간, 옷자락이 뒤로 흩날리고 있다.

LOCATION (lock): A busy commercial district beside a harbor, lined with neon signs, taxis, hawkers, and street-food stalls. A large supermarket with bicycle parking and stocked retail aisles anchors the area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is still traveling with the same bicycle as she rides through the commercial 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, 21세, 짙은색 머리, 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 beat as a medium-wide lateral tracking shot from roughly waist height, keeping Suri-young and the bicycle crisply legible while the stalls, taxis, and neon-lit storefronts slide into restrained horizontal motion blur. Use a natural wide-angle perspective with layered foreground stall edges briefly framing her passage, and let the cool dusk ambience mix with warm food-stall light and colored neon across her face and trailing clothing.

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

SHOT TEXT (authoritative, Korean): 네온사인이 켜진 해질녘 번화가, 수리영이 자전거 페달을 밟는 중간 자세로 핸들을 쥔 채 포장마차 사이를 지나는 순간, 옷자락이 뒤로 흩날리고 있다.

LOCATION (lock): A busy commercial district beside a harbor, lined with neon signs, taxis, hawkers, and street-food stalls. A large supermarket with bicycle parking and stocked retail aisles anchors the area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is still traveling with the same bicycle as she rides through the commercial 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, 21세, 짙은색 머리, 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):
Place the camera low at the far end of the passage for a compressed, near-frontal view, with the stall fronts forming a tight visual corridor around Suri-young. Hold the frame steady and time the image at the most graphic point of the pedal stroke, keeping her hands, focused young face, bicycle geometry, and wind-pulled clothing sharply defined against softly layered neon signs and harbor-district traffic. Shape the dusk light as a cool base with directional neon reflections and warm stall spill creating depth rather than motion blur.

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

SHOT TEXT (authoritative, Korean): 네온사인이 켜진 해질녘 번화가, 수리영이 자전거 페달을 밟는 중간 자세로 핸들을 쥔 채 포장마차 사이를 지나는 순간, 옷자락이 뒤로 흩날리고 있다.

LOCATION (lock): A busy commercial district beside a harbor, lined with neon signs, taxis, hawkers, and street-food stalls. A large supermarket with bicycle parking and stocked retail aisles anchors the area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is still traveling with the same bicycle as she rides through the commercial 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, 21세, 짙은색 머리, 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 beat as a medium-wide lateral tracking shot from roughly waist height, keeping Suri-young and the bicycle crisply legible while the stalls, taxis, and neon-lit storefronts slide into restrained horizontal motion blur. Use a natural wide-angle perspective with layered foreground stall edges briefly framing her passage, and let the cool dusk ambience mix with warm food-stall light and colored neon across her face and trailing clothing.

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

SHOT TEXT (authoritative, Korean): 네온사인이 켜진 해질녘 번화가, 수리영이 자전거 페달을 밟는 중간 자세로 핸들을 쥔 채 포장마차 사이를 지나는 순간, 옷자락이 뒤로 흩날리고 있다.

LOCATION (lock): A busy commercial district beside a harbor, lined with neon signs, taxis, hawkers, and street-food stalls. A large supermarket with bicycle parking and stocked retail aisles anchors the area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is still traveling with the same bicycle as she rides through the commercial 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, 21세, 짙은색 머리, 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):
Place the camera low at the far end of the passage for a compressed, near-frontal view, with the stall fronts forming a tight visual corridor around Suri-young. Hold the frame steady and time the image at the most graphic point of the pedal stroke, keeping her hands, focused young face, bicycle geometry, and wind-pulled clothing sharply defined against softly layered neon signs and harbor-district traffic. Shape the dusk light as a cool base with directional neon reflections and warm stall spill creating depth rather than motion blur.

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 pedestrians and other people from the entire image so that only Suri-young is visible.
- Add the black bicycle helmet to Suri-young's head, matching the character reference perfectly.
- Apply a restrained horizontal motion blur to the stalls, taxis, and storefronts in the background to convey a lateral tracking shot.

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

SHOT TEXT (authoritative, Korean): 굳게 닫힌 옥탑방 철문 틈새로 손가락을 밀어 넣어 전단지를 꾹 누른 채 멈춘 한국인 남성의 손 클로즈업.

LOCATION (lock): The rooftop of an old villa, fitted with a water tank, clotheslines, a low wooden platform holding dried herbs, and an iron entrance door to the rooftop dwelling. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The advertising flyer has been removed from the door gap and is being pressed into the gap to release 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: 옥탑방 전단지 남성 (한국인 성인 남성, 가려진 얼굴, 식별되지 않는 머리 모양) — 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 굳게 닫힌 옥탑방 철문 틈새로 손가락을 밀어 넣어 전단지를 꾹 누른 채 멈춘 한국인 남성의 손 클로즈업.

LOCATION (lock): The rooftop of an old villa, fitted with a water tank, clotheslines, a low wooden platform holding dried herbs, and an iron entrance door to the rooftop dwelling. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The advertising flyer has been removed from the door gap and is being pressed into the gap to release 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: 옥탑방 전단지 남성 (한국인 성인 남성, 가려진 얼굴, 식별되지 않는 머리 모양) — 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 action in an extremely tight, nearly straight-on close-up, cropping decisively around the hand, the compressed flyer, and the narrow seam of the iron door. Keep the door surface almost parallel to the image plane so the rigid geometry of the sealed entrance contrasts with the fingers held under pressure; use shallow focus centered on the exact point of contact, with restrained nighttime falloff across the surrounding metal.

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

SHOT TEXT (authoritative, Korean): 굳게 닫힌 옥탑방 철문 틈새로 손가락을 밀어 넣어 전단지를 꾹 누른 채 멈춘 한국인 남성의 손 클로즈업.

LOCATION (lock): The rooftop of an old villa, fitted with a water tank, clotheslines, a low wooden platform holding dried herbs, and an iron entrance door to the rooftop dwelling. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The advertising flyer has been removed from the door gap and is being pressed into the gap to release 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: 옥탑방 전단지 남성 (한국인 성인 남성, 가려진 얼굴, 식별되지 않는 머리 모양) — 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, sharply oblique side angle that looks along the iron door surface toward the hand and its point of entry into the seam. Let the near metal edge dominate the foreground and fall out of focus, while the fingers and pressed flyer sit in a narrow plane of crisp detail deeper in the frame; low raking night light should reveal the door texture, the tension in the fingertips, and the compressed layers at the gap.

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

SHOT TEXT (authoritative, Korean): 굳게 닫힌 옥탑방 철문 틈새로 손가락을 밀어 넣어 전단지를 꾹 누른 채 멈춘 한국인 남성의 손 클로즈업.

LOCATION (lock): The rooftop of an old villa, fitted with a water tank, clotheslines, a low wooden platform holding dried herbs, and an iron entrance door to the rooftop dwelling. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The advertising flyer has been removed from the door gap and is being pressed into the gap to release 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: 옥탑방 전단지 남성 (한국인 성인 남성, 가려진 얼굴, 식별되지 않는 머리 모양) — 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 action in an extremely tight, nearly straight-on close-up, cropping decisively around the hand, the compressed flyer, and the narrow seam of the iron door. Keep the door surface almost parallel to the image plane so the rigid geometry of the sealed entrance contrasts with the fingers held under pressure; use shallow focus centered on the exact point of contact, with restrained nighttime falloff across the surrounding metal.

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

SHOT TEXT (authoritative, Korean): 굳게 닫힌 옥탑방 철문 틈새로 손가락을 밀어 넣어 전단지를 꾹 누른 채 멈춘 한국인 남성의 손 클로즈업.

LOCATION (lock): The rooftop of an old villa, fitted with a water tank, clotheslines, a low wooden platform holding dried herbs, and an iron entrance door to the rooftop dwelling. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The advertising flyer has been removed from the door gap and is being pressed into the gap to release 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: 옥탑방 전단지 남성 (한국인 성인 남성, 가려진 얼굴, 식별되지 않는 머리 모양) — 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, sharply oblique side angle that looks along the iron door surface toward the hand and its point of entry into the seam. Let the near metal edge dominate the foreground and fall out of focus, while the fingers and pressed flyer sit in a narrow plane of crisp detail deeper in the frame; low raking night light should reveal the door texture, the tension in the fingertips, and the compressed layers at the gap.

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 index finger so it is pushed directly into the door gap, actively pressing against the flyer.
- Change the color of the iron door to dark green to match the rooftop structure in the STRUCTURE LOOK photograph.

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

SHOT TEXT (authoritative, Korean): 혜수가 수리영의 어깨를 양손으로 감싸 쥔 채 서 있는 정지 순간.

LOCATION (lock): A compact rooftop apartment with an iron-door entry, living and dining area, and a small bedroom. The bedroom is now unnaturally clean and precisely arranged, with no visible blood or body. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains clean of the corpse, blood, wall mark, and two teacups; Suri-young’s backpack and doll now sit in slightly altered positions in her 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, 21세, 짙은색 머리, 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 짙은색 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 혜수가 수리영의 어깨를 양손으로 감싸 쥔 채 서 있는 정지 순간.

LOCATION (lock): A compact rooftop apartment with an iron-door entry, living and dining area, and a small bedroom. The bedroom is now unnaturally clean and precisely arranged, with no visible blood or body. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains clean of the corpse, blood, wall mark, and two teacups; Suri-young’s backpack and doll now sit in slightly altered positions in her 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, 21세, 짙은색 머리, 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 짙은색 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 the moment as an intimate eye-level medium close two-shot from a slight side angle, keeping both faces and the contact at the shoulders clearly legible in the same plane. Use a gently compressed lens feel and shallow but controlled focus, with soft directional interior light shaping natural skin texture and restrained shadows; let the rigid stillness and the pressure of the hands carry the frame.

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

SHOT TEXT (authoritative, Korean): 혜수가 수리영의 어깨를 양손으로 감싸 쥔 채 서 있는 정지 순간.

LOCATION (lock): A compact rooftop apartment with an iron-door entry, living and dining area, and a small bedroom. The bedroom is now unnaturally clean and precisely arranged, with no visible blood or body. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains clean of the corpse, blood, wall mark, and two teacups; Suri-young’s backpack and doll now sit in slightly altered positions in her 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, 21세, 짙은색 머리, 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 짙은색 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 wide, static view from one side of the bedroom, placing the two standing figures within the unnaturally precise geometry of the clean room rather than isolating them. Keep the foreground, their full posture, and the altered positions of the backpack and doll readable through layered depth, with restrained night-interior illumination and broad areas of quiet shadow creating an observational, unsettling 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 혜수가 수리영의 어깨를 양손으로 감싸 쥔 채 서 있는 정지 순간.

LOCATION (lock): A compact rooftop apartment with an iron-door entry, living and dining area, and a small bedroom. The bedroom is now unnaturally clean and precisely arranged, with no visible blood or body. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains clean of the corpse, blood, wall mark, and two teacups; Suri-young’s backpack and doll now sit in slightly altered positions in her 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, 21세, 짙은색 머리, 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 짙은색 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 the moment as an intimate eye-level medium close two-shot from a slight side angle, keeping both faces and the contact at the shoulders clearly legible in the same plane. Use a gently compressed lens feel and shallow but controlled focus, with soft directional interior light shaping natural skin texture and restrained shadows; let the rigid stillness and the pressure of the hands carry the frame.

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

SHOT TEXT (authoritative, Korean): 혜수가 수리영의 어깨를 양손으로 감싸 쥔 채 서 있는 정지 순간.

LOCATION (lock): A compact rooftop apartment with an iron-door entry, living and dining area, and a small bedroom. The bedroom is now unnaturally clean and precisely arranged, with no visible blood or body. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains clean of the corpse, blood, wall mark, and two teacups; Suri-young’s backpack and doll now sit in slightly altered positions in her 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, 21세, 짙은색 머리, 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 짙은색 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 wide, static view from one side of the bedroom, placing the two standing figures within the unnaturally precise geometry of the clean room rather than isolating them. Keep the foreground, their full posture, and the altered positions of the backpack and doll readable through layered depth, with restrained night-interior illumination and broad areas of quiet shadow creating an observational, unsettling 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:
- Add Hyesu's other hand grasping Suri-young's far shoulder to show her holding with both hands.
- Dress Hyesu in her reference cap and uniform vest, and dress Suri-young in her reference helmet and blue jacket.

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

SHOT TEXT (authoritative, Korean): 휴대전화 액정 화면을 김형사 쪽으로 내민 혜수의 손 클로즈업.

LOCATION (lock): A police station office with work desks, computer stations, telephones, and an open central workspace suitable for overnight duty. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Hye-soo holds her mobile phone with Minsuk’s saved number displayed for Detective Kim.

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, 짙은색 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 휴대전화 액정 화면을 김형사 쪽으로 내민 혜수의 손 클로즈업.

LOCATION (lock): A police station office with work desks, computer stations, telephones, and an open central workspace suitable for overnight duty. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Hye-soo holds her mobile phone with Minsuk’s saved number displayed for Detective Kim.

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, 짙은색 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 near Detective Kim’s receiving eyeline in an extremely tight, screen-dominant close-up, with Hye-soo’s hand wrapped naturally around the phone and the display plane nearly square to camera. Keep the hand and screen crisply defined while the overnight office dissolves into soft, cool practical-light bokeh, making the offered phone feel immediate and insistent.

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

SHOT TEXT (authoritative, Korean): 휴대전화 액정 화면을 김형사 쪽으로 내민 혜수의 손 클로즈업.

LOCATION (lock): A police station office with work desks, computer stations, telephones, and an open central workspace suitable for overnight duty. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Hye-soo holds her mobile phone with Minsuk’s saved number displayed for Detective Kim.

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, 짙은색 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 close, desk-height oblique angle that emphasizes the forward extension of Hye-soo’s hand, with the phone seen at a controlled three-quarter angle as it points beyond the camera toward Detective Kim. Let the hand cut diagonally through the frame and retain slightly more office depth behind it, shaped by restrained overhead work light and subtle screen glow for a tense, procedural 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.

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

SHOT TEXT (authoritative, Korean): 휴대전화 액정 화면을 김형사 쪽으로 내민 혜수의 손 클로즈업.

LOCATION (lock): A police station office with work desks, computer stations, telephones, and an open central workspace suitable for overnight duty. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Hye-soo holds her mobile phone with Minsuk’s saved number displayed for Detective Kim.

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, 짙은색 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 near Detective Kim’s receiving eyeline in an extremely tight, screen-dominant close-up, with Hye-soo’s hand wrapped naturally around the phone and the display plane nearly square to camera. Keep the hand and screen crisply defined while the overnight office dissolves into soft, cool practical-light bokeh, making the offered phone feel immediate and insistent.

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

SHOT TEXT (authoritative, Korean): 휴대전화 액정 화면을 김형사 쪽으로 내민 혜수의 손 클로즈업.

LOCATION (lock): A police station office with work desks, computer stations, telephones, and an open central workspace suitable for overnight duty. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Hye-soo holds her mobile phone with Minsuk’s saved number displayed for Detective Kim.

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, 짙은색 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 close, desk-height oblique angle that emphasizes the forward extension of Hye-soo’s hand, with the phone seen at a controlled three-quarter angle as it points beyond the camera toward Detective Kim. Let the hand cut diagonally through the frame and retain slightly more office depth behind it, shaped by restrained overhead work light and subtle screen glow for a tense, procedural 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:
- Remove the person on the right side of the frame entirely so that only the arm holding the phone remains.
- Change the visible sleeve on the left arm to match the dark navy fabric and style of Hye-soo's clothing from the character 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 수리영의 손바닥이 자신의 뺨을 강하게 가격하여 피부가 밀려난 mid-impact 찰나의 클로즈업.

LOCATION (lock): A compact rooftop apartment with a main bedroom, a separate curtained bedroom, a small bathroom with a mirror, and a living-dining area displaying a family photograph. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the doll-adorned backpack with her; the family photograph has returned to its normal appearance.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 수리영의 손바닥이 자신의 뺨을 강하게 가격하여 피부가 밀려난 mid-impact 찰나의 클로즈업.

LOCATION (lock): A compact rooftop apartment with a main bedroom, a separate curtained bedroom, a small bathroom with a mirror, and a living-dining area displaying a family photograph. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the doll-adorned backpack with her; the family photograph has returned to its normal appearance.

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, 21세, 짙은색 머리, 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 impact in an extreme side close-up at cheek height, with the palm, compressed cheek, and displaced skin forming a sharp diagonal across the frame. Use a close-focus, shallow-depth lens feel: the contact plane is crisply frozen while the far contours of the face and hand fall gently out of focus. Soft lateral early-morning light grazes the skin, revealing the physical compression without glamorizing it.

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

SHOT TEXT (authoritative, Korean): 수리영의 손바닥이 자신의 뺨을 강하게 가격하여 피부가 밀려난 mid-impact 찰나의 클로즈업.

LOCATION (lock): A compact rooftop apartment with a main bedroom, a separate curtained bedroom, a small bathroom with a mirror, and a living-dining area displaying a family photograph. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the doll-adorned backpack with her; the family photograph has returned to its normal appearance.

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, 21세, 짙은색 머리, 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):
Frame a tight, nearly frontal close-up with the face held centrally and the striking hand entering forcefully from the side, preserving enough surrounding facial structure to read the involuntary reaction at the exact instant of contact. Favor a compressed, observational lens feel and moderately deep focus so the eyes, palm, and distorted cheek remain legible together. Use restrained interior illumination with subtle early-morning ambient lift, keeping the image stark, immediate, and psychologically confrontational.

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

SHOT TEXT (authoritative, Korean): 수리영의 손바닥이 자신의 뺨을 강하게 가격하여 피부가 밀려난 mid-impact 찰나의 클로즈업.

LOCATION (lock): A compact rooftop apartment with a main bedroom, a separate curtained bedroom, a small bathroom with a mirror, and a living-dining area displaying a family photograph. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the doll-adorned backpack with her; the family photograph has returned to its normal appearance.

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, 21세, 짙은색 머리, 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 impact in an extreme side close-up at cheek height, with the palm, compressed cheek, and displaced skin forming a sharp diagonal across the frame. Use a close-focus, shallow-depth lens feel: the contact plane is crisply frozen while the far contours of the face and hand fall gently out of focus. Soft lateral early-morning light grazes the skin, revealing the physical compression without glamorizing it.

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

SHOT TEXT (authoritative, Korean): 수리영의 손바닥이 자신의 뺨을 강하게 가격하여 피부가 밀려난 mid-impact 찰나의 클로즈업.

LOCATION (lock): A compact rooftop apartment with a main bedroom, a separate curtained bedroom, a small bathroom with a mirror, and a living-dining area displaying a family photograph. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has the doll-adorned backpack with her; the family photograph has returned to its normal appearance.

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, 21세, 짙은색 머리, 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):
Frame a tight, nearly frontal close-up with the face held centrally and the striking hand entering forcefully from the side, preserving enough surrounding facial structure to read the involuntary reaction at the exact instant of contact. Favor a compressed, observational lens feel and moderately deep focus so the eyes, palm, and distorted cheek remain legible together. Use restrained interior illumination with subtle early-morning ambient lift, keeping the image stark, immediate, and psychologically confrontational.

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 hand on the cheek with Suri-young's own left hand captured in a forceful, mid-impact slapping motion.

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

SHOT TEXT (authoritative, Korean): 마트 안, 수리영이 마트 남자 직원 앞을 가로막고 선 채 올려다보는 상체 구도.

LOCATION (lock): A large supermarket in the quiet early hours, with bicycle parking outside, broad retail aisles inside, and an exterior wall covered by surveillance cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her doll-adorned backpack while questioning the mart employee.

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, 21세, 짙은색 머리, 젊은 얼굴); 마트 남자 직원 (한국인 성인 남성, 짙은색 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 마트 안, 수리영이 마트 남자 직원 앞을 가로막고 선 채 올려다보는 상체 구도.

LOCATION (lock): A large supermarket in the quiet early hours, with bicycle parking outside, broad retail aisles inside, and an exterior wall covered by surveillance cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her doll-adorned backpack while questioning the mart employee.

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, 21세, 짙은색 머리, 젊은 얼굴); 마트 남자 직원 (한국인 성인 남성, 짙은색 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):
Frame a tight upper-body two-shot from near Suri-young’s eye level, looking almost frontally toward her as she occupies the visual center and blocks the employee’s path. Keep the employee close behind and above her in the composition, preserving their height relationship while making her upward gaze and resolute posture the dramatic focus. Use intimate depth separation and soft early-morning supermarket illumination, with the interior receding unobtrusively behind them.

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

SHOT TEXT (authoritative, Korean): 마트 안, 수리영이 마트 남자 직원 앞을 가로막고 선 채 올려다보는 상체 구도.

LOCATION (lock): A large supermarket in the quiet early hours, with bicycle parking outside, broad retail aisles inside, and an exterior wall covered by surveillance cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her doll-adorned backpack while questioning the mart employee.

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, 21세, 짙은색 머리, 젊은 얼굴); 마트 남자 직원 (한국인 성인 남성, 짙은색 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 encounter as a lateral upper-body profile two-shot, placing Suri-young and the employee on opposing sides of the frame so her body visibly interrupts his forward line. Use a slightly lower camera height and a restrained, compressed lens feel to emphasize her lifted chin and the vertical distance between their faces. Hold both figures clearly within the same depth plane under directional early-morning ambient light, letting the supermarket geometry create quiet tension around their standoff.

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

SHOT TEXT (authoritative, Korean): 마트 안, 수리영이 마트 남자 직원 앞을 가로막고 선 채 올려다보는 상체 구도.

LOCATION (lock): A large supermarket in the quiet early hours, with bicycle parking outside, broad retail aisles inside, and an exterior wall covered by surveillance cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her doll-adorned backpack while questioning the mart employee.

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, 21세, 짙은색 머리, 젊은 얼굴); 마트 남자 직원 (한국인 성인 남성, 짙은색 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):
Frame a tight upper-body two-shot from near Suri-young’s eye level, looking almost frontally toward her as she occupies the visual center and blocks the employee’s path. Keep the employee close behind and above her in the composition, preserving their height relationship while making her upward gaze and resolute posture the dramatic focus. Use intimate depth separation and soft early-morning supermarket illumination, with the interior receding unobtrusively behind them.

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

SHOT TEXT (authoritative, Korean): 마트 안, 수리영이 마트 남자 직원 앞을 가로막고 선 채 올려다보는 상체 구도.

LOCATION (lock): A large supermarket in the quiet early hours, with bicycle parking outside, broad retail aisles inside, and an exterior wall covered by surveillance cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her doll-adorned backpack while questioning the mart employee.

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, 21세, 짙은색 머리, 젊은 얼굴); 마트 남자 직원 (한국인 성인 남성, 짙은색 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 encounter as a lateral upper-body profile two-shot, placing Suri-young and the employee on opposing sides of the frame so her body visibly interrupts his forward line. Use a slightly lower camera height and a restrained, compressed lens feel to emphasize her lifted chin and the vertical distance between their faces. Hold both figures clearly within the same depth plane under directional early-morning ambient light, letting the supermarket geometry create quiet tension around their standoff.

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 overhead aisle signs.

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

SHOT TEXT (authoritative, Korean): 마트 밖 CCTV가 설치된 처마 아래, 수리영이 고개를 든 채 CCTV 카메라를 손가락으로 가리키고 멈춰 서 있는 순간.

LOCATION (lock): A large supermarket in the quiet early hours, with bicycle parking outside, broad retail aisles inside, and an exterior wall covered by surveillance cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still carries the doll-adorned backpack and her mobile phone as she identifies the exterior CCTV position and calls Hye-soo.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 마트 밖 CCTV가 설치된 처마 아래, 수리영이 고개를 든 채 CCTV 카메라를 손가락으로 가리키고 멈춰 서 있는 순간.

LOCATION (lock): A large supermarket in the quiet early hours, with bicycle parking outside, broad retail aisles inside, and an exterior wall covered by surveillance cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still carries the doll-adorned backpack and her mobile phone as she identifies the exterior CCTV position and calls Hye-soo.

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, 21세, 짙은색 머리, 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 from a low, close position beneath the eave, using a moderately wide lens feel so her upturned face, pointing hand, and the surveillance camera form a strong diagonal through the frame. Keep her mobile phone and doll-adorned backpack naturally legible without distracting from the held gesture. Let soft early-morning light skim across her face and hand while the underside of the eave retains quiet, dimensional shadow; render the supermarket exterior with crisp live-action texture and restrained depth.

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

SHOT TEXT (authoritative, Korean): 마트 밖 CCTV가 설치된 처마 아래, 수리영이 고개를 든 채 CCTV 카메라를 손가락으로 가리키고 멈춰 서 있는 순간.

LOCATION (lock): A large supermarket in the quiet early hours, with bicycle parking outside, broad retail aisles inside, and an exterior wall covered by surveillance cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still carries the doll-adorned backpack and her mobile phone as she identifies the exterior CCTV position and calls Hye-soo.

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, 21세, 짙은색 머리, 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 distant, eye-level observational composition that places her full figure within the geometry of the supermarket exterior, with the surveillance-covered wall and eave dominating the frame and the bicycle parking contributing layered depth. Preserve clear separation between her raised pointing arm and the camera she indicates, while her phone and doll-adorned backpack remain visible as carried objects. Favor compressed, orderly planes and cool, even early-morning illumination, creating a quiet sense of being watched rather than an intimate portrait.

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

SHOT TEXT (authoritative, Korean): 마트 밖 CCTV가 설치된 처마 아래, 수리영이 고개를 든 채 CCTV 카메라를 손가락으로 가리키고 멈춰 서 있는 순간.

LOCATION (lock): A large supermarket in the quiet early hours, with bicycle parking outside, broad retail aisles inside, and an exterior wall covered by surveillance cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still carries the doll-adorned backpack and her mobile phone as she identifies the exterior CCTV position and calls Hye-soo.

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, 21세, 짙은색 머리, 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 from a low, close position beneath the eave, using a moderately wide lens feel so her upturned face, pointing hand, and the surveillance camera form a strong diagonal through the frame. Keep her mobile phone and doll-adorned backpack naturally legible without distracting from the held gesture. Let soft early-morning light skim across her face and hand while the underside of the eave retains quiet, dimensional shadow; render the supermarket exterior with crisp live-action texture and restrained depth.

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

SHOT TEXT (authoritative, Korean): 마트 밖 CCTV가 설치된 처마 아래, 수리영이 고개를 든 채 CCTV 카메라를 손가락으로 가리키고 멈춰 서 있는 순간.

LOCATION (lock): A large supermarket in the quiet early hours, with bicycle parking outside, broad retail aisles inside, and an exterior wall covered by surveillance cameras. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still carries the doll-adorned backpack and her mobile phone as she identifies the exterior CCTV position and calls Hye-soo.

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, 21세, 짙은색 머리, 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 distant, eye-level observational composition that places her full figure within the geometry of the supermarket exterior, with the surveillance-covered wall and eave dominating the frame and the bicycle parking contributing layered depth. Preserve clear separation between her raised pointing arm and the camera she indicates, while her phone and doll-adorned backpack remain visible as carried objects. Favor compressed, orderly planes and cool, even early-morning illumination, creating a quiet sense of being watched rather than an intimate portrait.

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 arm holding the phone in the foreground, keeping only one right arm pointing upward, and place the mobile phone in her left hand.

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

SHOT TEXT (authoritative, Korean): 어두운 옥탑방 거실, 혜수가 휴대전화를 귀에 댄 채 굳은 표정으로 서 있는 상체.

LOCATION (lock): A desolate, recently ransacked rooftop apartment with a loose entrance door shifting in the wind and disordered rooms beyond. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop apartment remains ransacked, with intruder footprints, displaced household items, an open living-room window, and overturned dining chairs; the photograph has been removed from the bedroom wall.

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, 짙은색 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 어두운 옥탑방 거실, 혜수가 휴대전화를 귀에 댄 채 굳은 표정으로 서 있는 상체.

LOCATION (lock): A desolate, recently ransacked rooftop apartment with a loose entrance door shifting in the wind and disordered rooms beyond. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop apartment remains ransacked, with intruder footprints, displaced household items, an open living-room window, and overturned dining chairs; the photograph has been removed from the bedroom wall.

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, 짙은색 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 her in a tight eye-level upper-body frame with a restrained, natural perspective, holding her face and phone in crisp focus. Keep the composition nearly frontal and subtly off-center, letting the dim room recede into soft, layered disorder behind her. Shape the dusk ambience into low-key side light across her mature features, preserving deep, realistic shadow and emphasizing the rigid stillness of her expression.

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

SHOT TEXT (authoritative, Korean): 어두운 옥탑방 거실, 혜수가 휴대전화를 귀에 댄 채 굳은 표정으로 서 있는 상체.

LOCATION (lock): A desolate, recently ransacked rooftop apartment with a loose entrance door shifting in the wind and disordered rooms beyond. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop apartment remains ransacked, with intruder footprints, displaced household items, an open living-room window, and overturned dining chairs; the photograph has been removed from the bedroom wall.

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, 짙은색 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, slightly elevated oblique view while maintaining an upper-body composition, placing her in the near foreground and opening clear depth through the disturbed living space beyond. Let architectural lines and scattered interior elements create an uneasy, unbalanced frame around her rather than isolating her with blur. Use the fading dusk from the open window as a cool directional edge, with the rest of the room falling into textured darkness so her fixed posture feels exposed within the ransacked apartment.

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

SHOT TEXT (authoritative, Korean): 어두운 옥탑방 거실, 혜수가 휴대전화를 귀에 댄 채 굳은 표정으로 서 있는 상체.

LOCATION (lock): A desolate, recently ransacked rooftop apartment with a loose entrance door shifting in the wind and disordered rooms beyond. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop apartment remains ransacked, with intruder footprints, displaced household items, an open living-room window, and overturned dining chairs; the photograph has been removed from the bedroom wall.

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, 짙은색 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 her in a tight eye-level upper-body frame with a restrained, natural perspective, holding her face and phone in crisp focus. Keep the composition nearly frontal and subtly off-center, letting the dim room recede into soft, layered disorder behind her. Shape the dusk ambience into low-key side light across her mature features, preserving deep, realistic shadow and emphasizing the rigid stillness of her expression.

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

SHOT TEXT (authoritative, Korean): 어두운 옥탑방 거실, 혜수가 휴대전화를 귀에 댄 채 굳은 표정으로 서 있는 상체.

LOCATION (lock): A desolate, recently ransacked rooftop apartment with a loose entrance door shifting in the wind and disordered rooms beyond. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop apartment remains ransacked, with intruder footprints, displaced household items, an open living-room window, and overturned dining chairs; the photograph has been removed from the bedroom wall.

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, 짙은색 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, slightly elevated oblique view while maintaining an upper-body composition, placing her in the near foreground and opening clear depth through the disturbed living space beyond. Let architectural lines and scattered interior elements create an uneasy, unbalanced frame around her rather than isolating her with blur. Use the fading dusk from the open window as a cool directional edge, with the rest of the room falling into textured darkness so her fixed posture feels exposed within the ransacked apartment.

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:
- Open the living room window.
- Make the entrance door slightly ajar so it appears loose.
- Remove the text from the character's vest.

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

SHOT TEXT (authoritative, Korean): 인우의 어깨 너머로 조타실 벽면에 빼곡하게 그려진 기괴한 원형 표식들이 보이는 시점 쇼트.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Numerous circular symbols remain drawn throughout the wheelhouse, including the newly noticed red circle. Suri-young still has the old photograph and her backpack of maps 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, 짙은색 머리, 단정한 미청년 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, wheelhouse lighting unspecified.

SHOT TEXT (authoritative, Korean): 인우의 어깨 너머로 조타실 벽면에 빼곡하게 그려진 기괴한 원형 표식들이 보이는 시점 쇼트.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Numerous circular symbols remain drawn throughout the wheelhouse, including the newly noticed red circle. Suri-young still has the old photograph and her backpack of maps 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, 짙은색 머리, 단정한 미청년 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):
Frame a tight, intimate over-the-shoulder view from just behind Inwoo, with his neatly groomed dark hair and shoulder occupying a substantial soft foreground edge. Let the densely marked wall dominate the plane of focus, using restrained shallow depth and a slightly compressed lens feel to make the strange circles seem visually crowded. Cool dusk ambience falls gently across the surfaces, with subdued contrast and tactile live-action 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.

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

SHOT TEXT (authoritative, Korean): 인우의 어깨 너머로 조타실 벽면에 빼곡하게 그려진 기괴한 원형 표식들이 보이는 시점 쇼트.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Numerous circular symbols remain drawn throughout the wheelhouse, including the newly noticed red circle. Suri-young still has the old photograph and her backpack of maps 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, 짙은색 머리, 단정한 미청년 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 a wider over-the-shoulder composition from slightly above Inwoo’s shoulder line, keeping him clearly readable from behind while revealing the cramped spatial depth of the wheelhouse. Use a natural wide-angle feel and deeper focus so the steering area, windows, sea beyond, and the circular markings across the interior surfaces remain spatially coherent, with the marked wall carrying the strongest compositional weight. Shape the dusk illumination as soft directional falloff from the windows, allowing the enclosed interior to feel tense without obscuring physical 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, wheelhouse lighting unspecified.

SHOT TEXT (authoritative, Korean): 인우의 어깨 너머로 조타실 벽면에 빼곡하게 그려진 기괴한 원형 표식들이 보이는 시점 쇼트.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Numerous circular symbols remain drawn throughout the wheelhouse, including the newly noticed red circle. Suri-young still has the old photograph and her backpack of maps 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, 짙은색 머리, 단정한 미청년 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):
Frame a tight, intimate over-the-shoulder view from just behind Inwoo, with his neatly groomed dark hair and shoulder occupying a substantial soft foreground edge. Let the densely marked wall dominate the plane of focus, using restrained shallow depth and a slightly compressed lens feel to make the strange circles seem visually crowded. Cool dusk ambience falls gently across the surfaces, with subdued contrast and tactile live-action 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.

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

SHOT TEXT (authoritative, Korean): 인우의 어깨 너머로 조타실 벽면에 빼곡하게 그려진 기괴한 원형 표식들이 보이는 시점 쇼트.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Numerous circular symbols remain drawn throughout the wheelhouse, including the newly noticed red circle. Suri-young still has the old photograph and her backpack of maps 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, 짙은색 머리, 단정한 미청년 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 a wider over-the-shoulder composition from slightly above Inwoo’s shoulder line, keeping him clearly readable from behind while revealing the cramped spatial depth of the wheelhouse. Use a natural wide-angle feel and deeper focus so the steering area, windows, sea beyond, and the circular markings across the interior surfaces remain spatially coherent, with the marked wall carrying the strongest compositional weight. Shape the dusk illumination as soft directional falloff from the windows, allowing the enclosed interior to feel tense without obscuring physical 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, narrow sunlight through a small window.

SHOT TEXT (authoritative, Korean): 강민숙의 손목 안쪽에 새겨진 뚜렷한 작은 원형 표식이 화면 중앙에 보이는 시점 쇼트.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 modest rooftop-room interior lighting, nearby wall materials, and the woman's unchanged clothing and arm position. Preserve the close physical proximity established between the mother and daughter. Exclude both faces and most of their bodies, as well as unrelated furniture, so the frame isolates the marked inner wrist.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The longstanding small circular mark remains clearly visible on the inside of Minsuk’s wrist.

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, 짙은색 머리, 평범한 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, narrow sunlight through a small window.

SHOT TEXT (authoritative, Korean): 강민숙의 손목 안쪽에 새겨진 뚜렷한 작은 원형 표식이 화면 중앙에 보이는 시점 쇼트.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 modest rooftop-room interior lighting, nearby wall materials, and the woman's unchanged clothing and arm position. Preserve the close physical proximity established between the mother and daughter. Exclude both faces and most of their bodies, as well as unrelated furniture, so the frame isolates the marked inner wrist.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The longstanding small circular mark remains clearly visible on the inside of Minsuk’s wrist.

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, 짙은색 머리, 평범한 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 inner wrist in an extreme close-up from a nearly perpendicular angle, with the small circular mark held precisely at the center of the frame. Use a restrained, shallow-focus lens feel: the mark and immediate skin texture are crisply resolved while the unchanged clothing and nearby wall material fall softly out of focus. Let the narrow window light model the wrist gently and naturally, creating an objective, evidentiary insert.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day, narrow sunlight through a small window.

SHOT TEXT (authoritative, Korean): 강민숙의 손목 안쪽에 새겨진 뚜렷한 작은 원형 표식이 화면 중앙에 보이는 시점 쇼트.

LOCATION (lock): A compact rooftop apartment with a small living-room window, a kitchenette sink and stove, a dining table, and adjoining bedrooms. The interior is modest and closely packed. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 modest rooftop-room interior lighting, nearby wall materials, and the woman's unchanged clothing and arm position. Preserve the close physical proximity established between the mother and daughter. Exclude both faces and most of their bodies, as well as unrelated furniture, so the frame isolates the marked inner wrist.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The longstanding small circular mark remains clearly visible on the inside of Minsuk’s wrist.

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, 짙은색 머리, 평범한 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):
Take a close, oblique viewpoint along the unchanged arm so the wrist runs diagonally through the composition and the circular mark remains centered. Use a more dimensional depth arrangement, with a trace of unchanged clothing near the foreground and the modest room surface receding behind the wrist. Allow the narrow sunlight to rake across the inner wrist, revealing the mark through gentle tonal contrast and giving the discovery an intimate, tense immediacy.

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 arm horizontally to maintain the locked hugging pose, and place a portion of the daughter's dark t-shirt directly against the arm to restore the established physical contact.
- Correct the thumb's anatomy to have normal human proportions, thickness, and joints.

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

SHOT TEXT (authoritative, Korean): 갇힌 개들을 응시하며 휴대전화를 귀에 댄 채 입을 살짝 벌리고 멈춰 선 수리영의 상체.

LOCATION (lock): A dog shelter with enclosed kennels for multiple dogs and practical areas for veterinary injections, grooming, treatment, and washing. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 kennel-row look, metal-bar materials, daylight, and the young woman's clothing. Keep her in the same general position outside the cages while adding the phone at her ear. Exclude the earlier direct standoff with the aggressive dog and exclude the veterinarian if outside this 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.

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 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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 갇힌 개들을 응시하며 휴대전화를 귀에 댄 채 입을 살짝 벌리고 멈춰 선 수리영의 상체.

LOCATION (lock): A dog shelter with enclosed kennels for multiple dogs and practical areas for veterinary injections, grooming, treatment, and washing. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 kennel-row look, metal-bar materials, daylight, and the young woman's clothing. Keep her in the same general position outside the cages while adding the phone at her ear. Exclude the earlier direct standoff with the aggressive dog and exclude the veterinarian if outside this 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.

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 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, 21세, 짙은색 머리, 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 her upper body in an intimate eye-level profile medium close-up, holding her face, parted lips, and phone hand in crisp focus while her fixed gaze leads across the frame. Let the metal kennel bars and contained dogs recede behind her in shallow, layered depth, with soft directional daylight shaping her young face and the worn metal surfaces. Keep the composition quiet and suspended, emphasizing the unanswered-call 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 갇힌 개들을 응시하며 휴대전화를 귀에 댄 채 입을 살짝 벌리고 멈춰 선 수리영의 상체.

LOCATION (lock): A dog shelter with enclosed kennels for multiple dogs and practical areas for veterinary injections, grooming, treatment, and washing. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 kennel-row look, metal-bar materials, daylight, and the young woman's clothing. Keep her in the same general position outside the cages while adding the phone at her ear. Exclude the earlier direct standoff with the aggressive dog and exclude the veterinarian if outside this 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.

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 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, 21세, 짙은색 머리, 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):
Place the camera at a low kennel-side viewpoint, looking through prominent out-of-focus metal bars toward her upper body beyond them. Use a restrained wider lens feel and deeper spatial layering so the enclosure dominates the foreground while her halted posture and slightly open mouth remain clearly readable in the daylight. Compose her between the bars, making the physical separation from the dogs the central visual 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.

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

CORRECTIONS:
- Rotate the mobile phone in her hand so the screen faces her ear and the back of the phone faces outward.

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

SHOT TEXT (authoritative, Korean): 핏자국 하나 없이 깨끗하게 정돈된 방 한가운데 서서 파랗게 질린 얼굴로 멈춘 수리영.

LOCATION (lock): A compact rooftop apartment with an iron-door entry, living and dining area, and a small bedroom. The bedroom is now unnaturally clean and precisely arranged, with no visible blood or body. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 bedroom layout, fixed wall and floor materials, curtain placement, and nighttime lighting. Preserve the young woman's clothing from this continuous night sequence. Exclude the dead woman, all blood, torn flesh, and every trace of the earlier attack; the room must now appear unnaturally clean and orderly.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room has been unnaturally reset: the corpse, blood, bloody footprints, wall circle, and other visible evidence have all disappeared.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 핏자국 하나 없이 깨끗하게 정돈된 방 한가운데 서서 파랗게 질린 얼굴로 멈춘 수리영.

LOCATION (lock): A compact rooftop apartment with an iron-door entry, living and dining area, and a small bedroom. The bedroom is now unnaturally clean and precisely arranged, with no visible blood or body. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 bedroom layout, fixed wall and floor materials, curtain placement, and nighttime lighting. Preserve the young woman's clothing from this continuous night sequence. Exclude the dead woman, all blood, torn flesh, and every trace of the earlier attack; the room must now appear unnaturally clean and orderly.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room has been unnaturally reset: the corpse, blood, bloody footprints, wall circle, and other visible evidence have all disappeared.

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, 21세, 짙은색 머리, 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 a restrained, eye-level wide tableau, with the camera square to the room and Suriyoung held near the compositional center. Use deep focus and clean geometric lines so the precise arrangement of the bedroom surrounds her rigid stillness with oppressive symmetry. Preserve the established nighttime illumination, allowing restrained contrast and a slightly underexposed facial complexion to convey her shock through performance rather than altered anatomy.

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

SHOT TEXT (authoritative, Korean): 핏자국 하나 없이 깨끗하게 정돈된 방 한가운데 서서 파랗게 질린 얼굴로 멈춘 수리영.

LOCATION (lock): A compact rooftop apartment with an iron-door entry, living and dining area, and a small bedroom. The bedroom is now unnaturally clean and precisely arranged, with no visible blood or body. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 bedroom layout, fixed wall and floor materials, curtain placement, and nighttime lighting. Preserve the young woman's clothing from this continuous night sequence. Exclude the dead woman, all blood, torn flesh, and every trace of the earlier attack; the room must now appear unnaturally clean and orderly.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room has been unnaturally reset: the corpse, blood, bloody footprints, wall circle, and other visible evidence have all disappeared.

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, 21세, 짙은색 머리, 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, slightly off-axis close framing from around chest height, concentrating on Suriyoung’s pallid face, fixed gaze, and arrested posture. Let a longer-lens feel compress the precisely ordered room behind her into layered, softly receding planes while retaining enough recognizable structure to make its unnatural neatness inescapable. Keep the established nighttime light natural to the location, with gentle directional modeling across her face and shallow focus isolating her stunned performance.

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 black bicycle helmet onto Suriyoung's head, matching the character reference exactly.

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

SHOT TEXT (authoritative, Korean): 수리영의 손이 인쇄된 지도 여러 장을 반으로 접은 채 멈춘 클로즈업.

LOCATION (lock): The exterior parking area of a police station leads to a public computer café. Inside, rows of computer desks and a printer provide a workstation for map searching and printing. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 dark computer-café lighting, desk surface, monitor glow, printed maps, and the young woman's unchanged clothing. Maintain her seated position at the same workstation. Exclude her face, most of her body, neighboring customers, and unrelated computer equipment from the hand-and-map close-up.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young folds several printed maps for transport; her coordinate note remains with her, and the maps are about to be placed in 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: 수리영 (한국인 여성, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 수리영의 손이 인쇄된 지도 여러 장을 반으로 접은 채 멈춘 클로즈업.

LOCATION (lock): The exterior parking area of a police station leads to a public computer café. Inside, rows of computer desks and a printer provide a workstation for map searching and printing. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 dark computer-café lighting, desk surface, monitor glow, printed maps, and the young woman's unchanged clothing. Maintain her seated position at the same workstation. Exclude her face, most of her body, neighboring customers, and unrelated computer equipment from the hand-and-map close-up.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young folds several printed maps for transport; her coordinate note remains with her, and the maps are about to be placed in 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: 수리영 (한국인 여성, 21세, 짙은색 머리, 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 from directly above in a tight overhead close-up, framing only her hands, the half-folded printed maps, a restrained trace of her clothing at the wrists, and the worn desk surface. Use crisp near-field detail and controlled depth so the arrested fold and layered paper edges become the compositional center, with the monitor glow falling softly across the maps against the dark computer-café ambience.

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

SHOT TEXT (authoritative, Korean): 수리영의 손이 인쇄된 지도 여러 장을 반으로 접은 채 멈춘 클로즈업.

LOCATION (lock): The exterior parking area of a police station leads to a public computer café. Inside, rows of computer desks and a printer provide a workstation for map searching and printing. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 dark computer-café lighting, desk surface, monitor glow, printed maps, and the young woman's unchanged clothing. Maintain her seated position at the same workstation. Exclude her face, most of her body, neighboring customers, and unrelated computer equipment from the hand-and-map close-up.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young folds several printed maps for transport; her coordinate note remains with her, and the maps are about to be placed in 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: 수리영 (한국인 여성, 21세, 짙은색 머리, 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):
Shoot from desk height at a close oblique angle, looking across the layered map sheets toward her motionless fingers at the fold. Let the nearest paper edge and fingertips hold sharp focus while the remaining desk and monitor glow dissolve into a dark, shallow background; use low raking light to reveal the paper creases, slight curl, and tactile tension of the interrupted movement.

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 to a direct top-down overhead angle and tighten the framing to show exclusively the hands, wrists, folded maps, and desk surface, excluding the torso, full arms, monitor, and keyboard.
- Remove all text, letters, and typography from the printed maps and the piece of paper.

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

SHOT TEXT (authoritative, Korean): 눈을 부릅뜨고 굳어 있는 인우의 어깨 위로 수리영의 머리가 맞닿아 있는 찰나의 정지 구도.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 materials, dusk light, wall covered with circular markings, and the man's unchanged clothing and position. Preserve the woman's clothing and her collapse against his shoulder. Exclude the old photograph, the pointing hand, and the earlier over-the-shoulder viewing action.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Her body has gone slack as she collapses against Inwoo, with her head resting on his shoulder and her torso and limbs sagging downward.

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.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is unconscious; her body has gone slack as she collapses against Inwoo, with her head resting on his shoulder and her torso and limbs sagging downward; no dropping of her photograph, backpack, or maps is shown, so those belongings remain with her aboard the boat.

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, 21세, 짙은색 머리, 젊은 얼굴); 인우 (한국인 남성, 24세, 짙은색 머리, 단정한 미청년 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, wheelhouse lighting unspecified.

SHOT TEXT (authoritative, Korean): 눈을 부릅뜨고 굳어 있는 인우의 어깨 위로 수리영의 머리가 맞닿아 있는 찰나의 정지 구도.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 materials, dusk light, wall covered with circular markings, and the man's unchanged clothing and position. Preserve the woman's clothing and her collapse against his shoulder. Exclude the old photograph, the pointing hand, and the earlier over-the-shoulder viewing action.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Her body has gone slack as she collapses against Inwoo, with her head resting on his shoulder and her torso and limbs sagging downward.

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.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is unconscious; her body has gone slack as she collapses against Inwoo, with her head resting on his shoulder and her torso and limbs sagging downward; no dropping of her photograph, backpack, or maps is shown, so those belongings remain with her aboard the boat.

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, 21세, 짙은색 머리, 젊은 얼굴); 인우 (한국인 남성, 24세, 짙은색 머리, 단정한 미청년 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 this as a tight, nearly frontal close-up at Inwoo’s eye level, cropping closely around his face, shoulder, and Suri-young’s resting head. Use a restrained portrait-lens feel with shallow depth, holding Inwoo’s rigid, wide-eyed expression in crisp focus while the point of contact remains equally legible. Let soft dusk illumination from the wheelhouse windows model their faces with subdued contrast, while the circular-marked interior recedes into an unobtrusive blur.

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

SHOT TEXT (authoritative, Korean): 눈을 부릅뜨고 굳어 있는 인우의 어깨 위로 수리영의 머리가 맞닿아 있는 찰나의 정지 구도.

LOCATION (lock): A cramped fishing-boat wheelhouse containing steering controls and windows overlooking the sea. Numerous circular markings cover the interior surfaces. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 materials, dusk light, wall covered with circular markings, and the man's unchanged clothing and position. Preserve the woman's clothing and her collapse against his shoulder. Exclude the old photograph, the pointing hand, and the earlier over-the-shoulder viewing action.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Her body has gone slack as she collapses against Inwoo, with her head resting on his shoulder and her torso and limbs sagging downward.

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.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is unconscious; her body has gone slack as she collapses against Inwoo, with her head resting on his shoulder and her torso and limbs sagging downward; no dropping of her photograph, backpack, or maps is shown, so those belongings remain with her aboard the boat.

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, 21세, 짙은색 머리, 젊은 얼굴); 인우 (한국인 남성, 24세, 짙은색 머리, 단정한 미청년 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):
Take a side-on medium shot from slightly below shoulder height, using layered depth to place the two figures against the wheelhouse windows and circular-marked surfaces. Keep their shared silhouette and the downward pull of Suri-young’s slack body visually clear, while Inwoo’s fixed gaze cuts across the frame rather than toward the camera. Use a broader lens feel and deeper focus so the cramped interior geometry and dusk beyond the windows intensify the suspended 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:
- Add the black bicycle helmet to Suri-young's head, exactly matching her character 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 맑은 대낮의 인천 변두리, 낡은 다세대 빌라 옥상 위에 자리 잡은 옥탑방 외부 전경.

LOCATION (lock): A rooftop dwelling built atop an old low-rise villa in an outlying urban neighborhood, viewed with the surrounding rooftop structure. 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.

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.

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

SHOT TEXT (authoritative, Korean): 맑은 대낮의 인천 변두리, 낡은 다세대 빌라 옥상 위에 자리 잡은 옥탑방 외부 전경.

LOCATION (lock): A rooftop dwelling built atop an old low-rise villa in an outlying urban neighborhood, viewed with the surrounding rooftop structure. 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.

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.

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 it as a wide, restrained establishing view from a neighboring rooftop-height vantage, with a natural perspective and level architectural lines. Let the rooftop dwelling anchor the composition while the surrounding rooftop structure remains clearly legible, using layered depth rather than dramatic distortion. Preserve the crisp, clear midday illumination and its honest surface detail, with a calm, 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.

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

SHOT TEXT (authoritative, Korean): 맑은 대낮의 인천 변두리, 낡은 다세대 빌라 옥상 위에 자리 잡은 옥탑방 외부 전경.

LOCATION (lock): A rooftop dwelling built atop an old low-rise villa in an outlying urban neighborhood, viewed with the surrounding rooftop structure. 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.

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.

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 low rooftop-level viewpoint looking upward in a tighter architectural composition, giving the fixed structure a strong physical presence against the clear daytime sky while retaining enough of the surrounding rooftop context to establish its placement. Favor a moderately compressed lens feel, firm geometric framing, and a deliberate asymmetrical balance. Let the hard, lucid daytime light articulate the structure’s locked materials, openings, and weathered surfaces without stylization.

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 rooftop structure's facade to match the STRUCTURE LOOK photograph exactly, placing a window on the left and a green door on the right.
- Remove all text from the satellite dish, the AC unit, and the silver water tank.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, dim interior with a stand lamp and television on.

SHOT TEXT (authoritative, Korean): 죽은 강민숙의 손안에 꽉 쥐어진 구겨진 사진 클로즈업.

LOCATION (lock): A compact rooftop apartment containing a living room, dining table, main bedroom, and a separate bedroom with a curtained window. Bloodstains and footprints cover the latter room and lead behind the curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains dead, seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, and one hand tightly clutches a crumpled photograph, amid the blood and footprints.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, dim interior with a stand lamp and television on.

SHOT TEXT (authoritative, Korean): 죽은 강민숙의 손안에 꽉 쥐어진 구겨진 사진 클로즈업.

LOCATION (lock): A compact rooftop apartment containing a living room, dining table, main bedroom, and a separate bedroom with a curtained window. Bloodstains and footprints cover the latter room and lead behind the curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains dead, seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, and one hand tightly clutches a crumpled photograph, amid the blood and footprints.

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 this as a restrained extreme close insert from nearly overhead, framing the clenched hand and crumpled photograph with very little surrounding floor. Use a crisp, forensic plane of focus across the fingers and crushed paper folds, with the blood-marked background falling away softly. Let the stand lamp provide a dim warm side wash while the television adds a faint cool contamination to the shadows, emphasizing texture without revealing any new information on the photograph.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, dim interior with a stand lamp and television on.

SHOT TEXT (authoritative, Korean): 죽은 강민숙의 손안에 꽉 쥐어진 구겨진 사진 클로즈업.

LOCATION (lock): A compact rooftop apartment containing a living room, dining table, main bedroom, and a separate bedroom with a curtained window. Bloodstains and footprints cover the latter room and lead behind the curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains dead, seated motionless on the floor behind the curtain with her torso slack and her head dropped forward; her limbs remain in their collapsed seated positions, and one hand tightly clutches a crumpled photograph, amid the blood and footprints.

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):
Place the camera at floor level in a tight oblique close-up, looking across the collapsed hand so the curled fingers dominate the near foreground and the crumpled photograph emerges between them. Use very shallow focus concentrated on the gripping fingertips and the nearest paper crease, allowing the rest to dissolve into dim, uneasy depth. Shape the existing stand-lamp and television light as opposing warm and cool edge tones, creating a tactile, intimate image with heavy shadow and no added visual elements.

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:
- Correct the right hand's anatomy so the fingers curl naturally downward around the crumpled paper, hiding the fingernails as they would in a palm-down fist.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, dim interior with a stand lamp and television on.

SHOT TEXT (authoritative, Korean): 침대 위 벽면에 거대한 붉은색 원형 표식이 나타난 모습.

LOCATION (lock): A compact rooftop apartment containing a living room, dining table, main bedroom, and a separate bedroom with a curtained window. Bloodstains and footprints cover the latter room and lead behind the curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s corpse remains seated behind the curtain with its wounds and the room’s blood traces unchanged, but Suri-young has removed the crumpled photograph from her hand. Minsuk’s wrist mark is now red, and a large red circle remains 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, dim interior with a stand lamp and television on.

SHOT TEXT (authoritative, Korean): 침대 위 벽면에 거대한 붉은색 원형 표식이 나타난 모습.

LOCATION (lock): A compact rooftop apartment containing a living room, dining table, main bedroom, and a separate bedroom with a curtained window. Bloodstains and footprints cover the latter room and lead behind the curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s corpse remains seated behind the curtain with its wounds and the room’s blood traces unchanged, but Suri-young has removed the crumpled photograph from her hand. Minsuk’s wrist mark is now red, and a large red circle remains 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 room in a restrained, straight-on medium-wide view at eye level, with the bed anchoring the lower frame and the enormous red circle dominating the wall above it. Use near-symmetrical composition and deep focus to make the space feel clinically still, while the stand lamp and television create subdued, uneven pools of night interior light.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, dim interior with a stand lamp and television on.

SHOT TEXT (authoritative, Korean): 침대 위 벽면에 거대한 붉은색 원형 표식이 나타난 모습.

LOCATION (lock): A compact rooftop apartment containing a living room, dining table, main bedroom, and a separate bedroom with a curtained window. Bloodstains and footprints cover the latter room and lead behind the curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s corpse remains seated behind the curtain with its wounds and the room’s blood traces unchanged, but Suri-young has removed the crumpled photograph from her hand. Minsuk’s wrist mark is now red, and a large red circle remains 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):
Place the camera low and close beside the bed, looking obliquely upward so the bed forms a strong foreground plane and the huge red circle looms across the upper frame. Use a compressed, claustrophobic lens feel with shallow falloff toward the rest of the room, letting the stand lamp provide soft lateral modeling while the television adds a faint fluctuating ambient cast.

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:
- Reverse the direction of the bloody footprints on the floor so the toes point toward the curtain.

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

SHOT TEXT (authoritative, Korean): 시신이 사라지고 빈 공간만 남은 깨끗한 커튼 뒤 바닥.

LOCATION (lock): A compact rooftop apartment with an iron-door entry, living and dining area, and a small bedroom. The bedroom is now unnaturally clean and precisely arranged, with no visible blood or body. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The floor behind the curtain remains completely clean and empty, with Minsuk’s seated corpse and all blood traces gone.

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

SHOT TEXT (authoritative, Korean): 시신이 사라지고 빈 공간만 남은 깨끗한 커튼 뒤 바닥.

LOCATION (lock): A compact rooftop apartment with an iron-door entry, living and dining area, and a small bedroom. The bedroom is now unnaturally clean and precisely arranged, with no visible blood or body. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The floor behind the curtain remains completely clean and empty, with Minsuk’s seated corpse and all blood traces gone.

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 floor level at close range, looking just beyond the curtain so its edge forms a soft foreground veil around the sharply rendered, immaculate empty floor. Use a restrained natural-perspective lens feel and shallow, controlled depth, with low raking interior light revealing the spotless surface and exact arrangement while the untouched negative space carries the 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 시신이 사라지고 빈 공간만 남은 깨끗한 커튼 뒤 바닥.

LOCATION (lock): A compact rooftop apartment with an iron-door entry, living and dining area, and a small bedroom. The bedroom is now unnaturally clean and precisely arranged, with no visible blood or body. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The floor behind the curtain remains completely clean and empty, with Minsuk’s seated corpse and all blood traces gone.

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 high, static wide composition that observes the precisely arranged bedroom and the empty floor behind the curtain as a cold geometric tableau. Keep the frame deep and evenly legible, with the curtain establishing a clear spatial boundary and subdued night-interior illumination emphasizing unnatural order, cleanliness, and absence.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn, rooftop room lit from within.

SHOT TEXT (authoritative, Korean): 담벼락 위에 선 검은 고양이가 불 켜진 창문 쪽을 응시하는 정지 상태.

LOCATION (lock): An old villa rooftop and its boundary wall, with a small rooftop dwelling visibly lit from within. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room’s light remains on through dawn while the black cat watches it from the wall.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn, rooftop room lit from within.

SHOT TEXT (authoritative, Korean): 담벼락 위에 선 검은 고양이가 불 켜진 창문 쪽을 응시하는 정지 상태.

LOCATION (lock): An old villa rooftop and its boundary wall, with a small rooftop dwelling visibly lit from within. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room’s light remains on through dawn while the black cat watches it from the wall.

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 boundary-wall height in a close lateral view, holding the cat in crisp profile as the dominant foreground figure while the illuminated window sits deeper along its exact sightline. Use shallow, selective focus with a gentle falloff into the rooftop surroundings; let the cool dawn ambience contour the dark fur while the interior light provides a restrained warm focal pull.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn, rooftop room lit from within.

SHOT TEXT (authoritative, Korean): 담벼락 위에 선 검은 고양이가 불 켜진 창문 쪽을 응시하는 정지 상태.

LOCATION (lock): An old villa rooftop and its boundary wall, with a small rooftop dwelling visibly lit from within. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room’s light remains on through dawn while the black cat watches it from the wall.

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 establishing view from a slightly elevated distance, preserving the rooftop architecture as a strong geometric field. Keep the cat relatively small but clearly readable atop the wall, and compose the illuminated window as the counterweight across the frame, with layered depth and broad focus emphasizing the silent distance between watcher and destination. Balance the cool dawn exterior against the contained interior glow without theatrical 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:
- Change the exterior walls of the rooftop room from red brick to grey concrete to match the structure reference photograph.

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

SHOT TEXT (authoritative, Korean): 거울에 비친 욕실 벽면에 선명한 붉은 원이 그려져 있는 시점 쇼트.

LOCATION (lock): A compact rooftop apartment with a main bedroom, a separate curtained bedroom, a small bathroom with a mirror, and a living-dining area displaying a family photograph. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young now has her doll-adorned backpack with her. A vivid red circle appears on the bathroom wall in the mirror, but it vanishes when she turns to look directly at it.

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

SHOT TEXT (authoritative, Korean): 거울에 비친 욕실 벽면에 선명한 붉은 원이 그려져 있는 시점 쇼트.

LOCATION (lock): A compact rooftop apartment with a main bedroom, a separate curtained bedroom, a small bathroom with a mirror, and a living-dining area displaying a family photograph. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young now has her doll-adorned backpack with her. A vivid red circle appears on the bathroom wall in the mirror, but it vanishes when she turns to look directly at it.

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):
Frame the mirror in a tight, nearly frontal point-of-view close shot, with the reflected bathroom wall occupying almost the entire image. Hold the vivid red circle in crisp focus near the compositional center, using restrained, cool early-morning ambient light and shallow surrounding falloff to make the mark feel immediate and unnervingly isolated.

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

SHOT TEXT (authoritative, Korean): 거울에 비친 욕실 벽면에 선명한 붉은 원이 그려져 있는 시점 쇼트.

LOCATION (lock): A compact rooftop apartment with a main bedroom, a separate curtained bedroom, a small bathroom with a mirror, and a living-dining area displaying a family photograph. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young now has her doll-adorned backpack with her. A vivid red circle appears on the bathroom wall in the mirror, but it vanishes when she turns to look directly at it.

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 an oblique point-of-view angle, keeping a clear edge of the mirror in the foreground while the reflected wall recedes into deeper space. Use layered, deep-focus composition and soft directional morning illumination so the vivid red circle reads sharply within the reflection, while the mirror boundary creates quiet spatial 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning, interior lighting unspecified.

SHOT TEXT (authoritative, Korean): 사진 속 강민숙의 환하게 웃는 얼굴이 기괴하게 흘러내린 채 뭉개져 있는 클로즈업.

LOCATION (lock): A compact rooftop apartment with a main bedroom, a separate curtained bedroom, a small bathroom with a mirror, and a living-dining area displaying a family photograph. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying the doll-adorned backpack. Minsuk’s face appears distorted and melting only momentarily; the photograph is normal again when Suri-young looks once more.

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

SHOT TEXT (authoritative, Korean): 사진 속 강민숙의 환하게 웃는 얼굴이 기괴하게 흘러내린 채 뭉개져 있는 클로즈업.

LOCATION (lock): A compact rooftop apartment with a main bedroom, a separate curtained bedroom, a small bathroom with a mirror, and a living-dining area displaying a family photograph. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying the doll-adorned backpack. Minsuk’s face appears distorted and melting only momentarily; the photograph is normal again when Suri-young looks once more.

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 image nearly straight-on in an oppressive extreme close-up, with the face dominating the frame and the surrounding photograph reduced to narrow contextual edges. Keep the print plane crisp and materially convincing, rendering the momentary downward smearing and compression with unsettling clarity under soft, even early-morning illumination.

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

SHOT TEXT (authoritative, Korean): 사진 속 강민숙의 환하게 웃는 얼굴이 기괴하게 흘러내린 채 뭉개져 있는 클로즈업.

LOCATION (lock): A compact rooftop apartment with a main bedroom, a separate curtained bedroom, a small bathroom with a mirror, and a living-dining area displaying a family photograph. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying the doll-adorned backpack. Minsuk’s face appears distorted and melting only momentarily; the photograph is normal again when Suri-young looks once more.

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 close, sharply oblique view that looks across the photograph’s surface, creating a receding plane and shallow focus that locks onto the distorted smiling face while the nearer and farther portions fall gently soft. Let restrained, raking early-morning light reveal the print’s physical surface, making the grotesque flowing distortion feel fleeting, intimate, and captured in-camera rather than graphically exaggerated.

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

SHOT TEXT (authoritative, Korean): 모니터 화면 속, 유독 어둡게 처리되어 형체가 뭉개진 남자의 실루엣이 떠 있는 컷.

LOCATION (lock): A supermarket administrative and security office organized around CCTV monitors, playback equipment, and staff workstations. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The CCTV recording persistently shows the relevant area as abnormally dark, leaving the man beside Minsuk impossible to identify.

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

SHOT TEXT (authoritative, Korean): 모니터 화면 속, 유독 어둡게 처리되어 형체가 뭉개진 남자의 실루엣이 떠 있는 컷.

LOCATION (lock): A supermarket administrative and security office organized around CCTV monitors, playback equipment, and staff workstations. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The CCTV recording persistently shows the relevant area as abnormally dark, leaving the man beside Minsuk impossible to identify.

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):
Frame the CCTV monitor in a tight, nearly head-on close-up, with its bezel only narrowly visible and the abnormally dark recorded image dominating the still. Keep the man’s complete human figure discernible in posture and clothing while severe underexposure and playback smearing erase identifying detail; use shallow depth so the surrounding office equipment falls softly away. Let the monitor’s subdued glow provide the principal visual emphasis without revealing any interface text.

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

SHOT TEXT (authoritative, Korean): 모니터 화면 속, 유독 어둡게 처리되어 형체가 뭉개진 남자의 실루엣이 떠 있는 컷.

LOCATION (lock): A supermarket administrative and security office organized around CCTV monitors, playback equipment, and staff workstations. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The CCTV recording persistently shows the relevant area as abnormally dark, leaving the man beside Minsuk impossible to identify.

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 a slightly elevated oblique angle in a wider environmental composition, placing the CCTV monitor within layered playback equipment and staff workstations while keeping the screen as the sharp visual anchor. Use deeper focus and restrained early-morning ambient light so the orderly office remains legible, yet the recorded area on the monitor appears conspicuously darker than everything around it. Preserve the man as a complete but unidentifiable human presence within that murky footage, his form degraded by low exposure and image blur rather than reduced to an abstract shape.

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 '16:55' timestamp from the left screen, the text from the main monitor's top-left bezel, and the writing from the yellow sticky note.

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

SHOT TEXT (authoritative, Korean): 방 안쪽 벽면에 거칠게 그려진 붉은색 원과 그 한가운데 꽂힌 낡은 사진 한 장.

LOCATION (lock): A compact rooftop apartment ransacked throughout, with an open living-room window, overturned dining chairs, disturbed household goods, and muddy footprints. A bedroom wall bears a red circle with a bloodstained photograph fixed at its center. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with footprints, an open living-room window, and overturned dining chairs. A red circle is fixed on Suri-young’s bedroom wall with the bloodstained old photograph pinned at its center.

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

SHOT TEXT (authoritative, Korean): 방 안쪽 벽면에 거칠게 그려진 붉은색 원과 그 한가운데 꽂힌 낡은 사진 한 장.

LOCATION (lock): A compact rooftop apartment ransacked throughout, with an open living-room window, overturned dining chairs, disturbed household goods, and muddy footprints. A bedroom wall bears a red circle with a bloodstained photograph fixed at its center. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with footprints, an open living-room window, and overturned dining chairs. A red circle is fixed on Suri-young’s bedroom wall with the bloodstained old photograph pinned at its center.

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 wall almost straight-on in a tight, severe close-up, with the rough red circle dominating the frame and the old photograph held precisely at its visual center. Use a restrained normal-to-short-telephoto feel to flatten the wall into an ominous graphic plane while preserving tactile detail in the paint, bloodstains, paper wear, and wall surface. Keep the dusk-toned illumination dim and directional, with gentle falloff toward the edges and crisp focus across the central evidence.

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

SHOT TEXT (authoritative, Korean): 방 안쪽 벽면에 거칠게 그려진 붉은색 원과 그 한가운데 꽂힌 낡은 사진 한 장.

LOCATION (lock): A compact rooftop apartment ransacked throughout, with an open living-room window, overturned dining chairs, disturbed household goods, and muddy footprints. A bedroom wall bears a red circle with a bloodstained photograph fixed at its center. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with footprints, an open living-room window, and overturned dining chairs. A red circle is fixed on Suri-young’s bedroom wall with the bloodstained old photograph pinned at its center.

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):
Frame from an oblique, low-to-eye-level position deeper within the room, using a moderately wide lens feel so the marked bedroom wall sits beyond the disrupted interior in layered depth. Let nearby ransacked elements occupy soft, partial foreground edges while the red circle and centered photograph remain the sharp compositional destination. Use the fading dusk from the open window as subtle lateral ambience, allowing the room to recede into subdued shadow and giving the image the uneasy feeling of evidence discovered within a violated home.

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 blank piece of stained paper in the center with a recognizable old photograph that contains a faded but visible image.

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

SHOT TEXT (authoritative, Korean): 7-80년대 식당과 지붕 위 둥근 원, 두 명의 어린 여자아이가 찍힌 낡은 사진의 시점 쇼트.

LOCATION (lock): A compact rooftop apartment ransacked throughout, with an open living-room window, overturned dining chairs, disturbed household goods, and muddy footprints. A bedroom wall bears a red circle with a bloodstained photograph fixed at its center. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has removed the bloodstained old photograph from the wall circle and holds it for inspection; the ransacked apartment remains unchanged around her.

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

SHOT TEXT (authoritative, Korean): 7-80년대 식당과 지붕 위 둥근 원, 두 명의 어린 여자아이가 찍힌 낡은 사진의 시점 쇼트.

LOCATION (lock): A compact rooftop apartment ransacked throughout, with an open living-room window, overturned dining chairs, disturbed household goods, and muddy footprints. A bedroom wall bears a red circle with a bloodstained photograph fixed at its center. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has removed the bloodstained old photograph from the wall circle and holds it for inspection; the ransacked apartment remains unchanged around her.

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 this as a tight, nearly frame-filling insert from the inspector’s exact eyeline, with the front of the old photograph held square to the camera while its supporting edges remain outside the crop. Keep the photographic image and its aged, bloodstained surface sharply legible, with only a thin, softly blurred suggestion of the room around it. Use subdued dusk ambience and shallow depth of field to make the photograph feel like the sole piece of evidence under scrutiny.

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

SHOT TEXT (authoritative, Korean): 7-80년대 식당과 지붕 위 둥근 원, 두 명의 어린 여자아이가 찍힌 낡은 사진의 시점 쇼트.

LOCATION (lock): A compact rooftop apartment ransacked throughout, with an open living-room window, overturned dining chairs, disturbed household goods, and muddy footprints. A bedroom wall bears a red circle with a bloodstained photograph fixed at its center. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has removed the bloodstained old photograph from the wall circle and holds it for inspection; the ransacked apartment remains unchanged around her.

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 wider subjective view with the old photograph dominating the near foreground, its front angled naturally toward the unseen inspector and camera, while the vacated red circle and the ransacked apartment remain recognizable deeper in the composition. Frame the photograph against the wall so the missing center and the object now under inspection form a strong visual relationship across layered depth. Let cool dusk light from the open window rake across the disorder, keeping the photograph crisp and the background slightly softer but still narratively readable.

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

SHOT TEXT (authoritative, Korean): 바람에 흔들려 살짝 열린 채 멈춘 낡은 현관 철문의 틈새 정경.

LOCATION (lock): A desolate, recently ransacked rooftop apartment with a loose entrance door shifting in the wind and disordered rooms beyond. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked and deserted, and its old entrance door is left loose enough to shift in the wind.

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

SHOT TEXT (authoritative, Korean): 바람에 흔들려 살짝 열린 채 멈춘 낡은 현관 철문의 틈새 정경.

LOCATION (lock): A desolate, recently ransacked rooftop apartment with a loose entrance door shifting in the wind and disordered rooms beyond. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked and deserted, and its old entrance door is left loose enough to shift in the wind.

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 very close to the entrance at a low, slightly oblique height, making the narrow opening the dominant vertical line in the frame. Hold sharp focus on the worn metal door edge while the disordered rooms beyond recede into soft, dim dusk depth, creating a tense, restricted glimpse into the deserted interior.

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

SHOT TEXT (authoritative, Korean): 바람에 흔들려 살짝 열린 채 멈춘 낡은 현관 철문의 틈새 정경.

LOCATION (lock): A desolate, recently ransacked rooftop apartment with a loose entrance door shifting in the wind and disordered rooms beyond. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked and deserted, and its old entrance door is left loose enough to shift in the wind.

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, static viewpoint from farther back, framing the entrance door diagonally within the surrounding apartment and allowing the rooms beyond to remain clearly legible in deep focus. Let cool dusk ambience fall across the near surfaces while the interior recedes through layered planes, emphasizing the still instant when the wind-shifted door has paused slightly open.

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:
- Apply a shallow depth of field to heavily blur the background rooms, keeping only the worn metal door edge in the foreground in sharp focus.

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

SHOT TEXT (authoritative, Korean): 어두컴컴한 숲속 수풀 사이, 잔뜩 겁에 질린 표정의 금월산 남성 피해자의 얼굴이 나뭇가지 밖으로 내밀어진 정면 구도.

LOCATION (lock): A dense forest filled with overgrown brush, forming a confined escape route through thick vegetation. 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.

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.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 금월산 남성 피해자 (한국인 성인 남성, 짙은색 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 어두컴컴한 숲속 수풀 사이, 잔뜩 겁에 질린 표정의 금월산 남성 피해자의 얼굴이 나뭇가지 밖으로 내밀어진 정면 구도.

LOCATION (lock): A dense forest filled with overgrown brush, forming a confined escape route through thick vegetation. 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.

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.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 금월산 남성 피해자 (한국인 성인 남성, 짙은색 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 moment as an intensely tight, straight-on close-up at eye level, with the face nearly filling the frame and the surrounding branches pressing into the edges. Use a gently compressed lens feel and very shallow depth of field: hold the eyes and strained facial muscles in crisp focus while the nearest vegetation falls into soft, claustrophobic blur. Let the dim, cool dusk light filter unevenly through the brush, creating restrained natural shadow across the face.

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

SHOT TEXT (authoritative, Korean): 어두컴컴한 숲속 수풀 사이, 잔뜩 겁에 질린 표정의 금월산 남성 피해자의 얼굴이 나뭇가지 밖으로 내밀어진 정면 구도.

LOCATION (lock): A dense forest filled with overgrown brush, forming a confined escape route through thick vegetation. 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.

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.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 금월산 남성 피해자 (한국인 성인 남성, 짙은색 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):
Pull back into a wider straight-on composition that makes the dense brush dominate, isolating the face within an irregular lattice of branches and vegetation. Favor a broader lens feel and layered depth, keeping both the foreground tangle and the face substantially legible so the confined escape route feels physically inescapable. Use the weak dusk illumination as soft ambient light, allowing the deeper forest to recede into natural darkness around the centered human presence.

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 fist on the left with distinct, anatomically correct fingers.
- Correct the hand on the right to have normal human proportions and a realistic grip.

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

SHOT TEXT (authoritative, Korean): 바닥에 쓰러진 금월산 남성 피해자를 덮치기 위해 양팔을 뻗은 채 공중을 가로지르는 검은 인영의 실루엣.

LOCATION (lock): A dense forest filled with overgrown brush, forming a confined escape route through thick vegetation. 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.

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.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 금월산 남성 피해자 (한국인 성인 남성, 짙은색 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 바닥에 쓰러진 금월산 남성 피해자를 덮치기 위해 양팔을 뻗은 채 공중을 가로지르는 검은 인영의 실루엣.

LOCATION (lock): A dense forest filled with overgrown brush, forming a confined escape route through thick vegetation. 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.

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.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 금월산 남성 피해자 (한국인 성인 남성, 짙은색 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 beat in a low, lateral wide composition, holding the fallen victim near the bottom of the frame while the airborne human figure cuts across the upper middle with both arms extended. Use layered brush and compressed clearings to make the escape route feel claustrophobic, with dusk light grazing through the vegetation and preserving believable human form and clothing detail within the figure’s dark silhouette.

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

SHOT TEXT (authoritative, Korean): 바닥에 쓰러진 금월산 남성 피해자를 덮치기 위해 양팔을 뻗은 채 공중을 가로지르는 검은 인영의 실루엣.

LOCATION (lock): A dense forest filled with overgrown brush, forming a confined escape route through thick vegetation. 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.

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.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 금월산 남성 피해자 (한국인 성인 남성, 짙은색 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):
Place the camera at ground level close to the fallen victim, looking along the confined route as the airborne figure surges toward the foreground with strongly foreshortened outstretched arms. Let the victim anchor the near edge while dense vegetation closes around the action; use the fading dusk behind and above the approaching figure to create a dark, readable human outline without losing realistic facial, hand, and wardrobe 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:
- Redraw the victim's extended left hand so the thumb is on the inside edge, correctly depicting a left hand.

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

SHOT TEXT (authoritative, Korean): 효장동 여성 피해자의 몸이 바닥에 쓰러진 채 멈춰 있고, 입가에 피를 묻힌 한국인 남성이 고개를 든 정지 상태.

LOCATION (lock): A narrow urban back alley centered on a utility pole, with faint streetlights providing sparse illumination. 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.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is fully collapsed and motionless on the ground, with her head, torso, arms, and legs unsupported and resting where they fell.

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.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The female victim is fully collapsed and motionless on the alley floor after collapsing, with her head, torso, arms, and legs unsupported and resting where they fell, with her neck bitten.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 효장동 여성 피해자 (한국인 성인 여성, 짙은색 머리, 평범한 얼굴); 효장동 한국인 남성 (포식자 활성 상태) (한국인 성인 남성, 짙은색 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, under faint streetlights.

SHOT TEXT (authoritative, Korean): 효장동 여성 피해자의 몸이 바닥에 쓰러진 채 멈춰 있고, 입가에 피를 묻힌 한국인 남성이 고개를 든 정지 상태.

LOCATION (lock): A narrow urban back alley centered on a utility pole, with faint streetlights providing sparse illumination. 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.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is fully collapsed and motionless on the ground, with her head, torso, arms, and legs unsupported and resting where they fell.

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.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The female victim is fully collapsed and motionless on the alley floor after collapsing, with her head, torso, arms, and legs unsupported and resting where they fell, with her neck bitten.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 효장동 여성 피해자 (한국인 성인 여성, 짙은색 머리, 평범한 얼굴); 효장동 한국인 남성 (포식자 활성 상태) (한국인 성인 남성, 짙은색 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):
Photograph the moment from a low, ground-skimming viewpoint with a restrained wide-lens feel, using the alley floor as a strong foreground plane and the centered utility pole as the composition’s rigid vertical axis. Keep both figures clearly legible in deep focus, emphasizing the victim’s complete gravitational collapse against the man’s arrested upward posture. Let the faint streetlights create sparse edge highlights and broad pools of darkness, with realistic low-light texture and an unsensational, forensic 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night, under faint streetlights.

SHOT TEXT (authoritative, Korean): 효장동 여성 피해자의 몸이 바닥에 쓰러진 채 멈춰 있고, 입가에 피를 묻힌 한국인 남성이 고개를 든 정지 상태.

LOCATION (lock): A narrow urban back alley centered on a utility pole, with faint streetlights providing sparse illumination. 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.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She is fully collapsed and motionless on the ground, with her head, torso, arms, and legs unsupported and resting where they fell.

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.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The female victim is fully collapsed and motionless on the alley floor after collapsing, with her head, torso, arms, and legs unsupported and resting where they fell, with her neck bitten.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 효장동 여성 피해자 (한국인 성인 여성, 짙은색 머리, 평범한 얼굴); 효장동 한국인 남성 (포식자 활성 상태) (한국인 성인 남성, 짙은색 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 tighter, compressed perspective at roughly the man’s head height, framing his raised face as the immediate dramatic center while retaining the collapsed victim within the composition as a heavy foreground presence. Employ shallow, carefully placed focus so the blood at his mouth and the frozen tension of his expression are crisp while depth falls away naturally. Shape the faint streetlight into a narrow, uneven side illumination across his face, allowing the rest of the alley to remain subdued and claustrophobic.

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 and numbers from the sticker on the utility pole and the blue sign on the right building.

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

SHOT TEXT (authoritative, Korean): 무전기를 손에 쥔 채 폴리스 라인 밖에서 굳은 표정으로 멈춰 서 있는 혜수의 상체.

LOCATION (lock): Two outdoor crime scenes—a wooded trail and an urban back alley—sealed with police tape while officers process and remove bodies. 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.

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.

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

SHOT TEXT (authoritative, Korean): 무전기를 손에 쥔 채 폴리스 라인 밖에서 굳은 표정으로 멈춰 서 있는 혜수의 상체.

LOCATION (lock): Two outdoor crime scenes—a wooded trail and an urban back alley—sealed with police tape while officers process and remove bodies. 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.

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.

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, 짙은색 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):
Frame an eye-level medium close-up with a restrained long-lens feel, keeping her face and radio hand crisp while the fixed crime-scene depth falls softly out of focus. Use the police tape in its established position as a strong visual divider, with balanced headroom and subdued natural daytime contrast emphasizing her arrested 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 무전기를 손에 쥔 채 폴리스 라인 밖에서 굳은 표정으로 멈춰 서 있는 혜수의 상체.

LOCATION (lock): Two outdoor crime scenes—a wooded trail and an urban back alley—sealed with police tape while officers process and remove bodies. 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.

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.

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, 짙은색 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 the upper body from a close three-quarter angle with a moderately wide, immediate lens feel, preserving stronger depth through the fixed surroundings rather than isolating her. Let the police tape create a taut diagonal within its established placement, while directional daylight models her mature features and the radio hand; hold the composition slightly off-center to give her rigid pause unresolved 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.

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

CORRECTIONS:
- Remove all text from the yellow police tape, leaving it completely blank or with only plain stripes.

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

SHOT TEXT (authoritative, Korean): 맑은 낮 해안가 도로, 이어폰을 낀 수리영이 밝은 표정으로 자전거 안장에 앉아 한쪽 페달을 아래로 힘차게 밟고 있으며 주행 반대 방향으로 머리카락이 흩날리는 mid-action 측면 전신.

LOCATION (lock): A coastal road running directly alongside the sea, with enough roadside space for bicycle travel. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues wearing her earphones while riding the bicycle along the coast.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 맑은 낮 해안가 도로, 이어폰을 낀 수리영이 밝은 표정으로 자전거 안장에 앉아 한쪽 페달을 아래로 힘차게 밟고 있으며 주행 반대 방향으로 머리카락이 흩날리는 mid-action 측면 전신.

LOCATION (lock): A coastal road running directly alongside the sea, with enough roadside space for bicycle travel. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues wearing her earphones while riding the bicycle along the coast.

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, 21세, 짙은색 머리, 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 action from a parallel, waist-height tracking viewpoint, holding the complete side-on figure and bicycle cleanly within the frame. Use a moderately compressed lens feel to keep her expression readable while arranging the road and sea as distinct depth layers behind her. Crisp natural daylight, restrained highlights, and a fast, sharply resolved mid-action instant emphasize the force of the downstroke and the opposing sweep of her hair.

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

SHOT TEXT (authoritative, Korean): 맑은 낮 해안가 도로, 이어폰을 낀 수리영이 밝은 표정으로 자전거 안장에 앉아 한쪽 페달을 아래로 힘차게 밟고 있으며 주행 반대 방향으로 머리카락이 흩날리는 mid-action 측면 전신.

LOCATION (lock): A coastal road running directly alongside the sea, with enough roadside space for bicycle travel. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues wearing her earphones while riding the bicycle along the coast.

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, 21세, 짙은색 머리, 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):
Take a low roadside viewpoint with a broad, immersive lens feel, preserving the full side profile while giving the bicycle and forceful pedal stroke strong foreground presence. Compose with generous coastal space around her so the open setting amplifies the buoyant momentum of the moment, while keeping her face clearly visible. Bright clear-day illumination, natural contrast, and slight environmental motion rendering create speed without softening her expression or body position.

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 character's body so she is seated firmly on the bicycle saddle.
- Clothe the character in the blue zip-up jacket shown in the character reference.
- Add the black bicycle helmet from the character reference onto the character's head.
- Draw the olive green fanny pack worn diagonally across the character's chest.
- Render the character's left leg bent upwards on the opposite side of the bicycle 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 어두운 밤바다를 배경으로, 수리영이 굳은 표정으로 한쪽 무릎을 굽혀 자전거 페달을 힘껏 밟아 내리는 중간 동작, 옷자락과 머리카락이 뒤로 흩날리는 측면.

LOCATION (lock): A coastal road tracing the nighttime shoreline, used as a bicycle route back toward the residential district. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is again riding her bicycle, now hurrying home along the coastal road.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 어두운 밤바다를 배경으로, 수리영이 굳은 표정으로 한쪽 무릎을 굽혀 자전거 페달을 힘껏 밟아 내리는 중간 동작, 옷자락과 머리카락이 뒤로 흩날리는 측면.

LOCATION (lock): A coastal road tracing the nighttime shoreline, used as a bicycle route back toward the residential district. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is again riding her bicycle, now hurrying home along the coastal road.

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, 21세, 짙은색 머리, 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 in a broad, clean side profile from around bicycle height, holding Suri-young and the bicycle clearly against the dark sea. Use strong lateral composition and generous shoreline negative space, with her bent knee, forceful downward pedal stroke, rigid expression, and backward-streaming hair and clothing all legible in one kinetic figure. Keep the low-key night image crisp on her while allowing only restrained directional motion in the 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.

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

SHOT TEXT (authoritative, Korean): 어두운 밤바다를 배경으로, 수리영이 굳은 표정으로 한쪽 무릎을 굽혀 자전거 페달을 힘껏 밟아 내리는 중간 동작, 옷자락과 머리카락이 뒤로 흩날리는 측면.

LOCATION (lock): A coastal road tracing the nighttime shoreline, used as a bicycle route back toward the residential district. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young is again riding her bicycle, now hurrying home along the coastal road.

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, 21세, 짙은색 머리, 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):
Track tightly beside Suri-young at near eye level in an intimate side-on framing, compressing the dark sea behind her and concentrating attention on her tense face and driving posture. Frame closely enough to make the backward sweep of her hair and clothing feel urgent while still preserving the bent knee and pedal at the decisive midpoint of the push. Use shallow depth and soft, low-key night illumination, with her face and pedaling motion held sharply against the subdued 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:
- Change the pants to straight-leg blue denim jeans exactly matching the character reference.
- Change the shoes to the chunky black and grey hiking sneakers shown in the character reference.
- Remove the extra unattached shoe floating below the main pedal.

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

SHOT TEXT (authoritative, Korean): 공포에 질린 얼굴의 수리영이 옥탑방 외부 계단을 뛰어내려오는 도중, 한 발이 허공에 뜬 mid-action 전신.

LOCATION (lock): The exterior approach to a rooftop dwelling, including the villa courtyard, the descending exterior staircase, and the nearby vehicle-access area. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young flees immediately after taking the crumpled photograph from Minsuk’s hand, so she still carries it as she runs down the stairs.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 공포에 질린 얼굴의 수리영이 옥탑방 외부 계단을 뛰어내려오는 도중, 한 발이 허공에 뜬 mid-action 전신.

LOCATION (lock): The exterior approach to a rooftop dwelling, including the villa courtyard, the descending exterior staircase, and the nearby vehicle-access area. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young flees immediately after taking the crumpled photograph from Minsuk’s hand, so she still carries it as she runs down the stairs.

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, 21세, 짙은색 머리, 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 from low near the foot of the staircase with a close, wide-angle perspective, keeping her entire body in frame while the descending steps surge diagonally behind her. Freeze the instant of suspension crisply, with the lifted foot clearly separated from the stair and the crumpled photograph readable as a physical object in her grip. Use hard lateral night light to catch her terrified expression and the strain of motion, allowing the surrounding courtyard to fall into restrained 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 공포에 질린 얼굴의 수리영이 옥탑방 외부 계단을 뛰어내려오는 도중, 한 발이 허공에 뜬 mid-action 전신.

LOCATION (lock): The exterior approach to a rooftop dwelling, including the villa courtyard, the descending exterior staircase, and the nearby vehicle-access area. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young flees immediately after taking the crumpled photograph from Minsuk’s hand, so she still carries it as she runs down the stairs.

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, 21세, 짙은색 머리, 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):
Observe from farther across the courtyard and vehicle-access area with a compressed telephoto feel, framing her full body tightly within the descending geometry of the exterior staircase. Layer the stair structure around her to create a trapped, urgent composition while preserving a clear view of the airborne foot, frightened face, and carried photograph. Shape the night illumination as a narrow pool across her path, with softer falloff into the surrounding exterior.

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 right hand to normal anatomy and make it hold a clearly crumpled photograph.
- Add the black helmet and olive-green crossbody bag from the character reference to Suri-young.

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

SHOT TEXT (authoritative, Korean): 혜수가 초점을 잃고 서 있는 수리영의 어깨를 쥔 채 마주 보는 상체 구도.

LOCATION (lock): The exterior approach to a rooftop dwelling, including the villa courtyard, the descending exterior staircase, and the nearby vehicle-access area. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains stunned outside and still has the crumpled photograph she removed before fleeing the 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, 21세, 짙은색 머리, 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 짙은색 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 혜수가 초점을 잃고 서 있는 수리영의 어깨를 쥔 채 마주 보는 상체 구도.

LOCATION (lock): The exterior approach to a rooftop dwelling, including the villa courtyard, the descending exterior staircase, and the nearby vehicle-access area. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains stunned outside and still has the crumpled photograph she removed before fleeing the 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, 21세, 짙은색 머리, 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 짙은색 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 the moment as a tight eye-level upper-body two-shot, holding both women in opposing near-profile with their faces and the shoulder grip clearly readable in the same plane. Use restrained shallow focus to isolate their confrontation while the nighttime exterior recedes softly, emphasizing the painful contrast between Hye-su’s urgent physical contact and Suri-young’s unfocused 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 혜수가 초점을 잃고 서 있는 수리영의 어깨를 쥔 채 마주 보는 상체 구도.

LOCATION (lock): The exterior approach to a rooftop dwelling, including the villa courtyard, the descending exterior staircase, and the nearby vehicle-access area. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains stunned outside and still has the crumpled photograph she removed before fleeing the 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, 21세, 짙은색 머리, 젊은 얼굴); 혜수 (한국인 여성, 40대 중반, 짙은색 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):
Frame from close behind Hye-su in an intimate over-the-shoulder upper-body composition, using her foreground presence and gripping hand to enclose Suri-young within the frame. Keep Suri-young’s face sharply dominant and let Hye-su fall slightly softer, with compressed depth and subdued directional night light concentrating attention on Suri-young’s unfixed gaze and rigid posture.

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 text from the band on Hye-su's right sleeve.
- Remove Suri-young's long hair, putting the black helmet on her head and adding the green sling bag across her chest to match her reference.
- Change Hye-su's ponytail to loose shoulder-length hair and place the navy cap from her reference on her head.

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

SHOT TEXT (authoritative, Korean): 어두운 밤바다 앞 버스정류장 벤치에 수리영이 멍한 표정으로 앉아 있는 모습.

LOCATION (lock): A coastal bus-stop area with seating facing the open sea, set along the shoreline road. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has her mobile phone, but Minsuk 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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 어두운 밤바다 앞 버스정류장 벤치에 수리영이 멍한 표정으로 앉아 있는 모습.

LOCATION (lock): A coastal bus-stop area with seating facing the open sea, set along the shoreline road. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has her mobile phone, but Minsuk 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, 21세, 짙은색 머리, 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 a restrained eye-level wide shot, holding the seated figure relatively small within generous negative space and letting the dark sea recede across the background. Use a natural, moderately deep focus and quiet low-key night illumination, with subtle separation around the face and posture while the surrounding environment falls into dense 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 어두운 밤바다 앞 버스정류장 벤치에 수리영이 멍한 표정으로 앉아 있는 모습.

LOCATION (lock): A coastal bus-stop area with seating facing the open sea, set along the shoreline road. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still has her mobile phone, but Minsuk 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, 21세, 짙은색 머리, 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 intimate, gently compressed portrait from near seated eye level, framing tightly enough for the vacant performance and motionless posture to dominate while retaining only a soft suggestion of the seaside setting behind her. Use shallow focus, restrained contrast, and soft directional night light across the face, allowing the background to dissolve into dark, subdued layers.

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:
- Rotate the bench and the character 180 degrees so she sits with her back to the camera, facing the open sea.

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

SHOT TEXT (authoritative, Korean): 수리영이 해안가 도로를 따라 한 발이 허공에 떠 있는 미드 스트라이드(mid-stride) 자세로 달리는 뒷모습.

LOCATION (lock): A coastal bus-stop area with seating facing the open sea, set along the shoreline road. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her mobile phone as she runs away from the bus stop.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 수리영이 해안가 도로를 따라 한 발이 허공에 떠 있는 미드 스트라이드(mid-stride) 자세로 달리는 뒷모습.

LOCATION (lock): A coastal bus-stop area with seating facing the open sea, set along the shoreline road. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her mobile phone as she runs away from the bus stop.

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, 21세, 짙은색 머리, 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):
Honor the storyboard’s camera and figure placement with a low, trailing perspective and a moderately wide lens feel. Freeze Suri-young sharply at the decisive mid-stride instant, keeping the airborne foot, her receding back, and the carried phone clearly legible; use deep focus and strong road-leading geometry to drive the eye toward her path. Shape the night with cool coastal ambience and restrained directional roadside spill, preserving natural detail rather than reducing her to a silhouette.

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

SHOT TEXT (authoritative, Korean): 수리영이 해안가 도로를 따라 한 발이 허공에 떠 있는 미드 스트라이드(mid-stride) 자세로 달리는 뒷모습.

LOCATION (lock): A coastal bus-stop area with seating facing the open sea, set along the shoreline road. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues carrying her mobile phone as she runs away from the bus stop.

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, 21세, 짙은색 머리, 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):
Preserve the storyboard’s staging while giving the image a compressed, distant lens feel, visually stacking Suri-young against the coastal roadway and sea-facing bus-stop area. Hold her back and airborne foot at the focal center with shallow depth, allowing a restrained trace of motion in her clothing and grounded leg while the mid-stride pose remains unmistakable. Use soft, low-key night illumination with a narrow rim of coastal ambient light to separate her natural human form from the darker 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.

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

CORRECTIONS:
- Add the black bicycle helmet to Suri-young's head, matching the character reference.
- Add the black strap of the cross-body bag running diagonally across the back of her jacket.
- Remove the illuminated text from the top fascia of the bus stop 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): afternoon, heavy thunderstorm.

SHOT TEXT (authoritative, Korean): 쏟아지는 빗속에서 자전거 핸들을 꽉 쥐고 상체를 앞으로 숙인 수리영의 측면, 속도에 의해 뒤로 흩날리는 젖은 머리카락과 옷자락.

LOCATION (lock): An exposed coastal road beside the sea, crossed by bicycle through heavy rain beneath dark storm clouds. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young rides her bicycle with the folded printed maps stored in her doll-adorned backpack and the coordinate note still 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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): afternoon, heavy thunderstorm.

SHOT TEXT (authoritative, Korean): 쏟아지는 빗속에서 자전거 핸들을 꽉 쥐고 상체를 앞으로 숙인 수리영의 측면, 속도에 의해 뒤로 흩날리는 젖은 머리카락과 옷자락.

LOCATION (lock): An exposed coastal road beside the sea, crossed by bicycle through heavy rain beneath dark storm clouds. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young rides her bicycle with the folded printed maps stored in her doll-adorned backpack and the coordinate note still 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, 21세, 짙은색 머리, 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 a tight side-on tracking shot moving with Suri-young, keeping her profile, forward-pitched torso, and gripping hands sharply dominant in the frame. Use a compressed, intimate lens feel with shallow depth, while the coastal road and sea streak softly behind her; let storm-filtered afternoon light skim across the rain-soaked contours of her face, hair, and clothing.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): afternoon, heavy thunderstorm.

SHOT TEXT (authoritative, Korean): 쏟아지는 빗속에서 자전거 핸들을 꽉 쥐고 상체를 앞으로 숙인 수리영의 측면, 속도에 의해 뒤로 흩날리는 젖은 머리카락과 옷자락.

LOCATION (lock): An exposed coastal road beside the sea, crossed by bicycle through heavy rain beneath dark storm clouds. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young rides her bicycle with the folded printed maps stored in her doll-adorned backpack and the coordinate note still 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, 21세, 짙은색 머리, 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 from a low, wider side view, allowing the exposed coastal road, sea, and dark storm sky to surround Suri-young and make her forward drive feel hard-won against the weather. Hold a deeper field and strong lateral composition, with the bicycle and rider reading cleanly against the storm-muted background as heavy rain, streaming hair, and trailing clothing carry the motion across the frame.

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 white text from the bicycle's down tube.
- Render the left arm and hand gripping the left side of the handlebar.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): afternoon, heavy thunderstorm.

SHOT TEXT (authoritative, Korean): 수리영의 젖은 앞머리 사이로 결연한 눈빛이 번뜩이는 얼굴 클로즈업.

LOCATION (lock): An exposed coastal road beside the sea, crossed by bicycle through heavy rain beneath dark storm clouds. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 heavy rain, overcast road lighting, wet hair, wet clothing, and forward-riding posture. Preserve the sense of speed and water streaming across her face. Exclude the bicycle handlebars, most of the road, and her torso from the tight facial close-up.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The doll-adorned backpack containing the printed maps remains with Suri-young as she presses on through the rain.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): afternoon, heavy thunderstorm.

SHOT TEXT (authoritative, Korean): 수리영의 젖은 앞머리 사이로 결연한 눈빛이 번뜩이는 얼굴 클로즈업.

LOCATION (lock): An exposed coastal road beside the sea, crossed by bicycle through heavy rain beneath dark storm clouds. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 heavy rain, overcast road lighting, wet hair, wet clothing, and forward-riding posture. Preserve the sense of speed and water streaming across her face. Exclude the bicycle handlebars, most of the road, and her torso from the tight facial close-up.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The doll-adorned backpack containing the printed maps remains with Suri-young as she presses on through the rain.

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, 21세, 짙은색 머리, 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 her face almost head-on at eye level in an extremely tight close-up, with the eyes commanding the frame beneath the wet fringe and the crop pressing close around forehead, cheeks, and chin. Use a compressed lens feel and very shallow focus so the determined gaze stays crisply legible while rain crossing the focal plane and the storm-dark surroundings dissolve into soft motion and texture. Let the flat, cold overcast light model her soaked face naturally, with tiny wet highlights sharpening the intensity of her forward drive.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): afternoon, heavy thunderstorm.

SHOT TEXT (authoritative, Korean): 수리영의 젖은 앞머리 사이로 결연한 눈빛이 번뜩이는 얼굴 클로즈업.

LOCATION (lock): An exposed coastal road beside the sea, crossed by bicycle through heavy rain beneath dark storm clouds. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 heavy rain, overcast road lighting, wet hair, wet clothing, and forward-riding posture. Preserve the sense of speed and water streaming across her face. Exclude the bicycle handlebars, most of the road, and her torso from the tight facial close-up.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The doll-adorned backpack containing the printed maps remains with Suri-young as she presses on through the rain.

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, 21세, 짙은색 머리, 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):
Take the facial close-up from a close three-quarter angle, slightly below eye level and offset toward the side she is driving into, allowing the wet fringe to layer across the nearer eye without concealing its focus. Favor an intimate, wider lens feel: the near side of her rain-swept face has tactile presence while the far side falls away quickly, creating diagonal tension and a forceful sense of movement through the storm. Keep the background heavily defocused and let diffuse storm light rake gently across the water on her skin, emphasizing resolve through asymmetry rather than frontal confrontation.

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 black bicycle helmet straps running down her cheeks and under her chin, matching her established state in the previous shot.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog after rain.

SHOT TEXT (authoritative, Korean): 자욱한 안개가 깔린 텅 빈 포구, 수리영이 갯바위에 웅크려 앉아 바다를 응시하는 뒷모습.

LOCATION (lock): An empty harbor wrapped in dense fog after a shower, with rocky shoreline edges and no visible boats until a single small vessel emerges through the mist. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has brought her doll-adorned backpack, the folded maps, and the old bloodstained photograph to the port; the photograph remains 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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog after rain.

SHOT TEXT (authoritative, Korean): 자욱한 안개가 깔린 텅 빈 포구, 수리영이 갯바위에 웅크려 앉아 바다를 응시하는 뒷모습.

LOCATION (lock): An empty harbor wrapped in dense fog after a shower, with rocky shoreline edges and no visible boats until a single small vessel emerges through the mist. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has brought her doll-adorned backpack, the folded maps, and the old bloodstained photograph to the port; the photograph remains 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, 21세, 짙은색 머리, 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 a low, distant wide shot, with Suri-young small but clearly human and legible against the expansive harbor and fog-bound sea. Use layered depth from sharply textured wet rocks in the foreground into progressively softer mist, allowing the vast negative space to carry her isolation. Keep the dusk light cool, diffuse, and directionless, with restrained reflections on rain-darkened surfaces and natural atmospheric falloff.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog after rain.

SHOT TEXT (authoritative, Korean): 자욱한 안개가 깔린 텅 빈 포구, 수리영이 갯바위에 웅크려 앉아 바다를 응시하는 뒷모습.

LOCATION (lock): An empty harbor wrapped in dense fog after a shower, with rocky shoreline edges and no visible boats until a single small vessel emerges through the mist. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has brought her doll-adorned backpack, the folded maps, and the old bloodstained photograph to the port; the photograph remains 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, 21세, 짙은색 머리, 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 from an intimate rear medium distance at roughly her crouched shoulder height, framing her back and compressed posture as the dominant visual anchor while preserving the view she faces. Use a gently compressed lens feel and shallow atmospheric separation, holding tactile detail in her dark hair, clothing, and the nearest wet rock while the harbor dissolves gradually into dense fog. Shape the dim dusk illumination as soft back-skimming ambient light, subtle rather than silhouetting, so her human form remains fully readable.

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 character's long hair and grey top with the black helmet and blue windbreaker shown in the character 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog after rain.

SHOT TEXT (authoritative, Korean): 수리영의 무릎 위에서 휴대전화 화면에 혜수의 부재중 전화 알림이 떠 있는 클로즈업.

LOCATION (lock): An empty harbor wrapped in dense fog after a shower, with rocky shoreline edges and no visible boats until a single small vessel emerges through the mist. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 dense harbor fog, muted dusk light, seaside moisture, and the young woman's unchanged crouched seated position and clothing. Keep the phone resting over her knees with the missed-call display visible. Exclude her face, the broad harbor view, boats, and most of the rocks from the close-up.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still carries the backpack, maps, and old photograph, while her mobile phone shows several missed calls from Hye-soo.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog after rain.

SHOT TEXT (authoritative, Korean): 수리영의 무릎 위에서 휴대전화 화면에 혜수의 부재중 전화 알림이 떠 있는 클로즈업.

LOCATION (lock): An empty harbor wrapped in dense fog after a shower, with rocky shoreline edges and no visible boats until a single small vessel emerges through the mist. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 dense harbor fog, muted dusk light, seaside moisture, and the young woman's unchanged crouched seated position and clothing. Keep the phone resting over her knees with the missed-call display visible. Exclude her face, the broad harbor view, boats, and most of the rocks from the close-up.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still carries the backpack, maps, and old photograph, while her mobile phone shows several missed calls from Hye-soo.

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, 21세, 짙은색 머리, 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, near-overhead close-up aimed squarely at the phone resting over Suri-young’s knees. Keep the screen and missed-call display crisply legible in the compositional center while her dark clothing forms a soft, restrained border around it; let the cool, diffuse dusk light and fog-muted contrast create a hushed, suspended feeling.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog after rain.

SHOT TEXT (authoritative, Korean): 수리영의 무릎 위에서 휴대전화 화면에 혜수의 부재중 전화 알림이 떠 있는 클로즈업.

LOCATION (lock): An empty harbor wrapped in dense fog after a shower, with rocky shoreline edges and no visible boats until a single small vessel emerges through the mist. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

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 dense harbor fog, muted dusk light, seaside moisture, and the young woman's unchanged crouched seated position and clothing. Keep the phone resting over her knees with the missed-call display visible. Exclude her face, the broad harbor view, boats, and most of the rocks from the close-up.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young still carries the backpack, maps, and old photograph, while her mobile phone shows several missed calls from Hye-soo.

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, 21세, 짙은색 머리, 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 from knee height at a tight oblique angle, with the phone screen seen in sharp three-quarter perspective across Suri-young’s knees. Use shallow focus to isolate the missed-call display while the near edge of her clothing falls softly out of focus, preserving only a faint sense of the damp, fogbound harbor atmosphere beyond the close crop; favor gentle side illumination from the muted dusk.

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 hands entirely and place the mobile phone resting directly on the knees.
- Adjust the framing to completely exclude the person's face and helmet from the top right corner.
- Replace the garbled text on the phone screen with the exact Korean missed-call notification UI shown in the prop 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog after rain.

SHOT TEXT (authoritative, Korean): 인우가 밧줄을 쥔 채 고개를 반쯤 돌려 수리영을 힐끗 쳐다보고 있는 무표정한 얼굴.

LOCATION (lock): An empty harbor wrapped in dense fog after a shower, with rocky shoreline edges and no visible boats until a single small vessel emerges through the mist. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young retains the backpack containing her maps and keeps the old photograph with her 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: 인우 (한국인 남성, 24세, 짙은색 머리, 단정한 미청년 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog after rain.

SHOT TEXT (authoritative, Korean): 인우가 밧줄을 쥔 채 고개를 반쯤 돌려 수리영을 힐끗 쳐다보고 있는 무표정한 얼굴.

LOCATION (lock): An empty harbor wrapped in dense fog after a shower, with rocky shoreline edges and no visible boats until a single small vessel emerges through the mist. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young retains the backpack containing her maps and keeps the old photograph with her 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: 인우 (한국인 남성, 24세, 짙은색 머리, 단정한 미청년 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):
Frame an intimate eye-level medium close-up, keeping the rope-gripping hand in the lower foreground while his half-turned face dominates the image. Use a gently compressed lens feel and shallow focus so the restrained sideways glance and near-motionless facial muscles carry the beat, with cool dusk light softened by the dense fog and lingering wetness.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog after rain.

SHOT TEXT (authoritative, Korean): 인우가 밧줄을 쥔 채 고개를 반쯤 돌려 수리영을 힐끗 쳐다보고 있는 무표정한 얼굴.

LOCATION (lock): An empty harbor wrapped in dense fog after a shower, with rocky shoreline edges and no visible boats until a single small vessel emerges through the mist. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young retains the backpack containing her maps and keeps the old photograph with her 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: 인우 (한국인 남성, 24세, 짙은색 머리, 단정한 미청년 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 a low, wider environmental medium shot, using the rope as a strong foreground diagonal that leads toward In-woo. Place him off-center with substantial fog-filled negative space in the direction of his glance; retain enough depth to register the wet harbor surroundings while the mist progressively erases the background, making his small head turn feel guarded and deliberate.

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:
- Turn the photograph in Suri-young's hand around so that the camera sees its blank back instead of the image side.

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

SHOT TEXT (authoritative, Korean): 수리영이 낡은 흑백 사진을 손가락으로 짚은 채 인우의 눈을 뚫어지게 응시하는 상체.

LOCATION (lock): The open deck of a small fishing boat far offshore, with a compact wheelhouse and working deck space surrounded by open sea. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains aboard with her doll-adorned backpack and printed maps, and she holds out the old photograph while questioning 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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 수리영이 낡은 흑백 사진을 손가락으로 짚은 채 인우의 눈을 뚫어지게 응시하는 상체.

LOCATION (lock): The open deck of a small fishing boat far offshore, with a compact wheelhouse and working deck space surrounded by open sea. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains aboard with her doll-adorned backpack and printed maps, and she holds out the old photograph while questioning 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, 21세, 짙은색 머리, 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 her in an intimate, eye-level upper-body close-up from near In-woo’s eyeline. Keep her sharply focused stare dominant in the upper frame while the old photograph and her pointing finger occupy the lower foreground, creating a direct visual line from the evidence to her face. Use restrained depth of field and soft dusk illumination, with the boat and sea receding unobtrusively 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.

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

SHOT TEXT (authoritative, Korean): 수리영이 낡은 흑백 사진을 손가락으로 짚은 채 인우의 눈을 뚫어지게 응시하는 상체.

LOCATION (lock): The open deck of a small fishing boat far offshore, with a compact wheelhouse and working deck space surrounded by open sea. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains aboard with her doll-adorned backpack and printed maps, and she holds out the old photograph while questioning 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, 21세, 짙은색 머리, 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 close oblique upper-body composition, placing the photograph and pointing hand nearest the camera while her face sits slightly deeper in the frame, turned into an unwavering off-camera eyeline toward In-woo. Let the wider lens feel preserve spatial tension between hand, face, working deck, wheelhouse, and open sea rather than isolating her. Shape her features with cool lateral dusk light and maintain crisp environmental depth for a taut, confrontational 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:
- Change the content of the old photograph to exactly match the reference showing two girls sitting in front of an old building.
- Remove the man on the right side of the frame so that Suri-young is looking at an off-camera eyeline.
- Change Suri-young's jacket to the bright blue zip-up windbreaker shown in the character 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): sunset, golden light and dense fog.

SHOT TEXT (authoritative, Korean): 배의 앞머리 절반이 짙은 안개 속에 파묻힌 채, 뱃머리에서 물살을 일으키며 안개 속으로 진입하는 순간의 측면 컷.

LOCATION (lock): Open sea crossed by a small fishing boat, with a dense offshore fog bank forming a visual boundary across the water. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains unconscious aboard In-woo’s boat with her backpack, maps, and old photograph still with her as the vessel enters the dense fog.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): sunset, golden light and dense fog.

SHOT TEXT (authoritative, Korean): 배의 앞머리 절반이 짙은 안개 속에 파묻힌 채, 뱃머리에서 물살을 일으키며 안개 속으로 진입하는 순간의 측면 컷.

LOCATION (lock): Open sea crossed by a small fishing boat, with a dense offshore fog bank forming a visual boundary across the water. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains unconscious aboard In-woo’s boat with her backpack, maps, and old photograph still with her as the vessel enters the dense fog.

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 a low, waterline-height lateral position in a tight side-profile frame, making the bow’s contact with the fog bank the dominant visual event. Use an intimate, moderately wide lens feel with strong foreground water texture and layered depth through the hull and fog; let diffused golden sunset light rake softly across the visible surfaces while the disturbed water remains crisp and tactile.

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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): sunset, golden light and dense fog.

SHOT TEXT (authoritative, Korean): 배의 앞머리 절반이 짙은 안개 속에 파묻힌 채, 뱃머리에서 물살을 일으키며 안개 속으로 진입하는 순간의 측면 컷.

LOCATION (lock): Open sea crossed by a small fishing boat, with a dense offshore fog bank forming a visual boundary across the water. 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.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young remains unconscious aboard In-woo’s boat with her backpack, maps, and old photograph still with her as the vessel enters the dense fog.

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 distant, static broadside composition with the boat held relatively small against a large field of sea and dense fog, emphasizing the vessel’s passage across the stark atmospheric boundary. Favor a compressed lens feel and restrained depth, with the golden sunset reduced to a muted glow inside the fog; preserve clean lateral geometry and allow the bow-driven water disturbance to provide the frame’s concentrated point of motion.

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:
- Extend the dense white fog bank to the left so that it completely covers and obscures the front half of the boat's bow.
- Remove the silhouette of the person standing on the deck near the mast 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 어두운 PC방 안, 수리영이 모니터 화면의 지도를 응시하며 앉아 있는 상체.

LOCATION (lock): The exterior parking area of a police station leads to a public computer café. Inside, rows of computer desks and a printer provide a workstation for map searching and printing. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has brought the coordinate note from the police station and uses its coordinates to locate the position on the PC map.

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, 21세, 짙은색 머리, 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 어두운 PC방 안, 수리영이 모니터 화면의 지도를 응시하며 앉아 있는 상체.

LOCATION (lock): The exterior parking area of a police station leads to a public computer café. Inside, rows of computer desks and a printer provide a workstation for map searching and printing. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has brought the coordinate note from the police station and uses its coordinates to locate the position on the PC map.

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, 21세, 짙은색 머리, 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):
Frame a tight over-the-shoulder medium close shot from slightly above seated eye level, holding Suri-young’s upper body in three-quarter profile while the monitor map occupies the visual foreground. Use restrained depth of field so her fixed gaze and the relevant map area remain legible within the same plane, with the dim café receding softly behind her. Let the monitor provide a cool directional glow across her face, emphasizing concentration and 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 — coastal South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 어두운 PC방 안, 수리영이 모니터 화면의 지도를 응시하며 앉아 있는 상체.

LOCATION (lock): The exterior parking area of a police station leads to a public computer café. Inside, rows of computer desks and a printer provide a workstation for map searching and printing. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young has brought the coordinate note from the police station and uses its coordinates to locate the position on the PC map.

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, 21세, 짙은색 머리, 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 Suri-young from the monitor side in a compressed frontal medium close-up, using the dark back and edge of the monitor as a dominant foreground obstruction while her seated upper body and face remain clearly visible beyond it. Keep the camera near her eye height and isolate her against the subdued rows of workstations, making her unwavering gaze toward the unseen screen the center of the frame. Shape the existing screen light narrowly across her eyes and cheekbones, allowing the surrounding café to fall into deep, 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.

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

CORRECTIONS:
- Flip the note in her hand so its blank back faces the camera and the written side faces Suri-young's eyes.
- Remove all text, letters, and numbers from the computer monitor and the handheld note.
- Add the blue jacket from the reference image over her grey t-shirt.

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.