E2E11 갤러리 — BGFIRST2 검증 + 결함 시연

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

SHOT TEXT (authoritative, Korean): 우거진 수풀을 헤치며 앞으로 급하게 뛰쳐나가는 도중 상체가 앞으로 쏠린 자세로 굳은 한국인 남자의 잔뜩 겁에 질린 표정 정면.

LOCATION (lock): A narrow path through dense forest undergrowth at dusk, enclosed by thick bushes. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At upper-torso height directly ahead of 숲속의 한국인 남자, the camera retreats at close range while holding his frightened face near frame center and his forward-pitched shoulders across the lower half. The eye-level frontal tracking keeps the surrounding foliage peripheral and unstable while his face remains comparatively locked in the composition.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 숲속의 한국인 남자 in the middle-center of the frame, midground, moves toward camera path ahead.
- KEY BACKGROUND ELEMENTS: 우거진 수풀 (Being pushed aside along the escape path); used as Peripheral foliage parts around his shoulders and preserves the sense of forced passage; 허벅지의 이빨 자국과 피 (Large bite wound with blood flowing); used as A partial lower-frame injury cue beneath the face-centered composition.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 man remains missing one shoe, with a large bite wound on his thigh still bleeding.

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 우거진 수풀을 헤치며 앞으로 급하게 뛰쳐나가는 도중 상체가 앞으로 쏠린 자세로 굳은 한국인 남자의 잔뜩 겁에 질린 표정 정면.

LOCATION (lock): A narrow path through dense forest undergrowth at dusk, enclosed by thick bushes. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At upper-torso height directly ahead of 숲속의 한국인 남자, the camera retreats at close range while holding his frightened face near frame center and his forward-pitched shoulders across the lower half. The eye-level frontal tracking keeps the surrounding foliage peripheral and unstable while his face remains comparatively locked in the composition.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 숲속의 한국인 남자 in the middle-center of the frame, midground, moves toward camera path ahead.
- KEY BACKGROUND ELEMENTS: 우거진 수풀 (Being pushed aside along the escape path); used as Peripheral foliage parts around his shoulders and preserves the sense of forced passage; 허벅지의 이빨 자국과 피 (Large bite wound with blood flowing); used as A partial lower-frame injury cue beneath the face-centered composition.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 man remains missing one shoe, with a large bite wound on his thigh still bleeding.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 우거진 수풀을 헤치며 앞으로 급하게 뛰쳐나가는 도중 상체가 앞으로 쏠린 자세로 굳은 한국인 남자의 잔뜩 겁에 질린 표정 정면.

LOCATION (lock): A narrow path through dense forest undergrowth at dusk, enclosed by thick bushes. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At upper-torso height directly ahead of 숲속의 한국인 남자, the camera retreats at close range while holding his frightened face near frame center and his forward-pitched shoulders across the lower half. The eye-level frontal tracking keeps the surrounding foliage peripheral and unstable while his face remains comparatively locked in the composition.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 숲속의 한국인 남자 in the middle-center of the frame, midground, moves toward camera path ahead.
- KEY BACKGROUND ELEMENTS: 우거진 수풀 (Being pushed aside along the escape path); used as Peripheral foliage parts around his shoulders and preserves the sense of forced passage; 허벅지의 이빨 자국과 피 (Large bite wound with blood flowing); used as A partial lower-frame injury cue beneath the face-centered composition.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 man remains missing one shoe, with a large bite wound on his thigh still bleeding.

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Enlarge the man significantly so his face is near the frame center and his forward-pitched shoulders span the entire lower half of the frame.
- Restore the exact original reference background behind the man, leaving its path texture, foliage, and sky completely unaltered.

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

SHOT TEXT (authoritative, Korean): 경찰 무리 중앙에서 팔짱을 낀 채 서서 현장을 주시하는 혜수.

LOCATION (lock): The police-controlled center of an outdoor crime scene, within the cordoned investigative area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Presented as local-news footage, an eye-level dolly-in settles at medium distance on 혜수 at the center of the detective group, her crossed arms and fixed attention organizing the frame. The surrounding officers remain at the lateral edges and slightly behind her, creating a restrained command portrait rather than a frontal address to the viewer.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 혜수 in the middle-center of the frame, midground; 형사 무리 in the middle-right of the frame, background.
- KEY BACKGROUND ELEMENTS: 지역 뉴스 화면 (Showing the field investigation) — Its visible front face carries the live crime-scene image centered on 혜수 and the detectives; used as Provides the mediated visual field containing the crime-scene coverage; 폴리스 라인 (Set around the scene) — Its camera-facing side runs laterally behind the detective group as a boundary marker; used as Creates a visible boundary deeper in the crime scene; 현장 감식 경찰 (Examining the scene and recovering bodies); used as Supplies peripheral investigative activity while the move isolates 혜수.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight appropriate to the exterior location is rendered through a subdued, desaturated broadcast image with firm investigative contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 경찰 무리 중앙에서 팔짱을 낀 채 서서 현장을 주시하는 혜수.

LOCATION (lock): The police-controlled center of an outdoor crime scene, within the cordoned investigative area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Presented as local-news footage, an eye-level dolly-in settles at medium distance on 혜수 at the center of the detective group, her crossed arms and fixed attention organizing the frame. The surrounding officers remain at the lateral edges and slightly behind her, creating a restrained command portrait rather than a frontal address to the viewer.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 혜수 in the middle-center of the frame, midground; 형사 무리 in the middle-right of the frame, background.
- KEY BACKGROUND ELEMENTS: 지역 뉴스 화면 (Showing the field investigation) — Its visible front face carries the live crime-scene image centered on 혜수 and the detectives; used as Provides the mediated visual field containing the crime-scene coverage; 폴리스 라인 (Set around the scene) — Its camera-facing side runs laterally behind the detective group as a boundary marker; used as Creates a visible boundary deeper in the crime scene; 현장 감식 경찰 (Examining the scene and recovering bodies); used as Supplies peripheral investigative activity while the move isolates 혜수.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight appropriate to the exterior location is rendered through a subdued, desaturated broadcast image with firm investigative contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 경찰 무리 중앙에서 팔짱을 낀 채 서서 현장을 주시하는 혜수.

LOCATION (lock): The police-controlled center of an outdoor crime scene, within the cordoned investigative area. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Presented as local-news footage, an eye-level dolly-in settles at medium distance on 혜수 at the center of the detective group, her crossed arms and fixed attention organizing the frame. The surrounding officers remain at the lateral edges and slightly behind her, creating a restrained command portrait rather than a frontal address to the viewer.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 혜수 in the middle-center of the frame, midground; 형사 무리 in the middle-right of the frame, background.
- KEY BACKGROUND ELEMENTS: 지역 뉴스 화면 (Showing the field investigation) — Its visible front face carries the live crime-scene image centered on 혜수 and the detectives; used as Provides the mediated visual field containing the crime-scene coverage; 폴리스 라인 (Set around the scene) — Its camera-facing side runs laterally behind the detective group as a boundary marker; used as Creates a visible boundary deeper in the crime scene; 현장 감식 경찰 (Examining the scene and recovering bodies); used as Supplies peripheral investigative activity while the move isolates 혜수.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Daylight appropriate to the exterior location is rendered through a subdued, desaturated broadcast image with firm investigative contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Remove the top TV monitor so only the single original monitor on the stand remains.
- Remove all text and graphical captions from the TV 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 이어폰을 낀 채 밝은 표정으로 해안가 도로 위 자전거 안장에 앉아 한쪽 무릎을 굽혀 페달을 밟고 있는 중간 동작, 옷자락이 뒤로 흩날리는 수리영.

LOCATION (lock): An open coastal roadway beside the sea in daylight. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 수리영's torso height, the camera tracks beside and slightly ahead of the bicycle at medium distance, looking back on her three-quarter profile as she pedals along the coastal road. Her bright face occupies the upper middle of the frame while the flexed knee and pedal cycle remain visible below, and her clothing trails toward the rear edge to reinforce forward travel.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward road ahead at frame right; 해안가 도로 진행 방향 in the middle-right of the frame, background.
- KEY BACKGROUND ELEMENTS: 해안가 도로 (수리영 is riding along it); used as Defines the lateral direction of the parallel tracking move and remains a scale reference beneath the bicycle; 바다 (Visible beside the road); used as Provides the coastal context beyond the moving rider; 자전거 (Moving forward) — Its near side faces the parallel-tracking camera; used as Keeps the seated posture and active pedal motion legible within the lower frame.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 이어폰을 낀 채 밝은 표정으로 해안가 도로 위 자전거 안장에 앉아 한쪽 무릎을 굽혀 페달을 밟고 있는 중간 동작, 옷자락이 뒤로 흩날리는 수리영.

LOCATION (lock): An open coastal roadway beside the sea in daylight. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 수리영's torso height, the camera tracks beside and slightly ahead of the bicycle at medium distance, looking back on her three-quarter profile as she pedals along the coastal road. Her bright face occupies the upper middle of the frame while the flexed knee and pedal cycle remain visible below, and her clothing trails toward the rear edge to reinforce forward travel.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward road ahead at frame right; 해안가 도로 진행 방향 in the middle-right of the frame, background.
- KEY BACKGROUND ELEMENTS: 해안가 도로 (수리영 is riding along it); used as Defines the lateral direction of the parallel tracking move and remains a scale reference beneath the bicycle; 바다 (Visible beside the road); used as Provides the coastal context beyond the moving rider; 자전거 (Moving forward) — Its near side faces the parallel-tracking camera; used as Keeps the seated posture and active pedal motion legible within the lower frame.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 이어폰을 낀 채 밝은 표정으로 해안가 도로 위 자전거 안장에 앉아 한쪽 무릎을 굽혀 페달을 밟고 있는 중간 동작, 옷자락이 뒤로 흩날리는 수리영.

LOCATION (lock): An open coastal roadway beside the sea in daylight. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 수리영's torso height, the camera tracks beside and slightly ahead of the bicycle at medium distance, looking back on her three-quarter profile as she pedals along the coastal road. Her bright face occupies the upper middle of the frame while the flexed knee and pedal cycle remain visible below, and her clothing trails toward the rear edge to reinforce forward travel.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward road ahead at frame right; 해안가 도로 진행 방향 in the middle-right of the frame, background.
- KEY BACKGROUND ELEMENTS: 해안가 도로 (수리영 is riding along it); used as Defines the lateral direction of the parallel tracking move and remains a scale reference beneath the bicycle; 바다 (Visible beside the road); used as Provides the coastal context beyond the moving rider; 자전거 (Moving forward) — Its near side faces the parallel-tracking camera; used as Keeps the seated posture and active pedal motion legible within the lower frame.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Remove the text-like marks from the front of the bicycle basket, leaving only the plain wire mesh.
- Place a bicycle pedal directly under her right foot to show her actively pressing down on it.

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

SHOT TEXT (authoritative, Korean): 미간에 힘을 주고 로트와일러의 눈을 매섭게 응시하는 수리영의 정면.

LOCATION (lock): An indoor kennel area of a stray-dog shelter, directly in front of the Rottweiler’s enclosure. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 수리영’s eye level, the camera completes the prescribed push-in and holds a tight frontal close-up, with her face occupying most of the center frame and the 로트와일러 remaining off screen on the lens axis. Her tightened brow and unwavering eyes carry the frame, while shallow focus suppresses the shelter context without changing the established eyeline.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 미간에 힘을 주고 로트와일러의 눈을 매섭게 응시하는 수리영의 정면.

LOCATION (lock): An indoor kennel area of a stray-dog shelter, directly in front of the Rottweiler’s enclosure. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 수리영’s eye level, the camera completes the prescribed push-in and holds a tight frontal close-up, with her face occupying most of the center frame and the 로트와일러 remaining off screen on the lens axis. Her tightened brow and unwavering eyes carry the frame, while shallow focus suppresses the shelter context without changing the established eyeline.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 미간에 힘을 주고 로트와일러의 눈을 매섭게 응시하는 수리영의 정면.

LOCATION (lock): An indoor kennel area of a stray-dog shelter, directly in front of the Rottweiler’s enclosure. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 수리영’s eye level, the camera completes the prescribed push-in and holds a tight frontal close-up, with her face occupying most of the center frame and the 로트와일러 remaining off screen on the lens axis. Her tightened brow and unwavering eyes carry the frame, while shallow focus suppresses the shelter context without changing the established eyeline.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Add the beige jacket from the character reference over the character's white 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.

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

SHOT TEXT (authoritative, Korean): 마트 밖 입구에 서서 한 손에 쥔 스마트폰 화면을 내려다보는 수리영.

LOCATION (lock): The exterior entrance of a large supermarket, immediately outside the exit doors at dusk. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Outside the entrance at chest height, hold a static medium frame lowered just enough to include 수리영’s hand and smartphone in the lower center while her face remains in the upper half. She leans slightly over the screen, isolated against the entrance as her downward eyeline closes the scene’s search movement into stillness.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 마트 입구 (In use as she exits) — The exterior-facing side of the entrance sits behind her, aligned with her exit path; used as Marks the threshold immediately behind 수리영 after she leaves the mart; 스마트폰 (Held in one hand during the unanswered call) — The screen face tilts upward toward 수리영 and remains only obliquely visible to the camera; used as Held in the lower center as the practical focus of the unanswered contact attempt.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 마트 밖 입구에 서서 한 손에 쥔 스마트폰 화면을 내려다보는 수리영.

LOCATION (lock): The exterior entrance of a large supermarket, immediately outside the exit doors at dusk. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Outside the entrance at chest height, hold a static medium frame lowered just enough to include 수리영’s hand and smartphone in the lower center while her face remains in the upper half. She leans slightly over the screen, isolated against the entrance as her downward eyeline closes the scene’s search movement into stillness.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 마트 입구 (In use as she exits) — The exterior-facing side of the entrance sits behind her, aligned with her exit path; used as Marks the threshold immediately behind 수리영 after she leaves the mart; 스마트폰 (Held in one hand during the unanswered call) — The screen face tilts upward toward 수리영 and remains only obliquely visible to the camera; used as Held in the lower center as the practical focus of the unanswered contact attempt.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 마트 밖 입구에 서서 한 손에 쥔 스마트폰 화면을 내려다보는 수리영.

LOCATION (lock): The exterior entrance of a large supermarket, immediately outside the exit doors at dusk. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Outside the entrance at chest height, hold a static medium frame lowered just enough to include 수리영’s hand and smartphone in the lower center while her face remains in the upper half. She leans slightly over the screen, isolated against the entrance as her downward eyeline closes the scene’s search movement into stillness.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 마트 입구 (In use as she exits) — The exterior-facing side of the entrance sits behind her, aligned with her exit path; used as Marks the threshold immediately behind 수리영 after she leaves the mart; 스마트폰 (Held in one hand during the unanswered call) — The screen face tilts upward toward 수리영 and remains only obliquely visible to the camera; used as Held in the lower center as the practical focus of the unanswered contact attempt.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Rotate the smartphone so its screen side is obliquely visible to the camera instead of showing the back.

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

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

SHOT TEXT (authoritative, Korean): 살점이 뜯긴 어깨와 쇄골에 피를 흘리며 고개를 푹 숙인 채 앉아 있는 강민숙(민숙)의 끔찍한 형상.

LOCATION (lock): A bedroom inside the rooftop apartment, on the floor behind the window curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From shoulder height beside 수리영’s former approach axis, complete the dolly-in to a close view of 강민숙’s bowed head, torn shoulder, and exposed collarbone while keeping enough of her seated upper body to preserve the reveal. She occupies the center of frame alone, with the pulled curtain at one edge and the blood-marked floor only partially visible below.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 강민숙 in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 커튼 (Pulled aside); used as Forms a narrow edge frame that marks where the body was concealed; 바닥의 혈흔과 피 묻은 발자국 (Blood is pooled on the floor, with footprints leading to the curtain); used as Appears only along the lower edge as evidence leading to the revealed body.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued interior illumination and a desaturated palette hold the dead figure in tense contrast, with the explicitly bloody wounds providing the restrained deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She remains seated behind the curtain with her torso slumped forward and her head hanging fully down. One hand is closed around a crumpled photograph, while her bitten shoulder and collarbone are exposed, torn, and bleeding.

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 remains dead, seated behind the curtain with her torso slumped forward and her head hanging fully down. One hand is closed around a crumpled photograph, while her bitten shoulder and collarbone are exposed, torn, and bleeding.

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 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 살점이 뜯긴 어깨와 쇄골에 피를 흘리며 고개를 푹 숙인 채 앉아 있는 강민숙(민숙)의 끔찍한 형상.

LOCATION (lock): A bedroom inside the rooftop apartment, on the floor behind the window curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From shoulder height beside 수리영’s former approach axis, complete the dolly-in to a close view of 강민숙’s bowed head, torn shoulder, and exposed collarbone while keeping enough of her seated upper body to preserve the reveal. She occupies the center of frame alone, with the pulled curtain at one edge and the blood-marked floor only partially visible below.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 강민숙 in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 커튼 (Pulled aside); used as Forms a narrow edge frame that marks where the body was concealed; 바닥의 혈흔과 피 묻은 발자국 (Blood is pooled on the floor, with footprints leading to the curtain); used as Appears only along the lower edge as evidence leading to the revealed body.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued interior illumination and a desaturated palette hold the dead figure in tense contrast, with the explicitly bloody wounds providing the restrained deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She remains seated behind the curtain with her torso slumped forward and her head hanging fully down. One hand is closed around a crumpled photograph, while her bitten shoulder and collarbone are exposed, torn, and bleeding.

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 remains dead, seated behind the curtain with her torso slumped forward and her head hanging fully down. One hand is closed around a crumpled photograph, while her bitten shoulder and collarbone are exposed, torn, and bleeding.

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 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 살점이 뜯긴 어깨와 쇄골에 피를 흘리며 고개를 푹 숙인 채 앉아 있는 강민숙(민숙)의 끔찍한 형상.

LOCATION (lock): A bedroom inside the rooftop apartment, on the floor behind the window curtain. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From shoulder height beside 수리영’s former approach axis, complete the dolly-in to a close view of 강민숙’s bowed head, torn shoulder, and exposed collarbone while keeping enough of her seated upper body to preserve the reveal. She occupies the center of frame alone, with the pulled curtain at one edge and the blood-marked floor only partially visible below.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 강민숙 in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 커튼 (Pulled aside); used as Forms a narrow edge frame that marks where the body was concealed; 바닥의 혈흔과 피 묻은 발자국 (Blood is pooled on the floor, with footprints leading to the curtain); used as Appears only along the lower edge as evidence leading to the revealed body.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued interior illumination and a desaturated palette hold the dead figure in tense contrast, with the explicitly bloody wounds providing the restrained deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She remains seated behind the curtain with her torso slumped forward and her head hanging fully down. One hand is closed around a crumpled photograph, while her bitten shoulder and collarbone are exposed, torn, and bleeding.

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 remains dead, seated behind the curtain with her torso slumped forward and her head hanging fully down. One hand is closed around a crumpled photograph, while her bitten shoulder and collarbone are exposed, torn, and bleeding.

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 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Drop the hand holding the crumpled photograph so it rests completely limp and fully supported on her lap, obeying gravity.

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

SHOT TEXT (authoritative, Korean): 번쩍이는 경찰차 경광등 불빛 아래, 차 문을 열고 내린 채 굳은 표정으로 서 있는 혜수.

LOCATION (lock): The outdoor arrival area at the base of the old residential building, beside a police car flashing at night. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the prescribed chest-height three-quarter position beside the vehicle, hold a static medium frame as 혜수 locks her weight beside the newly opened door, occupying the middle-right while the vehicle body and door define the left side. Keep her gaze projected beyond the frame toward 수리영, with the intermittent emergency-light pulses registering across her rigid expression.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 경찰차 (문이 열려 있음) — The vehicle's side and the open door face the camera at a three-quarter angle; used as Its open door creates a hard lateral frame beside 혜수 and establishes her point of arrival; 경찰차 경광등 (번쩍이고 있음) — The camera-facing portions of the light assembly remain visible above the vehicle body; used as The active lights intermittently reshape the contrast across 혜수 and the vehicle.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Flashing police lights create intermittent hard contrast over otherwise subdued nighttime exposure.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 번쩍이는 경찰차 경광등 불빛 아래, 차 문을 열고 내린 채 굳은 표정으로 서 있는 혜수.

LOCATION (lock): The outdoor arrival area at the base of the old residential building, beside a police car flashing at night. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the prescribed chest-height three-quarter position beside the vehicle, hold a static medium frame as 혜수 locks her weight beside the newly opened door, occupying the middle-right while the vehicle body and door define the left side. Keep her gaze projected beyond the frame toward 수리영, with the intermittent emergency-light pulses registering across her rigid expression.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 경찰차 (문이 열려 있음) — The vehicle's side and the open door face the camera at a three-quarter angle; used as Its open door creates a hard lateral frame beside 혜수 and establishes her point of arrival; 경찰차 경광등 (번쩍이고 있음) — The camera-facing portions of the light assembly remain visible above the vehicle body; used as The active lights intermittently reshape the contrast across 혜수 and the vehicle.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Flashing police lights create intermittent hard contrast over otherwise subdued nighttime exposure.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 번쩍이는 경찰차 경광등 불빛 아래, 차 문을 열고 내린 채 굳은 표정으로 서 있는 혜수.

LOCATION (lock): The outdoor arrival area at the base of the old residential building, beside a police car flashing at night. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the prescribed chest-height three-quarter position beside the vehicle, hold a static medium frame as 혜수 locks her weight beside the newly opened door, occupying the middle-right while the vehicle body and door define the left side. Keep her gaze projected beyond the frame toward 수리영, with the intermittent emergency-light pulses registering across her rigid expression.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 경찰차 (문이 열려 있음) — The vehicle's side and the open door face the camera at a three-quarter angle; used as Its open door creates a hard lateral frame beside 혜수 and establishes her point of arrival; 경찰차 경광등 (번쩍이고 있음) — The camera-facing portions of the light assembly remain visible above the vehicle body; used as The active lights intermittently reshape the contrast across 혜수 and the vehicle.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Flashing police lights create intermittent hard contrast over otherwise subdued nighttime exposure.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Restore the large blue water tank next to the small building exactly as it appears in the background reference image.
- Revert the leaning ladder structure on the right back to the original concrete stairs and metal railing from the background reference 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 이른 아침 한산한 마트 입구 앞, 자전거 핸들을 양손으로 쥔 채 서 있는 수리영의 전신.

LOCATION (lock): The quiet exterior forecourt directly in front of a large supermarket entrance in the early morning. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From eye level directly outside the store entrance, hold a wide frontal view with 수리영 and the bicycle centered, her full body readable behind the handlebars and the entrance opening held in the background. Leave clear space behind her along the entry axis so the eventual backward retreat into the store feels continuous.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: store entrance (Open for entry) — The entrance faces the camera along the same axis as 수리영 and the bicycle; used as Background destination centered behind 수리영 and establishing the next camera path; bicycle (Stationary before being parked) — The handlebar and front of the bicycle face toward the camera; used as Foreground-midground physical anchor held by 수리영.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung continues to carry the doll-adorned backpack she took from home.

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 이른 아침 한산한 마트 입구 앞, 자전거 핸들을 양손으로 쥔 채 서 있는 수리영의 전신.

LOCATION (lock): The quiet exterior forecourt directly in front of a large supermarket entrance in the early morning. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From eye level directly outside the store entrance, hold a wide frontal view with 수리영 and the bicycle centered, her full body readable behind the handlebars and the entrance opening held in the background. Leave clear space behind her along the entry axis so the eventual backward retreat into the store feels continuous.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: store entrance (Open for entry) — The entrance faces the camera along the same axis as 수리영 and the bicycle; used as Background destination centered behind 수리영 and establishing the next camera path; bicycle (Stationary before being parked) — The handlebar and front of the bicycle face toward the camera; used as Foreground-midground physical anchor held by 수리영.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung continues to carry the doll-adorned backpack she took from home.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 이른 아침 한산한 마트 입구 앞, 자전거 핸들을 양손으로 쥔 채 서 있는 수리영의 전신.

LOCATION (lock): The quiet exterior forecourt directly in front of a large supermarket entrance in the early morning. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From eye level directly outside the store entrance, hold a wide frontal view with 수리영 and the bicycle centered, her full body readable behind the handlebars and the entrance opening held in the background. Leave clear space behind her along the entry axis so the eventual backward retreat into the store feels continuous.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: store entrance (Open for entry) — The entrance faces the camera along the same axis as 수리영 and the bicycle; used as Background destination centered behind 수리영 and establishing the next camera path; bicycle (Stationary before being parked) — The handlebar and front of the bicycle face toward the camera; used as Foreground-midground physical anchor held by 수리영.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung continues to carry the doll-adorned backpack she took from home.

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Remove the pedals protruding from the center axle of the bicycle's front wheel.

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

SHOT TEXT (authoritative, Korean): 양손으로 현장 사진을 꽉 쥔 채 공포에 질려 입을 크게 벌린 수리영의 얼굴 정면.

LOCATION (lock): Inside the police office at a detective’s desk, where enlarged crime-scene photographs are spread across the work surface. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At seated eye level directly across the desk, finish the frontal push-in with 수리영's terrified face occupying most of the frame and both hands crushing the photographs along the lower edge. Preserve a narrow strip of desk and overlapping image corners as context, while her open mouth and rigid grip form the emotional center.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: crime-scene photographs (Spread across the desk and gripped in both hands) — Their image-bearing faces angle upward toward 수리영 and partly toward the camera, revealing enlarged images of severe wounds; used as Lower-foreground trigger for 수리영's reaction, partially visible between her hands; desk surface (Covered with scattered enlarged photographs); used as Narrow lower-frame support for the photographs and hands.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued indoor daytime ambience uses desaturated contrast to keep her face and the photographic evidence stark but grounded.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung still has her doll-adorned backpack with her as she examines the crime-scene photographs.

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 양손으로 현장 사진을 꽉 쥔 채 공포에 질려 입을 크게 벌린 수리영의 얼굴 정면.

LOCATION (lock): Inside the police office at a detective’s desk, where enlarged crime-scene photographs are spread across the work surface. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At seated eye level directly across the desk, finish the frontal push-in with 수리영's terrified face occupying most of the frame and both hands crushing the photographs along the lower edge. Preserve a narrow strip of desk and overlapping image corners as context, while her open mouth and rigid grip form the emotional center.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: crime-scene photographs (Spread across the desk and gripped in both hands) — Their image-bearing faces angle upward toward 수리영 and partly toward the camera, revealing enlarged images of severe wounds; used as Lower-foreground trigger for 수리영's reaction, partially visible between her hands; desk surface (Covered with scattered enlarged photographs); used as Narrow lower-frame support for the photographs and hands.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued indoor daytime ambience uses desaturated contrast to keep her face and the photographic evidence stark but grounded.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung still has her doll-adorned backpack with her as she examines the crime-scene photographs.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 양손으로 현장 사진을 꽉 쥔 채 공포에 질려 입을 크게 벌린 수리영의 얼굴 정면.

LOCATION (lock): Inside the police office at a detective’s desk, where enlarged crime-scene photographs are spread across the work surface. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At seated eye level directly across the desk, finish the frontal push-in with 수리영's terrified face occupying most of the frame and both hands crushing the photographs along the lower edge. Preserve a narrow strip of desk and overlapping image corners as context, while her open mouth and rigid grip form the emotional center.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: crime-scene photographs (Spread across the desk and gripped in both hands) — Their image-bearing faces angle upward toward 수리영 and partly toward the camera, revealing enlarged images of severe wounds; used as Lower-foreground trigger for 수리영's reaction, partially visible between her hands; desk surface (Covered with scattered enlarged photographs); used as Narrow lower-frame support for the photographs and hands.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued indoor daytime ambience uses desaturated contrast to keep her face and the photographic evidence stark but grounded.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung still has her doll-adorned backpack with her as she examines the crime-scene photographs.

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Point the character's eyes downward so she is looking at the photographs, matching the layout sketch's gaze arrows.
- Rotate the held photographs so their image-bearing sides face inward toward the character's eyes, keeping them angled upward enough to remain partly visible to the camera.
- Modify the hands to tightly clench and physically crumple the edges of the held 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 경찰서 밖 도로, 자전거 안장에 앉아 페달에 발을 올린 채 비장한 표정을 지은 수리영의 정면.

LOCATION (lock): The road directly outside the police station, beside the area where the bicycle was parked. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Center the camera directly in front of 수리영 at her seated eye level, holding a wide frontal view that includes her determined face, hands on the handlebars, and both feet set on the pedals. Keep the road extending behind the camera axis and the police-station exterior behind her so the frame is poised for the backward tracking move as she accelerates.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: bicycle (Stationary at the instant before departure) — The front wheel and handlebars face directly toward the camera along the intended travel axis; used as Full-body movement platform and central compositional anchor; police-station exterior (Visible behind the bicycle) — Its outward-facing side sits behind 수리영; used as Background origin establishing where 수리영 is leaving from; road outside the police station (Clear in the direction of departure); used as Forward travel corridor aligned with the lens axis.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung continues to carry her backpack and the folded coordinate note in her pocket as she rides away.

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 경찰서 밖 도로, 자전거 안장에 앉아 페달에 발을 올린 채 비장한 표정을 지은 수리영의 정면.

LOCATION (lock): The road directly outside the police station, beside the area where the bicycle was parked. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Center the camera directly in front of 수리영 at her seated eye level, holding a wide frontal view that includes her determined face, hands on the handlebars, and both feet set on the pedals. Keep the road extending behind the camera axis and the police-station exterior behind her so the frame is poised for the backward tracking move as she accelerates.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: bicycle (Stationary at the instant before departure) — The front wheel and handlebars face directly toward the camera along the intended travel axis; used as Full-body movement platform and central compositional anchor; police-station exterior (Visible behind the bicycle) — Its outward-facing side sits behind 수리영; used as Background origin establishing where 수리영 is leaving from; road outside the police station (Clear in the direction of departure); used as Forward travel corridor aligned with the lens axis.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung continues to carry her backpack and the folded coordinate note in her pocket as she rides away.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 경찰서 밖 도로, 자전거 안장에 앉아 페달에 발을 올린 채 비장한 표정을 지은 수리영의 정면.

LOCATION (lock): The road directly outside the police station, beside the area where the bicycle was parked. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Center the camera directly in front of 수리영 at her seated eye level, holding a wide frontal view that includes her determined face, hands on the handlebars, and both feet set on the pedals. Keep the road extending behind the camera axis and the police-station exterior behind her so the frame is poised for the backward tracking move as she accelerates.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: bicycle (Stationary at the instant before departure) — The front wheel and handlebars face directly toward the camera along the intended travel axis; used as Full-body movement platform and central compositional anchor; police-station exterior (Visible behind the bicycle) — Its outward-facing side sits behind 수리영; used as Background origin establishing where 수리영 is leaving from; road outside the police station (Clear in the direction of departure); used as Forward travel corridor aligned with the lens axis.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung continues to carry her backpack and the folded coordinate note in her pocket as she rides away.

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Remove the rectangular badge hanging outside her left front jeans pocket.
- Render clear metal spokes and an open space inside the rim of the bicycle's front wheel.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): afternoon, overcast with a thunderstorm.

SHOT TEXT (authoritative, Korean): 젖은 머리카락이 이마에 달라붙은 채 빗물 섞인 눈을 부릅뜬 수리영의 얼굴 정면.

LOCATION (lock): An exposed coastal road under a violent rain shower and dark storm clouds. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: The camera tracks backward at 수리영's eye level directly ahead of her, holding her rain-struck face in a close frontal composition while the bicycle's forward motion registers only at the lower margins. Her eyes occupy the upper central band, and her wet hair and tightened expression carry the frame without introducing a second subject.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground, moves toward forward route along the coastal road; coastal road behind her in the lower-center of the frame, background.
- KEY BACKGROUND ELEMENTS: Coastal road (Under heavy rain) — Its route recedes behind 수리영 along the central movement axis; used as Thin, softened background trace that preserves her forward travel direction; Heavy rain (Falling); used as Crosses her face and separates her eyes, hair, and skin into tactile details; Lightning (Intermittent); used as Briefly modulates exposure across her face without changing the camera axis.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Storm-darkened natural light with intermittent lightning keeps the palette desaturated and the rain-covered face sharply tense.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung continues through the rain with the folded printed maps inside her 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 젖은 머리카락이 이마에 달라붙은 채 빗물 섞인 눈을 부릅뜬 수리영의 얼굴 정면.

LOCATION (lock): An exposed coastal road under a violent rain shower and dark storm clouds. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: The camera tracks backward at 수리영's eye level directly ahead of her, holding her rain-struck face in a close frontal composition while the bicycle's forward motion registers only at the lower margins. Her eyes occupy the upper central band, and her wet hair and tightened expression carry the frame without introducing a second subject.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground, moves toward forward route along the coastal road; coastal road behind her in the lower-center of the frame, background.
- KEY BACKGROUND ELEMENTS: Coastal road (Under heavy rain) — Its route recedes behind 수리영 along the central movement axis; used as Thin, softened background trace that preserves her forward travel direction; Heavy rain (Falling); used as Crosses her face and separates her eyes, hair, and skin into tactile details; Lightning (Intermittent); used as Briefly modulates exposure across her face without changing the camera axis.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Storm-darkened natural light with intermittent lightning keeps the palette desaturated and the rain-covered face sharply tense.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung continues through the rain with the folded printed maps inside her 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 젖은 머리카락이 이마에 달라붙은 채 빗물 섞인 눈을 부릅뜬 수리영의 얼굴 정면.

LOCATION (lock): An exposed coastal road under a violent rain shower and dark storm clouds. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: The camera tracks backward at 수리영's eye level directly ahead of her, holding her rain-struck face in a close frontal composition while the bicycle's forward motion registers only at the lower margins. Her eyes occupy the upper central band, and her wet hair and tightened expression carry the frame without introducing a second subject.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-center of the frame, foreground, moves toward forward route along the coastal road; coastal road behind her in the lower-center of the frame, background.
- KEY BACKGROUND ELEMENTS: Coastal road (Under heavy rain) — Its route recedes behind 수리영 along the central movement axis; used as Thin, softened background trace that preserves her forward travel direction; Heavy rain (Falling); used as Crosses her face and separates her eyes, hair, and skin into tactile details; Lightning (Intermittent); used as Briefly modulates exposure across her face without changing the camera axis.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Storm-darkened natural light with intermittent lightning keeps the palette desaturated and the rain-covered face sharply tense.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung continues through the rain with the folded printed maps inside her 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Remove the visible folded maps sticking out of the backpack on the right side of the frame.
- Remove the lightning bolt over the ocean and restore the exact original lightning strike over the distant hills from the reference background.

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

SHOT TEXT (authoritative, Korean): 선착장 기둥에 굵은 밧줄을 반쯤 감은 채 양손으로 팽팽하게 잡아당기고 있는 인우의 상체.

LOCATION (lock): The fogbound dockside beside a small fishing boat, at a mooring post where its heavy line is being secured. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At chest height beside the docking point, the camera completes its dolly toward 인우 and holds a medium three-quarter view of his upper body and both hands. He is placed slightly off center with the half-wrapped rope crossing the lower frame toward the mooring post, preserving realistic scale and the force of his pull.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: Mooring post (Rope half-wrapped around it) — Its side faces the camera while the rope turns around it; used as Anchors the rope action beside 인우 in the lower side of the frame; Thick mooring rope (Pulled taut); used as Creates a taut diagonal between 인우's hands and the mooring post; Dense fog (Dense); used as Softens the harbor depth behind the close physical action; Harbor (Empty); used as Provides the isolated harbor context behind the docking point.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Diffuse dusk light filtered by dense fog keeps the image low in saturation and contrast while preserving tactile definition in 인우's hands and the taut rope.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung still has her backpack, the folded maps inside it, and the bloodstained old photograph in her possession while Inwoo secures 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: 인우 (한국인 남성, 20대 중반의 젊은 얼굴, 반듯한 얼굴선, 짧은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 선착장 기둥에 굵은 밧줄을 반쯤 감은 채 양손으로 팽팽하게 잡아당기고 있는 인우의 상체.

LOCATION (lock): The fogbound dockside beside a small fishing boat, at a mooring post where its heavy line is being secured. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At chest height beside the docking point, the camera completes its dolly toward 인우 and holds a medium three-quarter view of his upper body and both hands. He is placed slightly off center with the half-wrapped rope crossing the lower frame toward the mooring post, preserving realistic scale and the force of his pull.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: Mooring post (Rope half-wrapped around it) — Its side faces the camera while the rope turns around it; used as Anchors the rope action beside 인우 in the lower side of the frame; Thick mooring rope (Pulled taut); used as Creates a taut diagonal between 인우's hands and the mooring post; Dense fog (Dense); used as Softens the harbor depth behind the close physical action; Harbor (Empty); used as Provides the isolated harbor context behind the docking point.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Diffuse dusk light filtered by dense fog keeps the image low in saturation and contrast while preserving tactile definition in 인우's hands and the taut rope.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung still has her backpack, the folded maps inside it, and the bloodstained old photograph in her possession while Inwoo secures 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: 인우 (한국인 남성, 20대 중반의 젊은 얼굴, 반듯한 얼굴선, 짧은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 선착장 기둥에 굵은 밧줄을 반쯤 감은 채 양손으로 팽팽하게 잡아당기고 있는 인우의 상체.

LOCATION (lock): The fogbound dockside beside a small fishing boat, at a mooring post where its heavy line is being secured. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At chest height beside the docking point, the camera completes its dolly toward 인우 and holds a medium three-quarter view of his upper body and both hands. He is placed slightly off center with the half-wrapped rope crossing the lower frame toward the mooring post, preserving realistic scale and the force of his pull.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: Mooring post (Rope half-wrapped around it) — Its side faces the camera while the rope turns around it; used as Anchors the rope action beside 인우 in the lower side of the frame; Thick mooring rope (Pulled taut); used as Creates a taut diagonal between 인우's hands and the mooring post; Dense fog (Dense); used as Softens the harbor depth behind the close physical action; Harbor (Empty); used as Provides the isolated harbor context behind the docking point.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Diffuse dusk light filtered by dense fog keeps the image low in saturation and contrast while preserving tactile definition in 인우's hands and the taut rope.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung still has her backpack, the folded maps inside it, and the bloodstained old photograph in her possession while Inwoo secures 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: 인우 (한국인 남성, 20대 중반의 젊은 얼굴, 반듯한 얼굴선, 짧은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Turn Inwoo's body so his back and right shoulder face the camera, and turn his head to look far to the right, exactly matching the layout sketch.
- Remove the floating twisted loop of rope on the right and draw it as a single, continuous taut line extending outward from his 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 어두운 가로등 불빛 아래 전봇대에 몸을 밀착한 채 서 있는 한국인 남녀.

LOCATION (lock): A dark urban back alley beside a utility pole, dimly lit by a streetlamp. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At standing eye level near the alley entrance, a static wide frame places 도시 뒷골목의 한국인 남자 and 도시 뒷골목의 한국인 여자 together beside the utility pole on a slight three-quarter axis. Their intertwined bodies occupy the middle distance while open alley space in the foreground creates an uneasy observational gap for the eventual approach.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 도시 뒷골목의 한국인 남자 in the middle-left of the frame, midground; 도시 뒷골목의 한국인 여자 in the middle-right of the frame, midground; 전봇대 in the upper-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 전봇대 (Both figures are pressed against it) — The alley-facing side is visible behind the pair; used as Shared vertical anchor against which both figures are compressed; 도시 뒷골목 (Dimly visible at night); used as Provides the broad foreground approach corridor from the camera to the pair; 가로등 (On, casting faint light) — Its street-facing side is angled toward the pair; used as Established illumination above the figures without revealing their action clearly.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 도시 뒷골목의 한국인 남자 (포식 본능 활성화 상태) (한국인 남성, 성인의 얼굴, 평범한 얼굴선, 짧은 검은 머리); 도시 뒷골목의 한국인 여자 (한국인 여성, 성인의 얼굴, 평범한 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 어두운 가로등 불빛 아래 전봇대에 몸을 밀착한 채 서 있는 한국인 남녀.

LOCATION (lock): A dark urban back alley beside a utility pole, dimly lit by a streetlamp. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At standing eye level near the alley entrance, a static wide frame places 도시 뒷골목의 한국인 남자 and 도시 뒷골목의 한국인 여자 together beside the utility pole on a slight three-quarter axis. Their intertwined bodies occupy the middle distance while open alley space in the foreground creates an uneasy observational gap for the eventual approach.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 도시 뒷골목의 한국인 남자 in the middle-left of the frame, midground; 도시 뒷골목의 한국인 여자 in the middle-right of the frame, midground; 전봇대 in the upper-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 전봇대 (Both figures are pressed against it) — The alley-facing side is visible behind the pair; used as Shared vertical anchor against which both figures are compressed; 도시 뒷골목 (Dimly visible at night); used as Provides the broad foreground approach corridor from the camera to the pair; 가로등 (On, casting faint light) — Its street-facing side is angled toward the pair; used as Established illumination above the figures without revealing their action clearly.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 도시 뒷골목의 한국인 남자 (포식 본능 활성화 상태) (한국인 남성, 성인의 얼굴, 평범한 얼굴선, 짧은 검은 머리); 도시 뒷골목의 한국인 여자 (한국인 여성, 성인의 얼굴, 평범한 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 어두운 가로등 불빛 아래 전봇대에 몸을 밀착한 채 서 있는 한국인 남녀.

LOCATION (lock): A dark urban back alley beside a utility pole, dimly lit by a streetlamp. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At standing eye level near the alley entrance, a static wide frame places 도시 뒷골목의 한국인 남자 and 도시 뒷골목의 한국인 여자 together beside the utility pole on a slight three-quarter axis. Their intertwined bodies occupy the middle distance while open alley space in the foreground creates an uneasy observational gap for the eventual approach.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 도시 뒷골목의 한국인 남자 in the middle-left of the frame, midground; 도시 뒷골목의 한국인 여자 in the middle-right of the frame, midground; 전봇대 in the upper-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 전봇대 (Both figures are pressed against it) — The alley-facing side is visible behind the pair; used as Shared vertical anchor against which both figures are compressed; 도시 뒷골목 (Dimly visible at night); used as Provides the broad foreground approach corridor from the camera to the pair; 가로등 (On, casting faint light) — Its street-facing side is angled toward the pair; used as Established illumination above the figures without revealing their action clearly.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 도시 뒷골목의 한국인 남자 (포식 본능 활성화 상태) (한국인 남성, 성인의 얼굴, 평범한 얼굴선, 짧은 검은 머리); 도시 뒷골목의 한국인 여자 (한국인 여성, 성인의 얼굴, 평범한 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Center the composition to place the utility pole in the upper-center background, moving the man to the middle-left midground and the woman to the middle-right midground.
- Position both the man and the woman so they are jointly pressed against the front, alley-facing side of the utility pole.
- Remove the anatomically incorrect hand and trench coat sleeve wrapping around the left side of the man's back.

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

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

SHOT TEXT (authoritative, Korean): 앞치마를 입고 거실에 서서 어두운 표정으로 TV 화면을 응시하는 강민숙(민숙).

LOCATION (lock): The compact living room of a rooftop apartment, with daylight entering through a small window and a television in view. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At chest height on 강민숙's three-quarter front, the camera dollies inward to a medium frame that holds her apron, tense upper body, and dark expression while her TV sightline crosses toward one side of the image. The TV remains visible beyond that sightline with its news-facing screen readable but smaller than 강민숙, keeping her reaction as the primary focus.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 강민숙 in the middle-center of the frame, midground, looks toward TV news screen; TV news screen in the middle-right of the frame, background.
- KEY BACKGROUND ELEMENTS: TV (On) — The front screen faces partly toward camera and displays the ongoing news report; used as Receives 강민숙's fixed sightline and supplies the in-scene news content; 거실의 작은 창 (Sunlight entering) — Sunlight enters toward the living room; the exterior beyond is not resolved; used as Appears along one side of the living area and supplies the stated narrow daylight; 싱크대 (Water running from the faucet) — Its working side faces into the room; used as Adds grounded domestic activity behind the reaction shot; 냄비 (Water boiling with steam rising) — Its upper opening is partially visible from the living-area angle; used as Provides a secondary background cue from the cooking area.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk continues to wear her apron, and the small circular mark remains on her wrist as it has since Suryoung's childhood.

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 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 앞치마를 입고 거실에 서서 어두운 표정으로 TV 화면을 응시하는 강민숙(민숙).

LOCATION (lock): The compact living room of a rooftop apartment, with daylight entering through a small window and a television in view. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At chest height on 강민숙's three-quarter front, the camera dollies inward to a medium frame that holds her apron, tense upper body, and dark expression while her TV sightline crosses toward one side of the image. The TV remains visible beyond that sightline with its news-facing screen readable but smaller than 강민숙, keeping her reaction as the primary focus.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 강민숙 in the middle-center of the frame, midground, looks toward TV news screen; TV news screen in the middle-right of the frame, background.
- KEY BACKGROUND ELEMENTS: TV (On) — The front screen faces partly toward camera and displays the ongoing news report; used as Receives 강민숙's fixed sightline and supplies the in-scene news content; 거실의 작은 창 (Sunlight entering) — Sunlight enters toward the living room; the exterior beyond is not resolved; used as Appears along one side of the living area and supplies the stated narrow daylight; 싱크대 (Water running from the faucet) — Its working side faces into the room; used as Adds grounded domestic activity behind the reaction shot; 냄비 (Water boiling with steam rising) — Its upper opening is partially visible from the living-area angle; used as Provides a secondary background cue from the cooking area.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk continues to wear her apron, and the small circular mark remains on her wrist as it has since Suryoung's childhood.

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 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 앞치마를 입고 거실에 서서 어두운 표정으로 TV 화면을 응시하는 강민숙(민숙).

LOCATION (lock): The compact living room of a rooftop apartment, with daylight entering through a small window and a television in view. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At chest height on 강민숙's three-quarter front, the camera dollies inward to a medium frame that holds her apron, tense upper body, and dark expression while her TV sightline crosses toward one side of the image. The TV remains visible beyond that sightline with its news-facing screen readable but smaller than 강민숙, keeping her reaction as the primary focus.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 강민숙 in the middle-center of the frame, midground, looks toward TV news screen; TV news screen in the middle-right of the frame, background.
- KEY BACKGROUND ELEMENTS: TV (On) — The front screen faces partly toward camera and displays the ongoing news report; used as Receives 강민숙's fixed sightline and supplies the in-scene news content; 거실의 작은 창 (Sunlight entering) — Sunlight enters toward the living room; the exterior beyond is not resolved; used as Appears along one side of the living area and supplies the stated narrow daylight; 싱크대 (Water running from the faucet) — Its working side faces into the room; used as Adds grounded domestic activity behind the reaction shot; 냄비 (Water boiling with steam rising) — Its upper opening is partially visible from the living-area angle; used as Provides a secondary background cue from the cooking area.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk continues to wear her apron, and the small circular mark remains on her wrist as it has since Suryoung's childhood.

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 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Remove all text, banners, and captions from the TV screen.
- Change the kitchen faucet to a wall-mounted fixture matching the exact plumbing layout of the location 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 화려한 네온사인과 포장마차가 있는 거리에서 앞으로 나아가는 자전거를 탄 채 바람에 머리카락이 뒤로 흩날리며 손잡이를 단단히 쥔 수리영의 상체.

LOCATION (lock): A busy harbor-side commercial street at dusk, running between neon signs and street-food stalls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At chest height ahead of 수리영, track backward at her speed and tighten to her upper body while retaining the handlebar and a narrow band of the moving street below. She stays near center in a slight three-quarter approach, hair streaming behind her as passing neon signs and street stalls slide laterally through the background.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward forward street route.
- KEY BACKGROUND ELEMENTS: 네온사인 (Illuminated) — Their sign faces turn toward the street and pass behind 수리영 with illuminated commercial graphics visible; used as Passing illuminated graphics establish the commercial street without overtaking the rider; 길거리 포장마차 (Present along the busy street) — Their street-facing and side elevations pass behind the bicycle as the camera retreats; used as Create intermittent layers of street activity in the rear and side background; 자전거 (In motion) — The handlebar front is angled toward the camera while the bicycle travels along the camera’s retreating axis; used as Provides moving scale beneath 수리영’s upper body without occupying more than a lower portion of frame.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 화려한 네온사인과 포장마차가 있는 거리에서 앞으로 나아가는 자전거를 탄 채 바람에 머리카락이 뒤로 흩날리며 손잡이를 단단히 쥔 수리영의 상체.

LOCATION (lock): A busy harbor-side commercial street at dusk, running between neon signs and street-food stalls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At chest height ahead of 수리영, track backward at her speed and tighten to her upper body while retaining the handlebar and a narrow band of the moving street below. She stays near center in a slight three-quarter approach, hair streaming behind her as passing neon signs and street stalls slide laterally through the background.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward forward street route.
- KEY BACKGROUND ELEMENTS: 네온사인 (Illuminated) — Their sign faces turn toward the street and pass behind 수리영 with illuminated commercial graphics visible; used as Passing illuminated graphics establish the commercial street without overtaking the rider; 길거리 포장마차 (Present along the busy street) — Their street-facing and side elevations pass behind the bicycle as the camera retreats; used as Create intermittent layers of street activity in the rear and side background; 자전거 (In motion) — The handlebar front is angled toward the camera while the bicycle travels along the camera’s retreating axis; used as Provides moving scale beneath 수리영’s upper body without occupying more than a lower portion of frame.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 화려한 네온사인과 포장마차가 있는 거리에서 앞으로 나아가는 자전거를 탄 채 바람에 머리카락이 뒤로 흩날리며 손잡이를 단단히 쥔 수리영의 상체.

LOCATION (lock): A busy harbor-side commercial street at dusk, running between neon signs and street-food stalls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At chest height ahead of 수리영, track backward at her speed and tighten to her upper body while retaining the handlebar and a narrow band of the moving street below. She stays near center in a slight three-quarter approach, hair streaming behind her as passing neon signs and street stalls slide laterally through the background.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward forward street route.
- KEY BACKGROUND ELEMENTS: 네온사인 (Illuminated) — Their sign faces turn toward the street and pass behind 수리영 with illuminated commercial graphics visible; used as Passing illuminated graphics establish the commercial street without overtaking the rider; 길거리 포장마차 (Present along the busy street) — Their street-facing and side elevations pass behind the bicycle as the camera retreats; used as Create intermittent layers of street activity in the rear and side background; 자전거 (In motion) — The handlebar front is angled toward the camera while the bicycle travels along the camera’s retreating axis; used as Provides moving scale beneath 수리영’s upper body without occupying more than a lower portion of frame.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Angle Suri-young and the bicycle into a slight three-quarter approach instead of a straight frontal view.
- Change the character's hair to be tied back, matching her reference profile.
- Orient the bicycle brake levers properly so they face forward and parallel to the grips.

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

SHOT TEXT (authoritative, Korean): 대형 마트 내부 진열대 사이에서 한쪽으로 고개를 튼 채 멈춰 서서 시선을 고정하고 있는 수리영.

LOCATION (lock): The sales floor inside a large supermarket, in an aisle between merchandise displays. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level across the aisle intersection, finish the pan in a wide, stable composition as 수리영 halts near center-left between the shelving lines. Her body remains caught in the forward search while only her head turns toward screen right, allowing the aisle geometry to carry her eyeline toward the unseen employees.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward employees off frame right.
- KEY BACKGROUND ELEMENTS: 마트 진열대 (Arranged as retail aisles) — The shelving sides recede away from the aisle intersection, leaving a clear cross-aisle sightline toward screen right; used as Parallel shelving lines create converging search corridors on both sides of 수리영; 진열대 사이 교차 통로 (Clear enough for 수리영 to stop and look across it); used as Provides the open lateral path where the pan stops and her gaze exits frame.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 대형 마트 내부 진열대 사이에서 한쪽으로 고개를 튼 채 멈춰 서서 시선을 고정하고 있는 수리영.

LOCATION (lock): The sales floor inside a large supermarket, in an aisle between merchandise displays. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level across the aisle intersection, finish the pan in a wide, stable composition as 수리영 halts near center-left between the shelving lines. Her body remains caught in the forward search while only her head turns toward screen right, allowing the aisle geometry to carry her eyeline toward the unseen employees.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward employees off frame right.
- KEY BACKGROUND ELEMENTS: 마트 진열대 (Arranged as retail aisles) — The shelving sides recede away from the aisle intersection, leaving a clear cross-aisle sightline toward screen right; used as Parallel shelving lines create converging search corridors on both sides of 수리영; 진열대 사이 교차 통로 (Clear enough for 수리영 to stop and look across it); used as Provides the open lateral path where the pan stops and her gaze exits frame.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 대형 마트 내부 진열대 사이에서 한쪽으로 고개를 튼 채 멈춰 서서 시선을 고정하고 있는 수리영.

LOCATION (lock): The sales floor inside a large supermarket, in an aisle between merchandise displays. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level across the aisle intersection, finish the pan in a wide, stable composition as 수리영 halts near center-left between the shelving lines. Her body remains caught in the forward search while only her head turns toward screen right, allowing the aisle geometry to carry her eyeline toward the unseen employees.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward employees off frame right.
- KEY BACKGROUND ELEMENTS: 마트 진열대 (Arranged as retail aisles) — The shelving sides recede away from the aisle intersection, leaving a clear cross-aisle sightline toward screen right; used as Parallel shelving lines create converging search corridors on both sides of 수리영; 진열대 사이 교차 통로 (Clear enough for 수리영 to stop and look across it); used as Provides the open lateral path where the pan stops and her gaze exits frame.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Move 수리영 to the middle-left of the frame.
- Change her pose so she is standing completely still with both feet firmly planted.

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

SHOT TEXT (authoritative, Korean): 어두운 밤, 해안도로에서 자전거 안장에 앉아 상체를 숙인 채 한쪽 무릎을 아래로 굽혀 페달을 밟고 있는 수리영의 측면, 머리카락이 진행 반대 방향으로 거세게 휘날리는 모습.

LOCATION (lock): A dark coastal road beside the sea at night. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Track parallel at torso height in a perpendicular profile, framing 수리영 from her streaming hair through the lowered torso, saddle, and downward-driving knee. She rides toward screen right near the middle of frame while the coastal road slips horizontally behind her, preserving the matched-speed side observation.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward screen-right road ahead.
- KEY BACKGROUND ELEMENTS: 해안도로 (The route along which she rides home); used as Carries 수리영 laterally through the night composition and supplies environmental scale; 자전거 (Moving rapidly along the road) — Its full side plane faces the camera as it travels toward screen right; used as Keeps the saddle, frame, and pedaling mechanism legible beneath her lowered body.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 어두운 밤, 해안도로에서 자전거 안장에 앉아 상체를 숙인 채 한쪽 무릎을 아래로 굽혀 페달을 밟고 있는 수리영의 측면, 머리카락이 진행 반대 방향으로 거세게 휘날리는 모습.

LOCATION (lock): A dark coastal road beside the sea at night. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Track parallel at torso height in a perpendicular profile, framing 수리영 from her streaming hair through the lowered torso, saddle, and downward-driving knee. She rides toward screen right near the middle of frame while the coastal road slips horizontally behind her, preserving the matched-speed side observation.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward screen-right road ahead.
- KEY BACKGROUND ELEMENTS: 해안도로 (The route along which she rides home); used as Carries 수리영 laterally through the night composition and supplies environmental scale; 자전거 (Moving rapidly along the road) — Its full side plane faces the camera as it travels toward screen right; used as Keeps the saddle, frame, and pedaling mechanism legible beneath her lowered body.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 어두운 밤, 해안도로에서 자전거 안장에 앉아 상체를 숙인 채 한쪽 무릎을 아래로 굽혀 페달을 밟고 있는 수리영의 측면, 머리카락이 진행 반대 방향으로 거세게 휘날리는 모습.

LOCATION (lock): A dark coastal road beside the sea at night. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Track parallel at torso height in a perpendicular profile, framing 수리영 from her streaming hair through the lowered torso, saddle, and downward-driving knee. She rides toward screen right near the middle of frame while the coastal road slips horizontally behind her, preserving the matched-speed side observation.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground, moves toward screen-right road ahead.
- KEY BACKGROUND ELEMENTS: 해안도로 (The route along which she rides home); used as Carries 수리영 laterally through the night composition and supplies environmental scale; 자전거 (Moving rapidly along the road) — Its full side plane faces the camera as it travels toward screen right; used as Keeps the saddle, frame, and pedaling mechanism legible beneath her lowered body.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Change the camera scale to a medium shot, tightly framing the character from her streaming hair down to the saddle and her knee, excluding the bicycle wheels and the ground below.

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

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

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

LOCATION (lock): The rooftop landing directly outside the rooftop apartment’s metal entrance 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.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At hand height beside the entrance, complete the dolly-in and freeze on the 옥탑방 침입 남자’s finger braced against the leaflet, with the door gap running vertically through the center third. The finger is the human-scale focal detail; the leaflet and door remain partial contextual elements rather than oversized objects, and the man’s face stays entirely outside frame.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: door gap in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 옥탑방 철문과 문틈 (Closed at the held instant before the lock releases) — The entrance-facing side is seen obliquely, with the closed edges forming a narrow vertical gap toward camera; used as Creates the narrow central channel into which the leaflet is pressed; 광고 전단지 (Being pressed firmly into the door gap) — Only a narrow portion of the printed face is visible while most of the leaflet is turned into the gap; used as Wedged into the door gap beneath the man’s pressing finger.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low ambient illumination appropriate to the night setting keeps the hand and door gap in subdued, tense contrast without specifying an additional source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

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

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

LOCATION (lock): The rooftop landing directly outside the rooftop apartment’s metal entrance 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.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At hand height beside the entrance, complete the dolly-in and freeze on the 옥탑방 침입 남자’s finger braced against the leaflet, with the door gap running vertically through the center third. The finger is the human-scale focal detail; the leaflet and door remain partial contextual elements rather than oversized objects, and the man’s face stays entirely outside frame.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: door gap in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 옥탑방 철문과 문틈 (Closed at the held instant before the lock releases) — The entrance-facing side is seen obliquely, with the closed edges forming a narrow vertical gap toward camera; used as Creates the narrow central channel into which the leaflet is pressed; 광고 전단지 (Being pressed firmly into the door gap) — Only a narrow portion of the printed face is visible while most of the leaflet is turned into the gap; used as Wedged into the door gap beneath the man’s pressing finger.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low ambient illumination appropriate to the night setting keeps the hand and door gap in subdued, tense contrast without specifying an additional source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 옥탑방 침입 남자 (한국인 남성, 성인형 머리 윤곽, 검은 머리, 가려진 얼굴) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

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

LOCATION (lock): The rooftop landing directly outside the rooftop apartment’s metal entrance 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.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At hand height beside the entrance, complete the dolly-in and freeze on the 옥탑방 침입 남자’s finger braced against the leaflet, with the door gap running vertically through the center third. The finger is the human-scale focal detail; the leaflet and door remain partial contextual elements rather than oversized objects, and the man’s face stays entirely outside frame.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: door gap in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 옥탑방 철문과 문틈 (Closed at the held instant before the lock releases) — The entrance-facing side is seen obliquely, with the closed edges forming a narrow vertical gap toward camera; used as Creates the narrow central channel into which the leaflet is pressed; 광고 전단지 (Being pressed firmly into the door gap) — Only a narrow portion of the printed face is visible while most of the leaflet is turned into the gap; used as Wedged into the door gap beneath the man’s pressing finger.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low ambient illumination appropriate to the night setting keeps the hand and door gap in subdued, tense contrast without specifying an additional source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Remove all readable text from the advertisement leaflet, leaving only non-textual graphic elements or a blank surface.
- Reposition the fingernail on the extended index finger to face the camera, matching the anatomical orientation of the back of the 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 계단을 급히 오르던 중 한 발을 윗계단에 디딘 역동적인 자세로, 코를 찡그린 채 굳은 표정을 한 수리영.

LOCATION (lock): The exposed exterior stairway connecting the residential building to its rooftop apartment. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At chest height ahead of 수리영, retreat upward along the staircase and hold a slightly high-angle medium frame as she plants one foot on the higher step. Her torso pitches into the climb in the lower-middle frame, but her nose and expression tighten at the sudden smell, interrupting the upward momentum before the rooftop pivot.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the lower-center of the frame, midground, moves toward upper staircase and rooftop; upper staircase in the upper-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 옥탑방 연결 계단 (Being climbed rapidly) — The steps rise away from 수리영 toward the camera and continue into the upper center; used as Forms the steep movement axis from the lower frame toward the rooftop; 빌라 마당 (The area where she has just left the bicycle); used as Remains visible below the stairs as depth behind 수리영’s ascent.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 from the intrusion.

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 계단을 급히 오르던 중 한 발을 윗계단에 디딘 역동적인 자세로, 코를 찡그린 채 굳은 표정을 한 수리영.

LOCATION (lock): The exposed exterior stairway connecting the residential building to its rooftop apartment. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At chest height ahead of 수리영, retreat upward along the staircase and hold a slightly high-angle medium frame as she plants one foot on the higher step. Her torso pitches into the climb in the lower-middle frame, but her nose and expression tighten at the sudden smell, interrupting the upward momentum before the rooftop pivot.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the lower-center of the frame, midground, moves toward upper staircase and rooftop; upper staircase in the upper-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 옥탑방 연결 계단 (Being climbed rapidly) — The steps rise away from 수리영 toward the camera and continue into the upper center; used as Forms the steep movement axis from the lower frame toward the rooftop; 빌라 마당 (The area where she has just left the bicycle); used as Remains visible below the stairs as depth behind 수리영’s ascent.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 from the intrusion.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 계단을 급히 오르던 중 한 발을 윗계단에 디딘 역동적인 자세로, 코를 찡그린 채 굳은 표정을 한 수리영.

LOCATION (lock): The exposed exterior stairway connecting the residential building to its rooftop apartment. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At chest height ahead of 수리영, retreat upward along the staircase and hold a slightly high-angle medium frame as she plants one foot on the higher step. Her torso pitches into the climb in the lower-middle frame, but her nose and expression tighten at the sudden smell, interrupting the upward momentum before the rooftop pivot.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the lower-center of the frame, midground, moves toward upper staircase and rooftop; upper staircase in the upper-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 옥탑방 연결 계단 (Being climbed rapidly) — The steps rise away from 수리영 toward the camera and continue into the upper center; used as Forms the steep movement axis from the lower frame toward the rooftop; 빌라 마당 (The area where she has just left the bicycle); used as Remains visible below the stairs as depth behind 수리영’s ascent.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 from the intrusion.

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Position the camera above the character on the stairs, looking down at a slightly high angle so she is climbing up toward the lens, with the lower stairs and villa yard visible in the background.

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

SHOT TEXT (authoritative, Korean): 텅 빈 방 한가운데 서서 핏기가 가신 파리한 얼굴로 허공을 응시하는 수리영.

LOCATION (lock): The unnaturally clean and orderly bedroom inside the rooftop apartment. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From eye level near the room entrance, let the stage-prescribed dolly-in end in a medium view of 수리영 frozen near the center, her body slightly off-center against the conspicuously orderly room. The entrance edges retain a shallow spatial frame around her while the bed, wall, and former curtain-side location remain plainly empty; only the camera distance has changed from the preceding beat.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground; empty orderly room in the upper-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 방 입구 (열려 있음) — The camera looks through the entrance into the room, with both side edges partially visible; used as The entrance edges form a restrained frame around 수리영 and expose the room's unchanged layout; 침대 (깨끗하게 정돈되어 있음) — Its side and upper plane are visible behind 수리영; used as The bed anchors the location where the supernatural mark had previously appeared above it; 침대 위 벽 (붉은 표식이 없음); used as The bare area above the bed makes the missing red circle visually explicit; 커튼 (이전 위치에 시신이 없음) — Its room-facing side borders the rear portion of the frame; used as It marks the former location of 강민숙's body at the room edge; 방 바닥 (핏자국 없이 깨끗함); used as The immaculate floor remains visible around 수리영's feet as evidence against her memory.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient illumination and restrained color render the spotless room unnervingly ordinary against 수리영's pallor.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung's room is now unnaturally clean: Minsuk's corpse, the blood and footprints, and the red wall circle have all vanished.

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 텅 빈 방 한가운데 서서 핏기가 가신 파리한 얼굴로 허공을 응시하는 수리영.

LOCATION (lock): The unnaturally clean and orderly bedroom inside the rooftop apartment. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From eye level near the room entrance, let the stage-prescribed dolly-in end in a medium view of 수리영 frozen near the center, her body slightly off-center against the conspicuously orderly room. The entrance edges retain a shallow spatial frame around her while the bed, wall, and former curtain-side location remain plainly empty; only the camera distance has changed from the preceding beat.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground; empty orderly room in the upper-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 방 입구 (열려 있음) — The camera looks through the entrance into the room, with both side edges partially visible; used as The entrance edges form a restrained frame around 수리영 and expose the room's unchanged layout; 침대 (깨끗하게 정돈되어 있음) — Its side and upper plane are visible behind 수리영; used as The bed anchors the location where the supernatural mark had previously appeared above it; 침대 위 벽 (붉은 표식이 없음); used as The bare area above the bed makes the missing red circle visually explicit; 커튼 (이전 위치에 시신이 없음) — Its room-facing side borders the rear portion of the frame; used as It marks the former location of 강민숙's body at the room edge; 방 바닥 (핏자국 없이 깨끗함); used as The immaculate floor remains visible around 수리영's feet as evidence against her memory.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient illumination and restrained color render the spotless room unnervingly ordinary against 수리영's pallor.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung's room is now unnaturally clean: Minsuk's corpse, the blood and footprints, and the red wall circle have all vanished.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 텅 빈 방 한가운데 서서 핏기가 가신 파리한 얼굴로 허공을 응시하는 수리영.

LOCATION (lock): The unnaturally clean and orderly bedroom inside the rooftop apartment. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From eye level near the room entrance, let the stage-prescribed dolly-in end in a medium view of 수리영 frozen near the center, her body slightly off-center against the conspicuously orderly room. The entrance edges retain a shallow spatial frame around her while the bed, wall, and former curtain-side location remain plainly empty; only the camera distance has changed from the preceding beat.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground; empty orderly room in the upper-center of the frame, background.
- KEY BACKGROUND ELEMENTS: 방 입구 (열려 있음) — The camera looks through the entrance into the room, with both side edges partially visible; used as The entrance edges form a restrained frame around 수리영 and expose the room's unchanged layout; 침대 (깨끗하게 정돈되어 있음) — Its side and upper plane are visible behind 수리영; used as The bed anchors the location where the supernatural mark had previously appeared above it; 침대 위 벽 (붉은 표식이 없음); used as The bare area above the bed makes the missing red circle visually explicit; 커튼 (이전 위치에 시신이 없음) — Its room-facing side borders the rear portion of the frame; used as It marks the former location of 강민숙's body at the room edge; 방 바닥 (핏자국 없이 깨끗함); used as The immaculate floor remains visible around 수리영's feet as evidence against her memory.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient illumination and restrained color render the spotless room unnervingly ordinary against 수리영's pallor.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung's room is now unnaturally clean: Minsuk's corpse, the blood and footprints, and the red wall circle have all vanished.

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Zoom the camera in to frame Suryoung in a medium shot from the waist up.
- Remove the large arch-shaped stain on the wall above the bed, leaving the surface completely bare and clean.

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

SHOT TEXT (authoritative, Korean): 수리영의 양어깨를 두 손으로 감싸 쥔 채 멈춘 혜수의 다정한 모습.

LOCATION (lock): The rooftop apartment’s interior living area just outside the bedroom and near the dining table. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level in front of the pair, complete the stage-prescribed advance in a medium-close two-shot, placing 혜수 slightly right of center and 수리영 slightly left as both of 혜수's hands remain fixed around 수리영's shoulders. Keep their upper bodies and the symmetrical contact fully visible while allowing the cleaned dining table to recede behind them; compared with the preceding beat, only camera distance tightens.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground; 혜수 in the middle-right of the frame, midground, reaches for Suriyoung's shoulders.
- KEY BACKGROUND ELEMENTS: 식탁 (깨끗하며 앞서 보였던 찻잔 두 개가 없음) — The near edge and upper surface angle away behind the two figures; used as Its cleared surface remains softly visible behind the pair, reinforcing the absence of 수리영's claimed evidence.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key, restrained ambient illumination softens 혜수's reassuring gesture without relieving the scene's tense contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room remains unnaturally clean and empty of the corpse, blood, and wall mark; Suryoung's backpack and doll are left in slightly altered positions.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리); 혜수 (한국인 여성, 40대 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 수리영의 양어깨를 두 손으로 감싸 쥔 채 멈춘 혜수의 다정한 모습.

LOCATION (lock): The rooftop apartment’s interior living area just outside the bedroom and near the dining table. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level in front of the pair, complete the stage-prescribed advance in a medium-close two-shot, placing 혜수 slightly right of center and 수리영 slightly left as both of 혜수's hands remain fixed around 수리영's shoulders. Keep their upper bodies and the symmetrical contact fully visible while allowing the cleaned dining table to recede behind them; compared with the preceding beat, only camera distance tightens.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground; 혜수 in the middle-right of the frame, midground, reaches for Suriyoung's shoulders.
- KEY BACKGROUND ELEMENTS: 식탁 (깨끗하며 앞서 보였던 찻잔 두 개가 없음) — The near edge and upper surface angle away behind the two figures; used as Its cleared surface remains softly visible behind the pair, reinforcing the absence of 수리영's claimed evidence.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key, restrained ambient illumination softens 혜수's reassuring gesture without relieving the scene's tense contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room remains unnaturally clean and empty of the corpse, blood, and wall mark; Suryoung's backpack and doll are left in slightly altered positions.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리); 혜수 (한국인 여성, 40대 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영의 양어깨를 두 손으로 감싸 쥔 채 멈춘 혜수의 다정한 모습.

LOCATION (lock): The rooftop apartment’s interior living area just outside the bedroom and near the dining table. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level in front of the pair, complete the stage-prescribed advance in a medium-close two-shot, placing 혜수 slightly right of center and 수리영 slightly left as both of 혜수's hands remain fixed around 수리영's shoulders. Keep their upper bodies and the symmetrical contact fully visible while allowing the cleaned dining table to recede behind them; compared with the preceding beat, only camera distance tightens.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground; 혜수 in the middle-right of the frame, midground, reaches for Suriyoung's shoulders.
- KEY BACKGROUND ELEMENTS: 식탁 (깨끗하며 앞서 보였던 찻잔 두 개가 없음) — The near edge and upper surface angle away behind the two figures; used as Its cleared surface remains softly visible behind the pair, reinforcing the absence of 수리영's claimed evidence.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low-key, restrained ambient illumination softens 혜수's reassuring gesture without relieving the scene's tense contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room remains unnaturally clean and empty of the corpse, blood, and wall mark; Suryoung's backpack and doll are left in slightly altered positions.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리); 혜수 (한국인 여성, 40대 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Change the camera angle to the front of the pair and place both of Hyesu's hands symmetrically on both of Suriyoung's shoulders.
- Reposition the camera angle so the dining table recedes into the background directly behind the two characters.

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

SHOT TEXT (authoritative, Korean): 어두운 밤바다를 배경으로 버스정류장 벤치에 멍하니 앉아 있는 수리영의 측면.

LOCATION (lock): An outdoor bus-stop bench along the coast, facing the dark night sea. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Hold the flow's static side axis at seated shoulder height, framing 수리영 in right-facing profile on one side of the bench with the dark night sea extending beyond her. Use a wide composition that leaves substantial negative space toward the water, keeping her motionless seated figure small enough for the coastal isolation to register.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward night sea; night sea in the middle-right of the frame, background.
- KEY BACKGROUND ELEMENTS: 버스정류장 벤치 (수리영이 앉아 있음) — The bench is seen broadside along the profile camera axis; used as It supports 수리영's seated silhouette and establishes the bus-stop location; 밤바다 (어둡게 보임); used as The sea occupies the distant negative space along 수리영's eyeline.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued nighttime ambient light keeps the palette restrained and the sea-background separation minimal but readable.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 어두운 밤바다를 배경으로 버스정류장 벤치에 멍하니 앉아 있는 수리영의 측면.

LOCATION (lock): An outdoor bus-stop bench along the coast, facing the dark night sea. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Hold the flow's static side axis at seated shoulder height, framing 수리영 in right-facing profile on one side of the bench with the dark night sea extending beyond her. Use a wide composition that leaves substantial negative space toward the water, keeping her motionless seated figure small enough for the coastal isolation to register.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward night sea; night sea in the middle-right of the frame, background.
- KEY BACKGROUND ELEMENTS: 버스정류장 벤치 (수리영이 앉아 있음) — The bench is seen broadside along the profile camera axis; used as It supports 수리영's seated silhouette and establishes the bus-stop location; 밤바다 (어둡게 보임); used as The sea occupies the distant negative space along 수리영's eyeline.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued nighttime ambient light keeps the palette restrained and the sea-background separation minimal but readable.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 어두운 밤바다를 배경으로 버스정류장 벤치에 멍하니 앉아 있는 수리영의 측면.

LOCATION (lock): An outdoor bus-stop bench along the coast, facing the dark night sea. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Hold the flow's static side axis at seated shoulder height, framing 수리영 in right-facing profile on one side of the bench with the dark night sea extending beyond her. Use a wide composition that leaves substantial negative space toward the water, keeping her motionless seated figure small enough for the coastal isolation to register.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, midground, looks toward night sea; night sea in the middle-right of the frame, background.
- KEY BACKGROUND ELEMENTS: 버스정류장 벤치 (수리영이 앉아 있음) — The bench is seen broadside along the profile camera axis; used as It supports 수리영's seated silhouette and establishes the bus-stop location; 밤바다 (어둡게 보임); used as The sea occupies the distant negative space along 수리영's eyeline.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued nighttime ambient light keeps the palette restrained and the sea-background separation minimal but readable.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 김형사의 눈앞에 특정 번호가 뜬 스마트폰 화면을 바짝 들이민 채 멈춘 혜수의 굳은 옆얼굴.

LOCATION (lock): A nighttime police office workspace beside the on-duty detective’s desk, under the office lighting. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 혜수's shoulder height beside her, complete the prescribed dolly-in with her rigid side profile on the left and the smartphone held between her and 김형사 near the center, its screen angled cleanly toward both him and the camera. 김형사 remains on the right and slightly deeper, close enough to establish the phone as a demand rather than an isolated insert; only camera distance tightens from the preceding beat.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 혜수의 스마트폰 (화면이 켜져 있고 특정 번호가 표시됨) — The front screen faces diagonally toward 김형사 and the camera, displaying the saved number requested for tracing; used as The illuminated content plane forms the central focal bridge between 혜수 and 김형사; 경찰서 사무실 내부 (김형사가 혼자 당직 근무 중); used as The surrounding workspace remains subdued and incomplete at the frame edges, preserving the police-station context.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued office illumination keeps the palette restrained, with the active phone screen providing a localized emphasis rather than broad fill.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 김형사의 눈앞에 특정 번호가 뜬 스마트폰 화면을 바짝 들이민 채 멈춘 혜수의 굳은 옆얼굴.

LOCATION (lock): A nighttime police office workspace beside the on-duty detective’s desk, under the office lighting. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 혜수's shoulder height beside her, complete the prescribed dolly-in with her rigid side profile on the left and the smartphone held between her and 김형사 near the center, its screen angled cleanly toward both him and the camera. 김형사 remains on the right and slightly deeper, close enough to establish the phone as a demand rather than an isolated insert; only camera distance tightens from the preceding beat.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 혜수의 스마트폰 (화면이 켜져 있고 특정 번호가 표시됨) — The front screen faces diagonally toward 김형사 and the camera, displaying the saved number requested for tracing; used as The illuminated content plane forms the central focal bridge between 혜수 and 김형사; 경찰서 사무실 내부 (김형사가 혼자 당직 근무 중); used as The surrounding workspace remains subdued and incomplete at the frame edges, preserving the police-station context.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued office illumination keeps the palette restrained, with the active phone screen providing a localized emphasis rather than broad fill.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 김형사의 눈앞에 특정 번호가 뜬 스마트폰 화면을 바짝 들이민 채 멈춘 혜수의 굳은 옆얼굴.

LOCATION (lock): A nighttime police office workspace beside the on-duty detective’s desk, under the office lighting. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At 혜수's shoulder height beside her, complete the prescribed dolly-in with her rigid side profile on the left and the smartphone held between her and 김형사 near the center, its screen angled cleanly toward both him and the camera. 김형사 remains on the right and slightly deeper, close enough to establish the phone as a demand rather than an isolated insert; only camera distance tightens from the preceding beat.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 혜수의 스마트폰 (화면이 켜져 있고 특정 번호가 표시됨) — The front screen faces diagonally toward 김형사 and the camera, displaying the saved number requested for tracing; used as The illuminated content plane forms the central focal bridge between 혜수 and 김형사; 경찰서 사무실 내부 (김형사가 혼자 당직 근무 중); used as The surrounding workspace remains subdued and incomplete at the frame edges, preserving the police-station context.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued office illumination keeps the palette restrained, with the active phone screen providing a localized emphasis rather than broad fill.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Remove all text and lettering from the police officer's uniform vest on the right.
- Adjust the angle of the arm holding the phone so it physically connects to Hyesu's shoulder on the left side of the frame.

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

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

SHOT TEXT (authoritative, Korean): 침대 가장자리 바닥에 주저앉아 매트리스에 머리를 기댄 채 눈을 감은 수리영.

LOCATION (lock): The main bedroom inside the rooftop apartment, on the floor beside the bed in early daylight. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From a static knee-height position beside the bed, frame 수리영 in a medium three-quarter view with her collapsed body low in the left half and the bed edge cutting diagonally through the midground. Her head rests against the mattress while the surrounding floor remains visible, holding the composition in an uneasy pause before the camera later rises with her.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: bed and mattress edge (Present beside 수리영) — The side edge faces the camera obliquely and recedes across the frame; used as Diagonal midground anchor supporting 수리영's head and defining the low camera position; bedside floor (Visible); used as Visible lower-frame context around 수리영's seated body.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 침대 가장자리 바닥에 주저앉아 매트리스에 머리를 기댄 채 눈을 감은 수리영.

LOCATION (lock): The main bedroom inside the rooftop apartment, on the floor beside the bed in early daylight. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From a static knee-height position beside the bed, frame 수리영 in a medium three-quarter view with her collapsed body low in the left half and the bed edge cutting diagonally through the midground. Her head rests against the mattress while the surrounding floor remains visible, holding the composition in an uneasy pause before the camera later rises with her.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: bed and mattress edge (Present beside 수리영) — The side edge faces the camera obliquely and recedes across the frame; used as Diagonal midground anchor supporting 수리영's head and defining the low camera position; bedside floor (Visible); used as Visible lower-frame context around 수리영's seated body.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 침대 가장자리 바닥에 주저앉아 매트리스에 머리를 기댄 채 눈을 감은 수리영.

LOCATION (lock): The main bedroom inside the rooftop apartment, on the floor beside the bed in early daylight. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From a static knee-height position beside the bed, frame 수리영 in a medium three-quarter view with her collapsed body low in the left half and the bed edge cutting diagonally through the midground. Her head rests against the mattress while the surrounding floor remains visible, holding the composition in an uneasy pause before the camera later rises with her.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: bed and mattress edge (Present beside 수리영) — The side edge faces the camera obliquely and recedes across the frame; used as Diagonal midground anchor supporting 수리영's head and defining the low camera position; bedside floor (Visible); used as Visible lower-frame context around 수리영's seated body.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Change the white sock on the front foot into a sneaker that matches the one on the other foot.

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

SHOT TEXT (authoritative, Korean): 흐릿한 모니터 화면 불빛에 비친 수리영의 불안하게 확장된 눈동자 클로즈업.

LOCATION (lock): A supermarket administration and security office, immediately behind the desk holding the CCTV monitor. The dim footage glows from the screen. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Continue the dolly directly along 수리영's eyeline until only her widened eyes and the bridge of her nose remain sharp, centered in a level extreme close view. The monitor image stays indistinct, registered only as unstable luminance across her eyes so the frame isolates her escalating anxiety rather than the footage.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영's widened eyes in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: CCTV monitor display (On, replaying footage with an unusually dark section) — The active image-bearing face is directed toward 수리영 and remains outside focus from the camera's position; used as Off-frame source of the indistinct luminance reflected across 수리영's eyes.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Indistinct monitor illumination grazes her widened eyes within a dim, desaturated, high-tension exposure.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung continues to have the doll-adorned backpack with her while watching the CCTV footage.

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 흐릿한 모니터 화면 불빛에 비친 수리영의 불안하게 확장된 눈동자 클로즈업.

LOCATION (lock): A supermarket administration and security office, immediately behind the desk holding the CCTV monitor. The dim footage glows from the screen. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Continue the dolly directly along 수리영's eyeline until only her widened eyes and the bridge of her nose remain sharp, centered in a level extreme close view. The monitor image stays indistinct, registered only as unstable luminance across her eyes so the frame isolates her escalating anxiety rather than the footage.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영's widened eyes in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: CCTV monitor display (On, replaying footage with an unusually dark section) — The active image-bearing face is directed toward 수리영 and remains outside focus from the camera's position; used as Off-frame source of the indistinct luminance reflected across 수리영's eyes.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Indistinct monitor illumination grazes her widened eyes within a dim, desaturated, high-tension exposure.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung continues to have the doll-adorned backpack with her while watching the CCTV footage.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 흐릿한 모니터 화면 불빛에 비친 수리영의 불안하게 확장된 눈동자 클로즈업.

LOCATION (lock): A supermarket administration and security office, immediately behind the desk holding the CCTV monitor. The dim footage glows from the screen. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Continue the dolly directly along 수리영's eyeline until only her widened eyes and the bridge of her nose remain sharp, centered in a level extreme close view. The monitor image stays indistinct, registered only as unstable luminance across her eyes so the frame isolates her escalating anxiety rather than the footage.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영's widened eyes in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: CCTV monitor display (On, replaying footage with an unusually dark section) — The active image-bearing face is directed toward 수리영 and remains outside focus from the camera's position; used as Off-frame source of the indistinct luminance reflected across 수리영's eyes.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Indistinct monitor illumination grazes her widened eyes within a dim, desaturated, high-tension exposure.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung continues to have the doll-adorned backpack with her while watching the CCTV footage.

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Blur the sharp reflections in the eyes into an indistinct, hazy glow of light without any recognizable shapes or details.

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

SHOT TEXT (authoritative, Korean): PC방의 화려한 네온 조명 아래, 모니터 화면을 매섭게 응시하며 마우스를 쥔 수리영의 상체.

LOCATION (lock): A computer station inside an internet café, lit by the monitor and surrounding neon lighting. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At seated eye level, the camera completes its frontal three-quarter dolly toward 수리영 and holds at a firm medium distance, with her upper body placed just left of center and the monitor occupying the right midground. Her face and mouse hand remain simultaneously legible, while the workstation edges create a restrained frame around her fixed concentration.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: PC monitor (On) — The active display face is angled toward both 수리영 and the camera, showing the location and coordinate interface; used as Midground visual counterweight beside 수리영 and the target of her stare; PC café neon lighting (On); used as Provides the surrounding practical illumination and identifies the PC café setting; Computer workstation (In use) — Its user-facing side angles across the frame toward 수리영; used as Forms the lower and lateral boundaries of the workstation composition.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Colorful PC café neon is held at subdued exposure against a restrained, desaturated image, sharpening the tension around 수리영's face.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung has her backpack and the coordinate note with her while locating the position on the computer.

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): PC방의 화려한 네온 조명 아래, 모니터 화면을 매섭게 응시하며 마우스를 쥔 수리영의 상체.

LOCATION (lock): A computer station inside an internet café, lit by the monitor and surrounding neon lighting. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At seated eye level, the camera completes its frontal three-quarter dolly toward 수리영 and holds at a firm medium distance, with her upper body placed just left of center and the monitor occupying the right midground. Her face and mouse hand remain simultaneously legible, while the workstation edges create a restrained frame around her fixed concentration.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: PC monitor (On) — The active display face is angled toward both 수리영 and the camera, showing the location and coordinate interface; used as Midground visual counterweight beside 수리영 and the target of her stare; PC café neon lighting (On); used as Provides the surrounding practical illumination and identifies the PC café setting; Computer workstation (In use) — Its user-facing side angles across the frame toward 수리영; used as Forms the lower and lateral boundaries of the workstation composition.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Colorful PC café neon is held at subdued exposure against a restrained, desaturated image, sharpening the tension around 수리영's face.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung has her backpack and the coordinate note with her while locating the position on the computer.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): PC방의 화려한 네온 조명 아래, 모니터 화면을 매섭게 응시하며 마우스를 쥔 수리영의 상체.

LOCATION (lock): A computer station inside an internet café, lit by the monitor and surrounding neon lighting. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At seated eye level, the camera completes its frontal three-quarter dolly toward 수리영 and holds at a firm medium distance, with her upper body placed just left of center and the monitor occupying the right midground. Her face and mouse hand remain simultaneously legible, while the workstation edges create a restrained frame around her fixed concentration.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: PC monitor (On) — The active display face is angled toward both 수리영 and the camera, showing the location and coordinate interface; used as Midground visual counterweight beside 수리영 and the target of her stare; PC café neon lighting (On); used as Provides the surrounding practical illumination and identifies the PC café setting; Computer workstation (In use) — Its user-facing side angles across the frame toward 수리영; used as Forms the lower and lateral boundaries of the workstation composition.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Colorful PC café neon is held at subdued exposure against a restrained, desaturated image, sharpening the tension around 수리영's face.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung has her backpack and the coordinate note with her while locating the position on the computer.

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Add the coordinate note on the desk near the keyboard or resting in her free hand.
- Correct the hand holding the mouse to an anatomically correct left hand, with the thumb resting on the far side of the mouse.

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

SHOT TEXT (authoritative, Korean): 백팩을 메고 한 손에 구겨진 사진을 꽉 쥔 채 열린 현관문 턱을 한 발로 디딘 자세로 굳은 수리영.

LOCATION (lock): The open front-door threshold of the rooftop apartment, between the ransacked interior and the exterior rooftop. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level inside the living area, the parallel track settles roughly opposite the open entrance as 수리영 freezes with one foot planted on the threshold. She occupies the middle-right of the wide frame with the backpack close to her body and the crumpled photograph held visibly but naturally small in one fist, while the disturbed room remains behind her to the left.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 paused at threshold in the middle-right of the frame, midground; open entrance in the upper-right of the frame, background.
- KEY BACKGROUND ELEMENTS: Entrance door (Open) — The open doorway faces diagonally toward the interior camera; used as Defines the exit line directly beside 수리영's paused body; Living area (Ransacked) — The room opens away from the entrance into the left background; used as Extends behind 수리영 and preserves evidence of the intrusion; Dining chairs (Overturned) — Their overturned sides and legs angle toward the camera from the background; used as Angular background obstacles that break the otherwise direct route to the exit; Living-room window (Open) — The open window provides a view beyond the room through its opening; used as Secondary opening visible within the disturbed living area.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued dusk ambient light maintains a desaturated interior, with the crumpled blood-stained photograph providing a restrained deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung leaves wearing the backpack that contains the printed maps and keeps the crumpled, bloodstained old photograph tightly in one hand. The room remains ransacked behind her, with the red wall circle left in place without the photograph.

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 백팩을 메고 한 손에 구겨진 사진을 꽉 쥔 채 열린 현관문 턱을 한 발로 디딘 자세로 굳은 수리영.

LOCATION (lock): The open front-door threshold of the rooftop apartment, between the ransacked interior and the exterior rooftop. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level inside the living area, the parallel track settles roughly opposite the open entrance as 수리영 freezes with one foot planted on the threshold. She occupies the middle-right of the wide frame with the backpack close to her body and the crumpled photograph held visibly but naturally small in one fist, while the disturbed room remains behind her to the left.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 paused at threshold in the middle-right of the frame, midground; open entrance in the upper-right of the frame, background.
- KEY BACKGROUND ELEMENTS: Entrance door (Open) — The open doorway faces diagonally toward the interior camera; used as Defines the exit line directly beside 수리영's paused body; Living area (Ransacked) — The room opens away from the entrance into the left background; used as Extends behind 수리영 and preserves evidence of the intrusion; Dining chairs (Overturned) — Their overturned sides and legs angle toward the camera from the background; used as Angular background obstacles that break the otherwise direct route to the exit; Living-room window (Open) — The open window provides a view beyond the room through its opening; used as Secondary opening visible within the disturbed living area.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued dusk ambient light maintains a desaturated interior, with the crumpled blood-stained photograph providing a restrained deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung leaves wearing the backpack that contains the printed maps and keeps the crumpled, bloodstained old photograph tightly in one hand. The room remains ransacked behind her, with the red wall circle left in place without the photograph.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 백팩을 메고 한 손에 구겨진 사진을 꽉 쥔 채 열린 현관문 턱을 한 발로 디딘 자세로 굳은 수리영.

LOCATION (lock): The open front-door threshold of the rooftop apartment, between the ransacked interior and the exterior rooftop. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level inside the living area, the parallel track settles roughly opposite the open entrance as 수리영 freezes with one foot planted on the threshold. She occupies the middle-right of the wide frame with the backpack close to her body and the crumpled photograph held visibly but naturally small in one fist, while the disturbed room remains behind her to the left.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 수리영 paused at threshold in the middle-right of the frame, midground; open entrance in the upper-right of the frame, background.
- KEY BACKGROUND ELEMENTS: Entrance door (Open) — The open doorway faces diagonally toward the interior camera; used as Defines the exit line directly beside 수리영's paused body; Living area (Ransacked) — The room opens away from the entrance into the left background; used as Extends behind 수리영 and preserves evidence of the intrusion; Dining chairs (Overturned) — Their overturned sides and legs angle toward the camera from the background; used as Angular background obstacles that break the otherwise direct route to the exit; Living-room window (Open) — The open window provides a view beyond the room through its opening; used as Secondary opening visible within the disturbed living area.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued dusk ambient light maintains a desaturated interior, with the crumpled blood-stained photograph providing a restrained deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung leaves wearing the backpack that contains the printed maps and keeps the crumpled, bloodstained old photograph tightly in one hand. The room remains ransacked behind her, with the red wall circle left in place without the photograph.

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Crumple the photograph into a small shape and make her grip it tightly within a closed fist.
- Add deep-red bloodstains to the photograph in her hand.
- Flatten the floor at the doorway to match the level, continuous threshold shown in the location reference.
- Change the door to swing outwards onto the exterior rooftop instead of inwards into the room.

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

SHOT TEXT (authoritative, Korean): 사진을 마주하고 두 눈이 커진 채 어깨를 흠칫 굳힌 인우의 상체.

LOCATION (lock): The exposed deck of a small fishing boat underway at sea, beside the cabin entrance at dusk. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From close beside the axis connecting 인우 and the photograph, finish the pan on his three-quarter upper body and hold as his widened eyes drop toward the image and his shoulders lock. Keep the photograph small in the lower foreground and 인우 in the center-right midground, preserving enough deck context to ground his reaction.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: photograph (Held out before 인우) — Its image-bearing face is angled partly toward the camera and partly toward 인우, showing the photographed scene rather than its reverse; used as A small lower-foreground counterpoint connecting the reaction to its cause; fishing-boat deck (Visible around the seated position); used as Provides limited spatial context behind 인우 without competing with his reaction.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Fading ambient light appropriate to sunset is kept subdued and desaturated, with tense contrast concentrated on 인우's expression.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung has brought the folded printed maps and the bloodstained old photograph aboard, while her doll-adorned backpack remains with her. The wheelhouse walls already bear the numerous circular markings revealed moments later.

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, 20대 중반의 젊은 얼굴, 반듯한 얼굴선, 짧은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 사진을 마주하고 두 눈이 커진 채 어깨를 흠칫 굳힌 인우의 상체.

LOCATION (lock): The exposed deck of a small fishing boat underway at sea, beside the cabin entrance at dusk. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From close beside the axis connecting 인우 and the photograph, finish the pan on his three-quarter upper body and hold as his widened eyes drop toward the image and his shoulders lock. Keep the photograph small in the lower foreground and 인우 in the center-right midground, preserving enough deck context to ground his reaction.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: photograph (Held out before 인우) — Its image-bearing face is angled partly toward the camera and partly toward 인우, showing the photographed scene rather than its reverse; used as A small lower-foreground counterpoint connecting the reaction to its cause; fishing-boat deck (Visible around the seated position); used as Provides limited spatial context behind 인우 without competing with his reaction.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Fading ambient light appropriate to sunset is kept subdued and desaturated, with tense contrast concentrated on 인우's expression.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung has brought the folded printed maps and the bloodstained old photograph aboard, while her doll-adorned backpack remains with her. The wheelhouse walls already bear the numerous circular markings revealed moments later.

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, 20대 중반의 젊은 얼굴, 반듯한 얼굴선, 짧은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 사진을 마주하고 두 눈이 커진 채 어깨를 흠칫 굳힌 인우의 상체.

LOCATION (lock): The exposed deck of a small fishing boat underway at sea, beside the cabin entrance at dusk. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From close beside the axis connecting 인우 and the photograph, finish the pan on his three-quarter upper body and hold as his widened eyes drop toward the image and his shoulders lock. Keep the photograph small in the lower foreground and 인우 in the center-right midground, preserving enough deck context to ground his reaction.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: photograph (Held out before 인우) — Its image-bearing face is angled partly toward the camera and partly toward 인우, showing the photographed scene rather than its reverse; used as A small lower-foreground counterpoint connecting the reaction to its cause; fishing-boat deck (Visible around the seated position); used as Provides limited spatial context behind 인우 without competing with his reaction.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Fading ambient light appropriate to sunset is kept subdued and desaturated, with tense contrast concentrated on 인우's expression.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung has brought the folded printed maps and the bloodstained old photograph aboard, while her doll-adorned backpack remains with her. The wheelhouse walls already bear the numerous circular markings revealed moments later.

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, 20대 중반의 젊은 얼굴, 반듯한 얼굴선, 짧은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Remove the shoulder and hand holding the photograph from the bottom left foreground, ensuring no body parts of anyone other than In-woo are visible.
- Add numerous circular markings onto the white exterior wall of the wheelhouse behind In-woo.

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

SHOT TEXT (authoritative, Korean): 낡은 사진 속 한국인 여자아이의 얼굴 위를 꾹 짚은 수리영의 떨리는 손가락 클로즈업.

LOCATION (lock): Inside the cramped, worn wheelhouse of the small fishing boat, over the old photograph being shown between the two occupants. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Directly above the photograph at hand height, track into an isolated overhead detail of 수리영's trembling fingertip pressing the photographed girl's face. The finger and face share the center of the frame, while a narrow margin of the photograph remains visible to preserve its physical scale and worn condition.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: worn photograph (Worn and being pressed firmly) — The image-bearing face is fully presented to the overhead camera, with the Korean girl's face visible directly beneath the fingertip; used as Primary image surface beneath 수리영's fingertip.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient light appropriate to the sunset interior preserves tactile detail in the finger and photograph without introducing a new light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung retains the backpack and maps, and she holds the same bloodstained old photograph while pointing to the girl identified as Minsuk. The wheelhouse's many circular wall markings remain in place.

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

No text, captions, watermarks or annotations anywhere.

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

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

SHOT TEXT (authoritative, Korean): 낡은 사진 속 한국인 여자아이의 얼굴 위를 꾹 짚은 수리영의 떨리는 손가락 클로즈업.

LOCATION (lock): Inside the cramped, worn wheelhouse of the small fishing boat, over the old photograph being shown between the two occupants. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Directly above the photograph at hand height, track into an isolated overhead detail of 수리영's trembling fingertip pressing the photographed girl's face. The finger and face share the center of the frame, while a narrow margin of the photograph remains visible to preserve its physical scale and worn condition.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: worn photograph (Worn and being pressed firmly) — The image-bearing face is fully presented to the overhead camera, with the Korean girl's face visible directly beneath the fingertip; used as Primary image surface beneath 수리영's fingertip.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient light appropriate to the sunset interior preserves tactile detail in the finger and photograph without introducing a new light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung retains the backpack and maps, and she holds the same bloodstained old photograph while pointing to the girl identified as Minsuk. The wheelhouse's many circular wall markings remain in place.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 낡은 사진 속 한국인 여자아이의 얼굴 위를 꾹 짚은 수리영의 떨리는 손가락 클로즈업.

LOCATION (lock): Inside the cramped, worn wheelhouse of the small fishing boat, over the old photograph being shown between the two occupants. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Directly above the photograph at hand height, track into an isolated overhead detail of 수리영's trembling fingertip pressing the photographed girl's face. The finger and face share the center of the frame, while a narrow margin of the photograph remains visible to preserve its physical scale and worn condition.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: worn photograph (Worn and being pressed firmly) — The image-bearing face is fully presented to the overhead camera, with the Korean girl's face visible directly beneath the fingertip; used as Primary image surface beneath 수리영's fingertip.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient light appropriate to the sunset interior preserves tactile detail in the finger and photograph without introducing a new light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung retains the backpack and maps, and she holds the same bloodstained old photograph while pointing to the girl identified as Minsuk. The wheelhouse's many circular wall markings remain in place.

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

No text, captions, watermarks or annotations anywhere.

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

CORRECTIONS:
- Restore the large circular symbol on the peak of the building's roof inside the photograph exactly as it appears 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 검은 인영이 바닥에 쓰러진 한국인 남자를 위에서 짓누른 채 멈춘 정지 구도.

LOCATION (lock): The forest floor amid dense dusk undergrowth, where the fallen man is pinned down. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From a fixed high overhead position, the camera looks nearly straight down on 검은 인영 pinning 숲속의 한국인 남자 at the center, with the victim's splayed body remaining readable beneath the attacker. The wide top-down geometry turns the surrounding foliage and ground into an enclosing boundary rather than shifting the established attack position.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 검은 인영 in the middle-center of the frame, foreground; 숲속의 한국인 남자 in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 숲 바닥 (Visible beneath the fallen man); used as Defines the overhead silhouette of the pinned bodies and provides spatial scale around them; 우거진 수풀 (Surrounding the figures); used as Forms an irregular perimeter around the central attack.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued dusk light and desaturated grading preserve the attack as a dark, ambiguous overhead shape.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the dense dusk forest, tangled undergrowth, muted natural light, and ground texture from the reference. EXCLUDE the running pose and frightened frontal expression; show only the fallen man pinned beneath the dark figure.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 fallen man remains missing one shoe and retains the large, bleeding bite wound on his thigh.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 숲속의 한국인 남자 (한국인 남성, 성인의 얼굴, 평범한 얼굴선, 헝클어진 검은 머리); 검은 인영 (한국인 남성형 인영, 성인형 머리 윤곽, 가려진 얼굴, 검게 뭉친 실루엣) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 검은 인영이 바닥에 쓰러진 한국인 남자를 위에서 짓누른 채 멈춘 정지 구도.

LOCATION (lock): The forest floor amid dense dusk undergrowth, where the fallen man is pinned down. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From a fixed high overhead position, the camera looks nearly straight down on 검은 인영 pinning 숲속의 한국인 남자 at the center, with the victim's splayed body remaining readable beneath the attacker. The wide top-down geometry turns the surrounding foliage and ground into an enclosing boundary rather than shifting the established attack position.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 검은 인영 in the middle-center of the frame, foreground; 숲속의 한국인 남자 in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 숲 바닥 (Visible beneath the fallen man); used as Defines the overhead silhouette of the pinned bodies and provides spatial scale around them; 우거진 수풀 (Surrounding the figures); used as Forms an irregular perimeter around the central attack.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued dusk light and desaturated grading preserve the attack as a dark, ambiguous overhead shape.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the dense dusk forest, tangled undergrowth, muted natural light, and ground texture from the reference. EXCLUDE the running pose and frightened frontal expression; show only the fallen man pinned beneath the dark figure.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 fallen man remains missing one shoe and retains the large, bleeding bite wound on his thigh.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 숲속의 한국인 남자 (한국인 남성, 성인의 얼굴, 평범한 얼굴선, 헝클어진 검은 머리); 검은 인영 (한국인 남성형 인영, 성인형 머리 윤곽, 가려진 얼굴, 검게 뭉친 실루엣) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot 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 austere, nearly orthographic overhead view with restrained perspective and generous forest-floor space surrounding the centered bodies. Compose the undergrowth as an irregular dark perimeter that closes around them, while subtle tonal separation keeps the fallen man's splayed limbs and the attacker's fully human posture legible. Let the subdued dusk illumination fall softly and evenly, with desaturated earth and foliage tones, crisp contact shadows, and no motion blur, creating the stillness of a grim forensic tableau.

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

SHOT TEXT (authoritative, Korean): 검은 인영이 바닥에 쓰러진 한국인 남자를 위에서 짓누른 채 멈춘 정지 구도.

LOCATION (lock): The forest floor amid dense dusk undergrowth, where the fallen man is pinned down. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From a fixed high overhead position, the camera looks nearly straight down on 검은 인영 pinning 숲속의 한국인 남자 at the center, with the victim's splayed body remaining readable beneath the attacker. The wide top-down geometry turns the surrounding foliage and ground into an enclosing boundary rather than shifting the established attack position.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 검은 인영 in the middle-center of the frame, foreground; 숲속의 한국인 남자 in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 숲 바닥 (Visible beneath the fallen man); used as Defines the overhead silhouette of the pinned bodies and provides spatial scale around them; 우거진 수풀 (Surrounding the figures); used as Forms an irregular perimeter around the central attack.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued dusk light and desaturated grading preserve the attack as a dark, ambiguous overhead shape.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the dense dusk forest, tangled undergrowth, muted natural light, and ground texture from the reference. EXCLUDE the running pose and frightened frontal expression; show only the fallen man pinned beneath the dark figure.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 fallen man remains missing one shoe and retains the large, bleeding bite wound on his thigh.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 숲속의 한국인 남자 (한국인 남성, 성인의 얼굴, 평범한 얼굴선, 헝클어진 검은 머리); 검은 인영 (한국인 남성형 인영, 성인형 머리 윤곽, 가려진 얼굴, 검게 뭉친 실루엣) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Give the fixed high overhead view a more immersive wide-lens feel, using overlapping layers of surrounding undergrowth to create depth and visual pressure around the middle-center struggle. Allow nearby foliage to form soft, uneven edge occlusions without covering the victim's readable splayed body, while low directional dusk light grazes leaves, clothing folds, exposed skin, the missing-shoe foot, and the wounded thigh. Keep the attacker's obscured face and dark clothing materially detailed rather than featureless, with the pinned contact points emphasized by compact, dense shadows.

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

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

CORRECTIONS:
- Move the large bleeding wound from the man's left thigh to his right thigh to match the established 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 한국인 남자의 이빨이 한국인 여자의 목덜미에 깊게 박힌 채 멈춘 측면.

LOCATION (lock): The shadowed space against a utility pole in a dim urban back alley. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At upper-body height, the tracking move reaches a clean side axis and tightens until 도시 뒷골목의 한국인 남자 (포식 본능 활성화 상태)'s teeth, red eye, and 도시 뒷골목의 한국인 여자's neck occupy most of the close frame without losing fragments of both profiles. Shallow focus isolates the bite while a narrow strip of the utility pole remains behind the woman as a scale and support reference.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 도시 뒷골목의 한국인 남자 (포식 본능 활성화 상태) in the middle-left of the frame, foreground; 도시 뒷골목의 한국인 여자 in the middle-right of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 전봇대 (Supporting the woman's weight) — Only its side adjacent to the woman's shoulder is visible; used as A narrow background strip braces the woman's neck and maintains continuity with the wider alley view; 도시 뒷골목 (Dark at night); used as Falls beyond the shallow focus as the camera reaches the side profile.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The faint streetlamp illumination remains subdued, with the man's explicitly red eye forming the only concentrated deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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 dim streetlamp lighting, narrow urban alley surfaces, and the utility pole immediately behind the pair. EXCLUDE the earlier upright embrace and replace it with the side view of the man biting the woman's neck.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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: 도시 뒷골목의 한국인 남자 (포식 본능 활성화 상태) (한국인 남성, 성인의 얼굴, 평범한 얼굴선, 짧은 검은 머리); 도시 뒷골목의 한국인 여자 (한국인 여성, 성인의 얼굴, 평범한 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 한국인 남자의 이빨이 한국인 여자의 목덜미에 깊게 박힌 채 멈춘 측면.

LOCATION (lock): The shadowed space against a utility pole in a dim urban back alley. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At upper-body height, the tracking move reaches a clean side axis and tightens until 도시 뒷골목의 한국인 남자 (포식 본능 활성화 상태)'s teeth, red eye, and 도시 뒷골목의 한국인 여자's neck occupy most of the close frame without losing fragments of both profiles. Shallow focus isolates the bite while a narrow strip of the utility pole remains behind the woman as a scale and support reference.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 도시 뒷골목의 한국인 남자 (포식 본능 활성화 상태) in the middle-left of the frame, foreground; 도시 뒷골목의 한국인 여자 in the middle-right of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 전봇대 (Supporting the woman's weight) — Only its side adjacent to the woman's shoulder is visible; used as A narrow background strip braces the woman's neck and maintains continuity with the wider alley view; 도시 뒷골목 (Dark at night); used as Falls beyond the shallow focus as the camera reaches the side profile.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The faint streetlamp illumination remains subdued, with the man's explicitly red eye forming the only concentrated deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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 dim streetlamp lighting, narrow urban alley surfaces, and the utility pole immediately behind the pair. EXCLUDE the earlier upright embrace and replace it with the side view of the man biting the woman's neck.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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: 도시 뒷골목의 한국인 남자 (포식 본능 활성화 상태) (한국인 남성, 성인의 얼굴, 평범한 얼굴선, 짧은 검은 머리); 도시 뒷골목의 한국인 여자 (한국인 여성, 성인의 얼굴, 평범한 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a compressed, nearly orthographic lens feel from the locked clean side axis, holding both profile fragments in a severe, flattened arrangement around the bite. Keep the teeth and neck contact critically sharp while both faces and the narrow utility-pole strip recede quickly into softness. Let the faint streetlamp skim laterally across skin, hair, and fabric with restrained shadow detail, leaving the red eye as the sole concentrated color accent.

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

SHOT TEXT (authoritative, Korean): 한국인 남자의 이빨이 한국인 여자의 목덜미에 깊게 박힌 채 멈춘 측면.

LOCATION (lock): The shadowed space against a utility pole in a dim urban back alley. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At upper-body height, the tracking move reaches a clean side axis and tightens until 도시 뒷골목의 한국인 남자 (포식 본능 활성화 상태)'s teeth, red eye, and 도시 뒷골목의 한국인 여자's neck occupy most of the close frame without losing fragments of both profiles. Shallow focus isolates the bite while a narrow strip of the utility pole remains behind the woman as a scale and support reference.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 도시 뒷골목의 한국인 남자 (포식 본능 활성화 상태) in the middle-left of the frame, foreground; 도시 뒷골목의 한국인 여자 in the middle-right of the frame, foreground.
- KEY BACKGROUND ELEMENTS: 전봇대 (Supporting the woman's weight) — Only its side adjacent to the woman's shoulder is visible; used as A narrow background strip braces the woman's neck and maintains continuity with the wider alley view; 도시 뒷골목 (Dark at night); used as Falls beyond the shallow focus as the camera reaches the side profile.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The faint streetlamp illumination remains subdued, with the man's explicitly red eye forming the only concentrated deep-red accent.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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 dim streetlamp lighting, narrow urban alley surfaces, and the utility pole immediately behind the pair. EXCLUDE the earlier upright embrace and replace it with the side view of the man biting the woman's neck.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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: 도시 뒷골목의 한국인 남자 (포식 본능 활성화 상태) (한국인 남성, 성인의 얼굴, 평범한 얼굴선, 짧은 검은 머리); 도시 뒷골목의 한국인 여자 (한국인 여성, 성인의 얼굴, 평범한 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use an intimate close-focus lens feel while preserving the exact upper-body-height side axis and prescribed left-right placement, allowing subtle perspective depth between the two profile fragments and the point of contact. Concentrate the shallow focal plane on the embedded teeth and compressed neck surface, with facial contours falling gently out of focus toward the frame edges and the utility pole surviving only as a narrow soft brace behind her. Shape the subdued streetlamp illumination as a faint grazing highlight over the contact textures, surrounded by dense natural alley shadow and anchored by the man's deep-red eye.

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

SHOT TEXT (authoritative, Korean): 수리영이 서 있는 강민숙(민숙)의 어깨 쪽에 코를 댄 채 미소 짓는 측면.

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

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At shoulder height near the entrance, the side-tracking camera settles into a clean close profile as 수리영 brings her nose to 강민숙's shoulder and smiles. Their heads and shoulders share the central frame, with 수리영 slightly nearer the lens and the entrance area left softly present behind them before the camera moves down toward the wrist.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 현관 공간 (Visible behind the pair); used as Soft background context locating the affectionate exchange near departure; 거실의 작은 창 (Sunlight entering) — Its opening faces into the living area; no exterior detail is resolved; used as Provides limited interior daylight without displacing the two profiles.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The small window's daylight is kept soft and desaturated, allowing restrained warmth in the intimate profiles without losing the underlying tension.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the compact rooftop-home interior, worn residential materials, daylight filtering through the small window, and the woman's apron. EXCLUDE the television-watching action and kitchen activity; frame the daughter leaning toward the woman's shoulder.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 small circular mark on her wrist.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리); 강민숙 (한국인 여성, 40대 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 수리영이 서 있는 강민숙(민숙)의 어깨 쪽에 코를 댄 채 미소 짓는 측면.

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

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At shoulder height near the entrance, the side-tracking camera settles into a clean close profile as 수리영 brings her nose to 강민숙's shoulder and smiles. Their heads and shoulders share the central frame, with 수리영 slightly nearer the lens and the entrance area left softly present behind them before the camera moves down toward the wrist.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 현관 공간 (Visible behind the pair); used as Soft background context locating the affectionate exchange near departure; 거실의 작은 창 (Sunlight entering) — Its opening faces into the living area; no exterior detail is resolved; used as Provides limited interior daylight without displacing the two profiles.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The small window's daylight is kept soft and desaturated, allowing restrained warmth in the intimate profiles without losing the underlying tension.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the compact rooftop-home interior, worn residential materials, daylight filtering through the small window, and the woman's apron. EXCLUDE the television-watching action and kitchen activity; frame the daughter leaning toward the woman's shoulder.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 small circular mark on her wrist.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리); 강민숙 (한국인 여성, 40대 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a gently compressed, shallow-focus profile close-up, holding the point where Suriyoung’s nose meets Minsuk’s shoulder and the fine movement of her smile in precise focus. Let Minsuk’s adjacent profile remain softly legible while the entrance dissolves into subdued residential texture; soft window daylight grazes their faces laterally, with restrained warmth in skin and quiet, desaturated shadows.

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

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

SHOT TEXT (authoritative, Korean): 수리영이 서 있는 강민숙(민숙)의 어깨 쪽에 코를 댄 채 미소 짓는 측면.

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

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At shoulder height near the entrance, the side-tracking camera settles into a clean close profile as 수리영 brings her nose to 강민숙's shoulder and smiles. Their heads and shoulders share the central frame, with 수리영 slightly nearer the lens and the entrance area left softly present behind them before the camera moves down toward the wrist.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 현관 공간 (Visible behind the pair); used as Soft background context locating the affectionate exchange near departure; 거실의 작은 창 (Sunlight entering) — Its opening faces into the living area; no exterior detail is resolved; used as Provides limited interior daylight without displacing the two profiles.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The small window's daylight is kept soft and desaturated, allowing restrained warmth in the intimate profiles without losing the underlying tension.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the compact rooftop-home interior, worn residential materials, daylight filtering through the small window, and the woman's apron. EXCLUDE the television-watching action and kitchen activity; frame the daughter leaning toward the woman's shoulder.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 small circular mark on her wrist.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (한국인 여성, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리); 강민숙 (한국인 여성, 40대 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the close profile with natural perspective and moderately deep focus, keeping both women’s heads and shoulders clearly articulated while the entrance geometry remains recognizable as a soft second plane. Use the doorway lines and the dimmer interior around them to contain the central pairing, allowing the small window’s diffuse morning light to separate their profiles without romantic glow; preserve tactile wear, muted color, and a quiet undertone 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.

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

CORRECTIONS:
- Remove the black hair tie and render Minsuk's hair hanging completely loose to match the previous shot.
- Position Suriyoung so she overlaps the camera-facing side of Minsuk's shoulder, making her nearer to the lens.
- Remove the open door and its hardware on the left side of the frame, showing the entryway space opening directly into the living area.

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

SHOT TEXT (authoritative, Korean): 강민숙(민숙)의 손목에 있는 또렷한 작은 원형 표식 클로즈업.

LOCATION (lock): The rooftop apartment’s interior entry area beside the front door, lit by the home’s daytime ambient light. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From 수리영's side of the interaction, the camera finishes its downward move at wrist height and tightens into an insert of 강민숙's small circular mark. The wrist and adjacent edge of clothing remain naturally scaled within the frame, while the entrance surroundings fall away without turning the mark into an oversized object.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: 강민숙의 손목 in the middle-center of the frame, foreground.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same interior light, the woman's clothing, and her arm position from the reference. EXCLUDE the daughter's face and the broader room composition; isolate the small circular mark on the 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 same small, unusually distinct circular mark remains on 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 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 강민숙(민숙)의 손목에 있는 또렷한 작은 원형 표식 클로즈업.

LOCATION (lock): The rooftop apartment’s interior entry area beside the front door, lit by the home’s daytime ambient light. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From 수리영's side of the interaction, the camera finishes its downward move at wrist height and tightens into an insert of 강민숙's small circular mark. The wrist and adjacent edge of clothing remain naturally scaled within the frame, while the entrance surroundings fall away without turning the mark into an oversized object.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: 강민숙의 손목 in the middle-center of the frame, foreground.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same interior light, the woman's clothing, and her arm position from the reference. EXCLUDE the daughter's face and the broader room composition; isolate the small circular mark on the 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 same small, unusually distinct circular mark remains on 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 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the wrist from a nearly square-on, level viewpoint, holding the small circular mark in crisp focus at middle-center while the adjacent clothing edge stays softly legible. Use shallow depth of field so the entrance surroundings dissolve into subdued, natural blur, with broad soft daylight revealing skin texture and the mark’s adherence to the wrist’s curvature.

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

SHOT TEXT (authoritative, Korean): 강민숙(민숙)의 손목에 있는 또렷한 작은 원형 표식 클로즈업.

LOCATION (lock): The rooftop apartment’s interior entry area beside the front door, lit by the home’s daytime ambient light. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From 수리영's side of the interaction, the camera finishes its downward move at wrist height and tightens into an insert of 강민숙's small circular mark. The wrist and adjacent edge of clothing remain naturally scaled within the frame, while the entrance surroundings fall away without turning the mark into an oversized object.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: 강민숙의 손목 in the middle-center of the frame, foreground.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same interior light, the woman's clothing, and her arm position from the reference. EXCLUDE the daughter's face and the broader room composition; isolate the small circular mark on the 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 same small, unusually distinct circular mark remains on 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 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Take a slightly oblique, wrist-height view along the arm, letting the wrist’s curved plane lead directly to the centered circular mark while the clothing edge forms a restrained peripheral layer. Favor gentle grazing daylight and a modestly deeper focus across the wrist, emphasizing pores, fine tonal variation, and the physical integration of the mark as the entrance recedes into dim, desaturated softness.

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

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

CORRECTIONS:
- Change the hand to press against the flat surface of the door as in the reference, correcting the anatomical orientation of the wrist and fingers.

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

SHOT TEXT (authoritative, Korean): 철창 앞에서 스마트폰을 귀에 댄 채 입술을 꾹 다문 수리영.

LOCATION (lock): The indoor kennel aisle of a stray-dog shelter, lined with enclosures holding dogs. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From chest height beside the cage line, hold a static medium frame with 수리영 slightly right of center and the cage front directly behind her. Her phone hand rises along the side of her face while the composition reserves enough space around her pressed lips and distant gaze to make the unanswered silence palpable.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 철창과 개장 줄 (Dogs remain confined behind the cage fronts) — The cage fronts face the camera behind 수리영, with confined dogs beyond them; used as The repeated cage frontage forms a rigid background grid behind 수리영; 스마트폰 (Held to her ear during an unanswered call) — The screen face is turned toward 수리영 and largely away from the camera, so no screen content is legible; used as Held beside 수리영’s face as the narrative focal prop.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 철창 앞에서 스마트폰을 귀에 댄 채 입술을 꾹 다문 수리영.

LOCATION (lock): The indoor kennel aisle of a stray-dog shelter, lined with enclosures holding dogs. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From chest height beside the cage line, hold a static medium frame with 수리영 slightly right of center and the cage front directly behind her. Her phone hand rises along the side of her face while the composition reserves enough space around her pressed lips and distant gaze to make the unanswered silence palpable.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 철창과 개장 줄 (Dogs remain confined behind the cage fronts) — The cage fronts face the camera behind 수리영, with confined dogs beyond them; used as The repeated cage frontage forms a rigid background grid behind 수리영; 스마트폰 (Held to her ear during an unanswered call) — The screen face is turned toward 수리영 and largely away from the camera, so no screen content is legible; used as Held beside 수리영’s face as the narrative focal prop.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, near-frontal lens perspective with moderately deep focus, keeping Suri-young’s face, phone hand, and the repeated cage grid clearly legible in layered depth. Let the rigid verticals and horizontals surround her slightly off-center figure, while soft daytime ambient light falls evenly and without glamour, emphasizing her pressed lips, fixed distant gaze, and held 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 철창 앞에서 스마트폰을 귀에 댄 채 입술을 꾹 다문 수리영.

LOCATION (lock): The indoor kennel aisle of a stray-dog shelter, lined with enclosures holding dogs. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From chest height beside the cage line, hold a static medium frame with 수리영 slightly right of center and the cage front directly behind her. Her phone hand rises along the side of her face while the composition reserves enough space around her pressed lips and distant gaze to make the unanswered silence palpable.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: 철창과 개장 줄 (Dogs remain confined behind the cage fronts) — The cage fronts face the camera behind 수리영, with confined dogs beyond them; used as The repeated cage frontage forms a rigid background grid behind 수리영; 스마트폰 (Held to her ear during an unanswered call) — The screen face is turned toward 수리영 and largely away from the camera, so no screen content is legible; used as Held beside 수리영’s face as the narrative focal prop.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a gently compressed lens feel and shallow focus to isolate Suri-young against the softened cage frontage, holding crisp attention on the phone beside her face, her tightly pressed lips, and the minute tension in her expression. Keep the medium frame quiet and spacious around her gaze, with subdued side-biased ambient daylight shaping her face softly as the confined dogs and repeating bars recede into muted 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:
- Remove the beige jacket, leaving the character wearing only the plain white t-shirt to match the previous shot still.
- Rotate the smartphone 180 degrees so the rear camera module is at the top of the device.
- Modify the character's mouth so her lips are pressed tightly together.

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

SHOT TEXT (authoritative, Korean): 실내 창문에 비친 그림자, 남자가 강민숙(민숙)의 어깨를 입으로 덮친 형상으로 겹쳐진 실루엣.

LOCATION (lock): Inside the rooftop apartment beside a window, where the attack is visible only as overlapping silhouettes on the glass. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From standing eye level several meters inside the room, face the window squarely and isolate the overlapping reflected silhouettes within the central portion of the frame. The 옥탑방 침입 남자’s head merges with 강민숙’s shoulder line as if attacking it, but his face remains unreadable and the reflection preserves grounded ambiguity.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 옥탑방 침입 남자 reflected silhouette in the middle-center of the frame, midground; 강민숙 reflected silhouette in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 실내 창문 (Reflecting the attack inside the room) — Its surface reflects the overlapping silhouettes of 옥탑방 침입 남자 and 강민숙, with his head covering her shoulder line; used as Serves as the sole perception plane on which the attack is revealed.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The intruder has forced the rooftop-room door open and entered through 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 실내 창문에 비친 그림자, 남자가 강민숙(민숙)의 어깨를 입으로 덮친 형상으로 겹쳐진 실루엣.

LOCATION (lock): Inside the rooftop apartment beside a window, where the attack is visible only as overlapping silhouettes on the glass. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From standing eye level several meters inside the room, face the window squarely and isolate the overlapping reflected silhouettes within the central portion of the frame. The 옥탑방 침입 남자’s head merges with 강민숙’s shoulder line as if attacking it, but his face remains unreadable and the reflection preserves grounded ambiguity.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 옥탑방 침입 남자 reflected silhouette in the middle-center of the frame, midground; 강민숙 reflected silhouette in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 실내 창문 (Reflecting the attack inside the room) — Its surface reflects the overlapping silhouettes of 옥탑방 침입 남자 and 강민숙, with his head covering her shoulder line; used as Serves as the sole perception plane on which the attack is revealed.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The intruder has forced the rooftop-room door open and entered through 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):
Use a restrained, observational lens feel and a rigidly square-on composition, with the window glass itself in crisp focus. Let the overlapping reflections remain subdued but physically legible as two fully formed human figures, preserving the unreadable face and disturbing shoulder-level merger. Keep the pane edges and surrounding room understated, with soft low ambient light, desaturated color, controlled blacks, and no theatrical highlights.

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

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

SHOT TEXT (authoritative, Korean): 실내 창문에 비친 그림자, 남자가 강민숙(민숙)의 어깨를 입으로 덮친 형상으로 겹쳐진 실루엣.

LOCATION (lock): Inside the rooftop apartment beside a window, where the attack is visible only as overlapping silhouettes on the glass. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From standing eye level several meters inside the room, face the window squarely and isolate the overlapping reflected silhouettes within the central portion of the frame. The 옥탑방 침입 남자’s head merges with 강민숙’s shoulder line as if attacking it, but his face remains unreadable and the reflection preserves grounded ambiguity.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 옥탑방 침입 남자 reflected silhouette in the middle-center of the frame, midground; 강민숙 reflected silhouette in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 실내 창문 (Reflecting the attack inside the room) — Its surface reflects the overlapping silhouettes of 옥탑방 침입 남자 and 강민숙, with his head covering her shoulder line; used as Serves as the sole perception plane on which the attack is revealed.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The intruder has forced the rooftop-room door open and entered through 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):
Favor a compressed, claustrophobic lens feel that makes the central reflected figures seem tightly locked together while retaining the prescribed medium scale and frontal eye-level viewpoint. Hold focus narrowly on the dim reflection plane, allowing the glass surface and room beyond it to recede into soft darkness without losing realistic material depth. Underexpose gently so the silhouettes emerge through delicate tonal separation rather than hard outlines, emphasizing the grounded ambiguity of the apparent attack.

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 man's head silhouette so his mouth covers the woman's shoulder line.
- Remove all text from the cardboard box on the left edge.

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

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

SHOT TEXT (authoritative, Korean): 강민숙(민숙)의 창백한 손목 위, 붉은색으로 짙게 물든 원형 문신 클로즈업.

LOCATION (lock): The bloodstained bedroom inside the rooftop apartment, beside the body behind the curtain. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the stage-prescribed dolly-in at hand height, settling into an extreme close view centered on the red circular tattoo across 강민숙's pale wrist; most of her hand is cropped away, while only a narrow fragment of the crumpled photograph remains at the lower edge. The shallow focus isolates the tattoo and leaves the adjacent bed area indistinct, preparing the upward tilt; compared with the preceding beat, only camera distance tightens.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 구겨진 사진 (구겨져 있음) — Only a narrow portion of the image-bearing face is visible at the lower frame edge, with its subject cropped beyond recognition; used as A small edge fragment provides context for what had been held without competing with the tattoo.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued, tense illumination holds the wrist in restrained tones while the deep red tattoo supplies the only forceful color contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the dim nighttime room lighting, the dead woman's seated position, bloodied condition, and unchanged clothing from the reference. EXCLUDE the wider view of her torn shoulder and the surrounding room; frame only the pale wrist and the dark red circular mark.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She remains seated behind the curtain with her torso slumped forward and her head hanging fully down. One hand is closed around a crumpled photograph, while her bitten shoulder and collarbone are exposed, torn, and bleeding.

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's corpse remains seated and wounded amid the blood, while the circular mark on her wrist has turned red; one hand is closed around 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 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 강민숙(민숙)의 창백한 손목 위, 붉은색으로 짙게 물든 원형 문신 클로즈업.

LOCATION (lock): The bloodstained bedroom inside the rooftop apartment, beside the body behind the curtain. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the stage-prescribed dolly-in at hand height, settling into an extreme close view centered on the red circular tattoo across 강민숙's pale wrist; most of her hand is cropped away, while only a narrow fragment of the crumpled photograph remains at the lower edge. The shallow focus isolates the tattoo and leaves the adjacent bed area indistinct, preparing the upward tilt; compared with the preceding beat, only camera distance tightens.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 구겨진 사진 (구겨져 있음) — Only a narrow portion of the image-bearing face is visible at the lower frame edge, with its subject cropped beyond recognition; used as A small edge fragment provides context for what had been held without competing with the tattoo.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued, tense illumination holds the wrist in restrained tones while the deep red tattoo supplies the only forceful color contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the dim nighttime room lighting, the dead woman's seated position, bloodied condition, and unchanged clothing from the reference. EXCLUDE the wider view of her torn shoulder and the surrounding room; frame only the pale wrist and the dark red circular mark.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She remains seated behind the curtain with her torso slumped forward and her head hanging fully down. One hand is closed around a crumpled photograph, while her bitten shoulder and collarbone are exposed, torn, and bleeding.

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's corpse remains seated and wounded amid the blood, while the circular mark on her wrist has turned red; one hand is closed around 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 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the wrist with a restrained, near-orthographic macro feel, making the circular tattoo read with stark forensic clarity at the center. Gentle raking illumination reveals pores, fine skin texture, and the red pigment conforming naturally to the wrist’s curvature, while the narrow photograph fragment and bed area dissolve into soft, 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 강민숙(민숙)의 창백한 손목 위, 붉은색으로 짙게 물든 원형 문신 클로즈업.

LOCATION (lock): The bloodstained bedroom inside the rooftop apartment, beside the body behind the curtain. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the stage-prescribed dolly-in at hand height, settling into an extreme close view centered on the red circular tattoo across 강민숙's pale wrist; most of her hand is cropped away, while only a narrow fragment of the crumpled photograph remains at the lower edge. The shallow focus isolates the tattoo and leaves the adjacent bed area indistinct, preparing the upward tilt; compared with the preceding beat, only camera distance tightens.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: 구겨진 사진 (구겨져 있음) — Only a narrow portion of the image-bearing face is visible at the lower frame edge, with its subject cropped beyond recognition; used as A small edge fragment provides context for what had been held without competing with the tattoo.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued, tense illumination holds the wrist in restrained tones while the deep red tattoo supplies the only forceful color contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the dim nighttime room lighting, the dead woman's seated position, bloodied condition, and unchanged clothing from the reference. EXCLUDE the wider view of her torn shoulder and the surrounding room; frame only the pale wrist and the dark red circular mark.

IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): She remains seated behind the curtain with her torso slumped forward and her head hanging fully down. One hand is closed around a crumpled photograph, while her bitten shoulder and collarbone are exposed, torn, and bleeding.

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's corpse remains seated and wounded amid the blood, while the circular mark on her wrist has turned red; one hand is closed around 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 초반의 중년 얼굴, 부드러운 얼굴선, 자연스러운 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use an intimate, compressed close-focus treatment with an extremely narrow plane of focus locked on the darkest red portion of the circular tattoo. Let the wrist edges fall quickly out of focus and into subdued shadow, creating a claustrophobic sense of discovery; keep the photograph fragment barely legible as a crumpled physical edge at the bottom, with everything beyond it reduced to indistinct 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:
- Redraw the hand extending toward the bottom edge so the fingers are closed firmly around the crumpled photograph fragment.
- Render the arm and hand resting heavily and flatly against a dark, fabric-covered surface directly beneath them.
- Flatten the red circle's texture so it appears as smooth ink embedded within the skin rather than a raised physical patch.

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

SHOT TEXT (authoritative, Korean): 혜수의 옷깃을 두 손으로 꽉 쥔 채 절박하게 올려다보는 수리영의 옆얼굴.

LOCATION (lock): The building’s outdoor ground-level approach beside the police vehicle and the entrance to the rooftop stairs. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At shoulder height beside 수리영, finish the prescribed dolly-in on her side profile and the two hands clenched into 혜수's upper clothing, with 수리영 occupying the left two-thirds and 혜수 held close on the right. Their faces remain on different depth planes but both stay legible; compared with the preceding beat, only camera distance tightens.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-left of the frame, foreground, reaches for Hyesu's upper clothing; 혜수 in the middle-right of the frame, midground.
- KEY BACKGROUND ELEMENTS: 경찰차 (현장에 정차해 있음) — Only part of its side is visible behind the pair; used as A restrained sliver of the police vehicle preserves continuity without distracting from the grip.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Intermittent police-light flashes cut across the pair in tense, subdued nighttime contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the nighttime exterior, flashing police-light colors, building surroundings, and the officer's clothing from the reference. EXCLUDE the open car door and solitary standing pose; show the distressed young woman gripping the officer's lapels.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리); 혜수 (한국인 여성, 40대 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 혜수의 옷깃을 두 손으로 꽉 쥔 채 절박하게 올려다보는 수리영의 옆얼굴.

LOCATION (lock): The building’s outdoor ground-level approach beside the police vehicle and the entrance to the rooftop stairs. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At shoulder height beside 수리영, finish the prescribed dolly-in on her side profile and the two hands clenched into 혜수's upper clothing, with 수리영 occupying the left two-thirds and 혜수 held close on the right. Their faces remain on different depth planes but both stay legible; compared with the preceding beat, only camera distance tightens.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-left of the frame, foreground, reaches for Hyesu's upper clothing; 혜수 in the middle-right of the frame, midground.
- KEY BACKGROUND ELEMENTS: 경찰차 (현장에 정차해 있음) — Only part of its side is visible behind the pair; used as A restrained sliver of the police vehicle preserves continuity without distracting from the grip.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Intermittent police-light flashes cut across the pair in tense, subdued nighttime contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the nighttime exterior, flashing police-light colors, building surroundings, and the officer's clothing from the reference. EXCLUDE the open car door and solitary standing pose; show the distressed young woman gripping the officer's lapels.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리); 혜수 (한국인 여성, 40대 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a compressed, intimate close-up with shallow but controlled depth, keeping Suri-young’s side profile and clenched hands critically sharp while Hyesu remains clearly legible on the slightly deeper plane. Let a police-light flash rake laterally across faces, knuckles, and crushed fabric, leaving the surrounding night subdued and the vehicle reduced to a soft continuity sliver.

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

SHOT TEXT (authoritative, Korean): 혜수의 옷깃을 두 손으로 꽉 쥔 채 절박하게 올려다보는 수리영의 옆얼굴.

LOCATION (lock): The building’s outdoor ground-level approach beside the police vehicle and the entrance to the rooftop stairs. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At shoulder height beside 수리영, finish the prescribed dolly-in on her side profile and the two hands clenched into 혜수's upper clothing, with 수리영 occupying the left two-thirds and 혜수 held close on the right. Their faces remain on different depth planes but both stay legible; compared with the preceding beat, only camera distance tightens.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 수리영 in the middle-left of the frame, foreground, reaches for Hyesu's upper clothing; 혜수 in the middle-right of the frame, midground.
- KEY BACKGROUND ELEMENTS: 경찰차 (현장에 정차해 있음) — Only part of its side is visible behind the pair; used as A restrained sliver of the police vehicle preserves continuity without distracting from the grip.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Intermittent police-light flashes cut across the pair in tense, subdued nighttime contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the nighttime exterior, flashing police-light colors, building surroundings, and the officer's clothing from the reference. EXCLUDE the open car door and solitary standing pose; show the distressed young woman gripping the officer's lapels.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리); 혜수 (한국인 여성, 40대 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Favor an immediate, tactile perspective that makes the two-handed grip the visual anchor in the near foreground while preserving the prescribed side profile and layered separation between both faces. Hold slightly more depth through the pair so facial reactions, fingers, and strained fabric folds read together; catch the intermittent police light as a harder, uneven burst with restrained falloff into the nighttime 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:
- Remove all red smudges and marks from Hye-su's neck, t-shirt, and leather jacket lapel to perfectly match her clean state in the previous shot 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 벤치에서 몸을 일으킨 채 주먹을 꽉 쥐고 멈춘 수리영의 단호한 전신.

LOCATION (lock): The roadside space beside a coastal bus-stop bench, with the night sea beyond it. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At waist height on the bench's open side, finish the prescribed retreat in a wide full-body view just as 수리영 reaches full height, placing her near center with both clenched fists clearly separated from her silhouette. The bench remains behind her as a scale anchor and the emerging road axis opens beside her future path; compared with the preceding beat, only camera distance expands.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 버스정류장 벤치 (비어 있음) — The bench's front edge and seating plane sit behind 수리영 at a slight angle; used as It records the point from which 수리영 has abruptly risen and prevents the wide frame from becoming spatially ambiguous; 도로 (버스정류장 옆에 이어짐); used as Its axis opens toward the direction 수리영 will run in the following beat; 밤바다 (어둡게 보임); used as The distant water preserves continuity with the earlier seated profile.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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 dark seaside, bus-stop bench, nighttime lighting, and surrounding roadside setting from the reference. EXCLUDE the seated, vacant pose and the offered drink; show the young woman standing decisively with clenched fists.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 벤치에서 몸을 일으킨 채 주먹을 꽉 쥐고 멈춘 수리영의 단호한 전신.

LOCATION (lock): The roadside space beside a coastal bus-stop bench, with the night sea beyond it. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At waist height on the bench's open side, finish the prescribed retreat in a wide full-body view just as 수리영 reaches full height, placing her near center with both clenched fists clearly separated from her silhouette. The bench remains behind her as a scale anchor and the emerging road axis opens beside her future path; compared with the preceding beat, only camera distance expands.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 버스정류장 벤치 (비어 있음) — The bench's front edge and seating plane sit behind 수리영 at a slight angle; used as It records the point from which 수리영 has abruptly risen and prevents the wide frame from becoming spatially ambiguous; 도로 (버스정류장 옆에 이어짐); used as Its axis opens toward the direction 수리영 will run in the following beat; 밤바다 (어둡게 보임); used as The distant water preserves continuity with the earlier seated profile.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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 dark seaside, bus-stop bench, nighttime lighting, and surrounding roadside setting from the reference. EXCLUDE the seated, vacant pose and the offered drink; show the young woman standing decisively with clenched fists.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, rectilinear wide-lens feel with deep focus, letting the road axis create a strong diagonal into the coastal darkness while the angled bench remains a crisp spatial anchor behind her. Keep the waist-height perspective observational and steady, with generous negative space toward her future path. Shape the available nighttime illumination as soft lateral light, preserving facial detail and fabric texture while cleanly outlining both clenched fists against the dim 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 벤치에서 몸을 일으킨 채 주먹을 꽉 쥐고 멈춘 수리영의 단호한 전신.

LOCATION (lock): The roadside space beside a coastal bus-stop bench, with the night sea beyond it. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At waist height on the bench's open side, finish the prescribed retreat in a wide full-body view just as 수리영 reaches full height, placing her near center with both clenched fists clearly separated from her silhouette. The bench remains behind her as a scale anchor and the emerging road axis opens beside her future path; compared with the preceding beat, only camera distance expands.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 버스정류장 벤치 (비어 있음) — The bench's front edge and seating plane sit behind 수리영 at a slight angle; used as It records the point from which 수리영 has abruptly risen and prevents the wide frame from becoming spatially ambiguous; 도로 (버스정류장 옆에 이어짐); used as Its axis opens toward the direction 수리영 will run in the following beat; 밤바다 (어둡게 보임); used as The distant water preserves continuity with the earlier seated profile.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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 dark seaside, bus-stop bench, nighttime lighting, and surrounding roadside setting from the reference. EXCLUDE the seated, vacant pose and the offered drink; show the young woman standing decisively with clenched fists.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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, 20대 초반의 젊은 얼굴, 타원형 얼굴, 묶은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a subtly compressed lens feel from the prescribed farther camera position, isolating her full figure while keeping the bench, road direction, and dark sea clearly readable in layered depth. Hold her near the center with a firm, symmetrical visual weight, allowing the surroundings to recede into gentle softness without losing their identity. Let restrained roadside night light fall more narrowly across her face and torso, with delicate edge separation around her body and fists against the low-luminance coast.

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 to the left so she is standing directly in front of the bench, leaving it visible behind her.
- Angle both arms slightly outward so her clenched fists are completely separated from the silhouette of her body.

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

SHOT TEXT (authoritative, Korean): 두 손을 입가에 모은 채, 달려나가는 자세의 수리영을 향해 입을 크게 벌린 혜수의 상체.

LOCATION (lock): The coastal bus-stop area beside the roadway, looking toward the route leading away from the bench. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From chest height on the road axis, complete the pan back toward 혜수 and tighten to her upper body, placing her off-center with both hands cupped around her open mouth. Preserve her eyeline into empty off-screen space where 수리영 has departed; compared with the preceding beat, only the visual attention shifts from the runner to 혜수.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 혜수 in the middle-center of the frame, midground, looks toward departing Suriyoung off-screen.
- KEY BACKGROUND ELEMENTS: 버스정류장 벤치 (비어 있음) — Its front and seating plane are visible behind 혜수 at an oblique angle; used as The bench remains behind 혜수 as a muted location anchor while the road-side eyeline leads out of frame; 도로 (수리영이 달려간 방향으로 이어짐); used as A narrow portion of the road preserves the direction of 수리영's departure.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued nighttime exposure keeps 혜수 readable while preserving the surrounding coastal darkness and unease.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same night seaside bus-stop setting, bench placement, and roadside lighting from the reference. EXCLUDE the young woman's stationary foreground pose; show her running away while the officer calls after her, without adding unrelated passersby or vehicles.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 두 손을 입가에 모은 채, 달려나가는 자세의 수리영을 향해 입을 크게 벌린 혜수의 상체.

LOCATION (lock): The coastal bus-stop area beside the roadway, looking toward the route leading away from the bench. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From chest height on the road axis, complete the pan back toward 혜수 and tighten to her upper body, placing her off-center with both hands cupped around her open mouth. Preserve her eyeline into empty off-screen space where 수리영 has departed; compared with the preceding beat, only the visual attention shifts from the runner to 혜수.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 혜수 in the middle-center of the frame, midground, looks toward departing Suriyoung off-screen.
- KEY BACKGROUND ELEMENTS: 버스정류장 벤치 (비어 있음) — Its front and seating plane are visible behind 혜수 at an oblique angle; used as The bench remains behind 혜수 as a muted location anchor while the road-side eyeline leads out of frame; 도로 (수리영이 달려간 방향으로 이어짐); used as A narrow portion of the road preserves the direction of 수리영's departure.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued nighttime exposure keeps 혜수 readable while preserving the surrounding coastal darkness and unease.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same night seaside bus-stop setting, bench placement, and roadside lighting from the reference. EXCLUDE the young woman's stationary foreground pose; show her running away while the officer calls after her, without adding unrelated passersby or vehicles.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a gently compressed lens feel and very shallow depth of field, holding the chest-height medium shot tightly on 혜수’s upper body. Render her cupped hands, open mouth, and fixed off-screen eyeline with crisp tactile detail while the oblique empty bench and narrow road fall into subdued, softly legible layers behind her. Let restrained roadside illumination shape one side of her face, with a delicate falloff into coastal darkness that isolates the urgency of her call.

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

SHOT TEXT (authoritative, Korean): 두 손을 입가에 모은 채, 달려나가는 자세의 수리영을 향해 입을 크게 벌린 혜수의 상체.

LOCATION (lock): The coastal bus-stop area beside the roadway, looking toward the route leading away from the bench. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From chest height on the road axis, complete the pan back toward 혜수 and tighten to her upper body, placing her off-center with both hands cupped around her open mouth. Preserve her eyeline into empty off-screen space where 수리영 has departed; compared with the preceding beat, only the visual attention shifts from the runner to 혜수.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 혜수 in the middle-center of the frame, midground, looks toward departing Suriyoung off-screen.
- KEY BACKGROUND ELEMENTS: 버스정류장 벤치 (비어 있음) — Its front and seating plane are visible behind 혜수 at an oblique angle; used as The bench remains behind 혜수 as a muted location anchor while the road-side eyeline leads out of frame; 도로 (수리영이 달려간 방향으로 이어짐); used as A narrow portion of the road preserves the direction of 수리영's departure.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued nighttime exposure keeps 혜수 readable while preserving the surrounding coastal darkness and unease.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the same night seaside bus-stop setting, bench placement, and roadside lighting from the reference. EXCLUDE the young woman's stationary foreground pose; show her running away while the officer calls after her, without adding unrelated passersby or vehicles.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a natural, slightly open lens perspective with deeper focus, keeping the chest-height medium framing while allowing the empty bench and receding strip of road to remain clearly readable as spatial anchors. Compose 혜수 middle-center but preserve breathing room along her eyeline toward the frame edge, making the surrounding vacancy carry the dramatic weight. Favor broad, low-contrast nighttime light with restrained highlights on her face and hands, maintaining realistic detail through the dim bus-stop environment without brightening the coastal darkness.

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:
- Shift her eyeline and head angle to look off-screen into the distance instead of staring directly at the camera.

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

SHOT TEXT (authoritative, Korean): 마트 밖 처마 밑에 매달린 CCTV 카메라를 손가락으로 가리킨 채 멈춘 수리영의 뒷모습.

LOCATION (lock): Outside the supermarket beneath the entrance canopy, directly below a mounted security camera. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From shoulder height behind 수리영 beneath the awning, frame her back in the lower center as her raised hand creates a diagonal toward the CCTV camera above. Keep enough of the store exterior around both anchors to make the camera's coverage position immediately understandable before the planned arc toward her front.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the lower-center of the frame, midground, points to CCTV camera; CCTV camera in the upper-right of the frame, background.
- KEY BACKGROUND ELEMENTS: CCTV camera (Mounted beneath the awning) — Its camera-facing housing and viewing direction are visible beneath the awning, oriented toward the area being checked; used as Upper-frame target of 수리영's pointing gesture; store awning (Present above the store exterior) — Its underside faces the camera and carries the CCTV camera; used as Overhead frame connecting 수리영 and the mounted camera.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the quiet early-morning supermarket entrance, facade, pavement, and cool daylight from the reference. EXCLUDE the bicycle-centered frontal pose; frame the young woman from behind as she points toward the fixed CCTV camera under the awning.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung still has her doll-adorned backpack with her outside the mart.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 마트 밖 처마 밑에 매달린 CCTV 카메라를 손가락으로 가리킨 채 멈춘 수리영의 뒷모습.

LOCATION (lock): Outside the supermarket beneath the entrance canopy, directly below a mounted security camera. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From shoulder height behind 수리영 beneath the awning, frame her back in the lower center as her raised hand creates a diagonal toward the CCTV camera above. Keep enough of the store exterior around both anchors to make the camera's coverage position immediately understandable before the planned arc toward her front.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the lower-center of the frame, midground, points to CCTV camera; CCTV camera in the upper-right of the frame, background.
- KEY BACKGROUND ELEMENTS: CCTV camera (Mounted beneath the awning) — Its camera-facing housing and viewing direction are visible beneath the awning, oriented toward the area being checked; used as Upper-frame target of 수리영's pointing gesture; store awning (Present above the store exterior) — Its underside faces the camera and carries the CCTV camera; used as Overhead frame connecting 수리영 and the mounted camera.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the quiet early-morning supermarket entrance, facade, pavement, and cool daylight from the reference. EXCLUDE the bicycle-centered frontal pose; frame the young woman from behind as she points toward the fixed CCTV camera under the awning.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung still has her doll-adorned backpack with her outside the mart.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a natural wide-normal perspective with controlled deep focus, keeping the pointing gesture, mounted camera, and surrounding storefront architecture crisply legible within one continuous space. Let the awning’s structural lines reinforce the upward diagonal without distortion, while cool early-morning ambience reveals worn surfaces with restrained color and firm, quiet 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 마트 밖 처마 밑에 매달린 CCTV 카메라를 손가락으로 가리킨 채 멈춘 수리영의 뒷모습.

LOCATION (lock): Outside the supermarket beneath the entrance canopy, directly below a mounted security camera. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From shoulder height behind 수리영 beneath the awning, frame her back in the lower center as her raised hand creates a diagonal toward the CCTV camera above. Keep enough of the store exterior around both anchors to make the camera's coverage position immediately understandable before the planned arc toward her front.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the lower-center of the frame, midground, points to CCTV camera; CCTV camera in the upper-right of the frame, background.
- KEY BACKGROUND ELEMENTS: CCTV camera (Mounted beneath the awning) — Its camera-facing housing and viewing direction are visible beneath the awning, oriented toward the area being checked; used as Upper-frame target of 수리영's pointing gesture; store awning (Present above the store exterior) — Its underside faces the camera and carries the CCTV camera; used as Overhead frame connecting 수리영 and the mounted camera.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the quiet early-morning supermarket entrance, facade, pavement, and cool daylight from the reference. EXCLUDE the bicycle-centered frontal pose; frame the young woman from behind as she points toward the fixed CCTV camera under the awning.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung still has her doll-adorned backpack with her outside the mart.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained long-lens feel to compress the distance between her raised hand and the CCTV while preserving their specified scale and placement. Hold critical focus on the camera housing and pointing fingertip, allowing her back and the farther storefront planes to fall gently softer; shape the subdued early-morning light so the fixture catches a slight metallic edge against the darker awning underside.

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 protruding concrete canopy on the right and mount the CCTV camera directly under the existing gray architectural band above the entrance.
- Redraw the right hand to clearly show a proper anatomical structure with an extended index finger and correctly folded remaining fingers.
- Move the hanging dolls from the back of the backpack to the front left shoulder strap.

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

SHOT TEXT (authoritative, Korean): 바다 위 붉은 점과 좌표 글씨가 떠 있는 모니터 화면 클로즈업.

LOCATION (lock): A detective’s workstation inside the police office, focused on the computer monitor displaying a location result. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the advance at monitor height until the active display becomes the central viewing field, with a narrow trace of the monitor boundary preserving its physical presence. Hold the sea map, red location point, coordinate line, timestamp, source, and offline status in crisp alignment while surrounding office detail falls away.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: monitor location-result display in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: monitor location-result display (On and displaying 강민숙's phone-location result) — The active front face is nearly square to the camera, showing a sea map with a red point, coordinates 37.484400 N / 126.072486 E, timestamp 2026-02-18 11:21:08, GPS/Network source, and offline status; used as Primary information surface revealing the phone's last recorded location; monitor housing (Stationary on the desk) — Only a narrow front-facing border remains visible around the active display; used as Thin peripheral boundary confirming that the information is being viewed on an office monitor.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The active monitor provides restrained screen luminance, with the red point as the sole sharp warm accent against a desaturated display.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

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

SHOT TEXT (authoritative, Korean): 바다 위 붉은 점과 좌표 글씨가 떠 있는 모니터 화면 클로즈업.

LOCATION (lock): A detective’s workstation inside the police office, focused on the computer monitor displaying a location result. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the advance at monitor height until the active display becomes the central viewing field, with a narrow trace of the monitor boundary preserving its physical presence. Hold the sea map, red location point, coordinate line, timestamp, source, and offline status in crisp alignment while surrounding office detail falls away.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: monitor location-result display in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: monitor location-result display (On and displaying 강민숙's phone-location result) — The active front face is nearly square to the camera, showing a sea map with a red point, coordinates 37.484400 N / 126.072486 E, timestamp 2026-02-18 11:21:08, GPS/Network source, and offline status; used as Primary information surface revealing the phone's last recorded location; monitor housing (Stationary on the desk) — Only a narrow front-facing border remains visible around the active display; used as Thin peripheral boundary confirming that the information is being viewed on an office monitor.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The active monitor provides restrained screen luminance, with the red point as the sole sharp warm accent against a desaturated display.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

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 dead-on, monitor-height macro perspective with strict bilateral balance, making the active display feel clinical and evidentiary. Keep the full information surface uniformly sharp and geometrically undistorted, with only the slim housing edge anchoring it as a physical object. Render the restrained screen glow cleanly, allowing the warm point to command the otherwise cool, desaturated 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 바다 위 붉은 점과 좌표 글씨가 떠 있는 모니터 화면 클로즈업.

LOCATION (lock): A detective’s workstation inside the police office, focused on the computer monitor displaying a location result. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the advance at monitor height until the active display becomes the central viewing field, with a narrow trace of the monitor boundary preserving its physical presence. Hold the sea map, red location point, coordinate line, timestamp, source, and offline status in crisp alignment while surrounding office detail falls away.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: monitor location-result display in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: monitor location-result display (On and displaying 강민숙's phone-location result) — The active front face is nearly square to the camera, showing a sea map with a red point, coordinates 37.484400 N / 126.072486 E, timestamp 2026-02-18 11:21:08, GPS/Network source, and offline status; used as Primary information surface revealing the phone's last recorded location; monitor housing (Stationary on the desk) — Only a narrow front-facing border remains visible around the active display; used as Thin peripheral boundary confirming that the information is being viewed on an office monitor.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The active monitor provides restrained screen luminance, with the red point as the sole sharp warm accent against a desaturated display.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

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 intimate monitor-height close-focus position with a subtly compressed lens feel, preserving the nearly square-on display while letting the thin housing boundary soften gently toward the corners. Hold every essential screen element crisp and aligned across the central plane, but use delicate luminance falloff and faint natural surface reflections to give the monitor tangible glass depth. Let the isolated warm accent cut through the muted sea map with quiet, ominous 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:
- Change the date in the bottom right system tray from '2020' to '2026' to match the specified year.
- Remove the misspelled English window title 'Policess Location', the map label 'South Koas', and the gibberish text at the bottom right.

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

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

SHOT TEXT (authoritative, Korean): 사무실 유리문을 한 손으로 반쯤 밀어 연 채 뒤를 향해 고개를 돌린 수리영의 측면.

LOCATION (lock): The interior doorway of the police office, at the glass door leading out of the workspace. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From inside the office near the doorway, shift far enough to 수리영's side for a medium-close profile while keeping her hand on the half-open glass door in the same frame. Place her toward the right and let her backward glance travel across the open left side toward the empty office, freezing the instant before she slips out.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-right of the frame, midground, looks toward empty office; empty office in the middle-left of the frame, background.
- KEY BACKGROUND ELEMENTS: office glass door (Partly open) — The door is seen obliquely with the empty office visible through and beyond it; used as Side-frame threshold held by 수리영 and used to preserve her profile; office interior (Empty after the detectives leave); used as Background destination of 수리영's backward check.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral indoor daytime ambience remains subdued and desaturated, emphasizing the tension of the empty office.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung leaves with her doll-adorned backpack and the folded note bearing Minsuk's last GPS coordinates in her pocket.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 사무실 유리문을 한 손으로 반쯤 밀어 연 채 뒤를 향해 고개를 돌린 수리영의 측면.

LOCATION (lock): The interior doorway of the police office, at the glass door leading out of the workspace. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From inside the office near the doorway, shift far enough to 수리영's side for a medium-close profile while keeping her hand on the half-open glass door in the same frame. Place her toward the right and let her backward glance travel across the open left side toward the empty office, freezing the instant before she slips out.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-right of the frame, midground, looks toward empty office; empty office in the middle-left of the frame, background.
- KEY BACKGROUND ELEMENTS: office glass door (Partly open) — The door is seen obliquely with the empty office visible through and beyond it; used as Side-frame threshold held by 수리영 and used to preserve her profile; office interior (Empty after the detectives leave); used as Background destination of 수리영's backward check.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral indoor daytime ambience remains subdued and desaturated, emphasizing the tension of the empty office.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung leaves with her doll-adorned backpack and the folded note bearing Minsuk's last GPS coordinates in her pocket.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph at eye level with a restrained, slightly compressed lens feel, holding the prescribed medium framing while isolating her profile in crisp focus against a gently softened office depth. Let the oblique glass edge create a firm threshold line beside her, with subdued late-morning ambient light giving delicate definition to her cheek, hand, and the real reflections in the glass. Keep the open left side quiet and low-contrast so her backward gaze carries the tension across the emptiness.

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

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

SHOT TEXT (authoritative, Korean): 사무실 유리문을 한 손으로 반쯤 밀어 연 채 뒤를 향해 고개를 돌린 수리영의 측면.

LOCATION (lock): The interior doorway of the police office, at the glass door leading out of the workspace. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From inside the office near the doorway, shift far enough to 수리영's side for a medium-close profile while keeping her hand on the half-open glass door in the same frame. Place her toward the right and let her backward glance travel across the open left side toward the empty office, freezing the instant before she slips out.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-right of the frame, midground, looks toward empty office; empty office in the middle-left of the frame, background.
- KEY BACKGROUND ELEMENTS: office glass door (Partly open) — The door is seen obliquely with the empty office visible through and beyond it; used as Side-frame threshold held by 수리영 and used to preserve her profile; office interior (Empty after the detectives leave); used as Background destination of 수리영's backward check.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Neutral indoor daytime ambience remains subdued and desaturated, emphasizing the tension of the empty office.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung leaves with her doll-adorned backpack and the folded note bearing Minsuk's last GPS coordinates in her pocket.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a natural, spatially open lens feel from a subtly lower-than-eye-level position, preserving the exact medium scale and right-weighted layout while allowing the doorway and office depth to remain clearly legible. Favor deeper focus and layered planes: her hand and profile, the oblique glass surface, then the empty workspace along the path of her glance. Render the neutral late-morning interior illumination broadly and evenly, with restrained desaturated color and faint glass reflections that never obscure the physical space.

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 Suryoung's body to face right toward the exit so she is looking backward over her shoulder to the left.

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

SHOT TEXT (authoritative, Korean): 프린터 기기에서 절반쯤 빠져나온 흑백 해안가 지도의 멈춘 상태.

LOCATION (lock): The printer station inside the internet café, where a coastal map is being produced. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At the printer output-slot height, the camera holds close and square to the direction of the emerging sheet, isolating the half-printed coastal map in the central lower portion while retaining the printer body and work surface as scale references. The page remains below forty percent of the frame, with shallow focus suppressing everything beyond the output area.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: Printed coastal map (Half-emerged and momentarily still) — The black-and-white printed face is visible to camera, with the coastal geography readable on the exposed half; used as Primary focal detail suspended across the central lower frame; Printer (Printing) — The output-slot side faces the camera along the paper's travel axis; used as Surrounds the page and establishes its physical emergence point; Work surface (Visible); used as Provides a narrow environmental strip beneath the suspended page.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient PC café illumination keeps the monochrome page crisp while the surrounding workstation falls into restrained contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The printed coastal maps are being produced for Suryoung and will remain folded inside her doll-adorned backpack.

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

SHOT TEXT (authoritative, Korean): 프린터 기기에서 절반쯤 빠져나온 흑백 해안가 지도의 멈춘 상태.

LOCATION (lock): The printer station inside the internet café, where a coastal map is being produced. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At the printer output-slot height, the camera holds close and square to the direction of the emerging sheet, isolating the half-printed coastal map in the central lower portion while retaining the printer body and work surface as scale references. The page remains below forty percent of the frame, with shallow focus suppressing everything beyond the output area.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: Printed coastal map (Half-emerged and momentarily still) — The black-and-white printed face is visible to camera, with the coastal geography readable on the exposed half; used as Primary focal detail suspended across the central lower frame; Printer (Printing) — The output-slot side faces the camera along the paper's travel axis; used as Surrounds the page and establishes its physical emergence point; Work surface (Visible); used as Provides a narrow environmental strip beneath the suspended page.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient PC café illumination keeps the monochrome page crisp while the surrounding workstation falls into restrained contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The printed coastal maps are being produced for Suryoung and will remain folded inside her doll-adorned backpack.

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 precise, near-orthographic lens feel with rigid frontal geometry, making the output slot and sheet edges form a controlled, almost mechanical symmetry. Keep the exposed map crisply resolved while focus drops away immediately behind the output area; subdued, even illumination and restrained neutral tones turn the halted paper into a tense visual interruption.

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

SHOT TEXT (authoritative, Korean): 프린터 기기에서 절반쯤 빠져나온 흑백 해안가 지도의 멈춘 상태.

LOCATION (lock): The printer station inside the internet café, where a coastal map is being produced. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At the printer output-slot height, the camera holds close and square to the direction of the emerging sheet, isolating the half-printed coastal map in the central lower portion while retaining the printer body and work surface as scale references. The page remains below forty percent of the frame, with shallow focus suppressing everything beyond the output area.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: Printed coastal map (Half-emerged and momentarily still) — The black-and-white printed face is visible to camera, with the coastal geography readable on the exposed half; used as Primary focal detail suspended across the central lower frame; Printer (Printing) — The output-slot side faces the camera along the paper's travel axis; used as Surrounds the page and establishes its physical emergence point; Work surface (Visible); used as Provides a narrow environmental strip beneath the suspended page.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient PC café illumination keeps the monochrome page crisp while the surrounding workstation falls into restrained contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The printed coastal maps are being produced for Suryoung and will remain folded inside her doll-adorned backpack.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Give the close insert a tactile, intimate lens feel, with razor-thin focus favoring the coastal contours and the leading edge of the suspended sheet. Let the existing café light skim gently across the paper fibers and printer surfaces, producing soft directional modeling and a rapid falloff into blur, so the physical weight and arrested motion of the page dominate the moment.

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

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

CORRECTIONS:
- Remove all text, labels, and annotations from the printed map and the blurred monitor screen on the left.

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

SHOT TEXT (authoritative, Korean): 십자가처럼 기괴한 둥근 원이 달린 건물과 두 명의 한국인 어린 여자아이가 찍힌 낡고 피 묻은 사진 클로즈업.

LOCATION (lock): Inside the rooftop apartment’s bedroom, focused tightly on an old bloodstained photograph held after being removed from the wall. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: The camera completes the frontal dolly toward the photograph, isolating its image at the center while leaving thin fragments of the red-marked wall around it as physical context. The photograph stays within a realistic portion of the frame as focus resolves the rural restaurant, the roof-mounted circular sign, and the two seated girls.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: blood-stained photograph in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: Old photograph (Old and blood-stained) — The blood-stained image face is presented frontally, showing an old rural restaurant, a circular roof sign, and two seated girls; used as Primary isolated image detail at the center of the frame; Rural restaurant in photograph (Depicted in an old photograph) — Its front facade faces the original photograph camera; used as Visible within the photograph as the architectural backdrop behind the girls; Circular roof sign in photograph (Installed on the roof) — Its circular face is visible above the building roof; used as Creates the uncanny cross-like silhouette above the photographed building; Red-marked wall (Marked with a red circle) — Only peripheral sections of the wall face are visible around the photograph, carrying fragments of the red circle; used as Narrow peripheral context confirming that the photograph remains attached to the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued dusk ambient light preserves the photograph's aged tonal separation while the red mark and blood retain a deep, ominous contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The ransacked condition of the room remains, and the old photograph—bloodstained and showing two girls before the building with a circular rooftop sign—has been removed from the red wall circle into Suryoung's possession.

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

SHOT TEXT (authoritative, Korean): 십자가처럼 기괴한 둥근 원이 달린 건물과 두 명의 한국인 어린 여자아이가 찍힌 낡고 피 묻은 사진 클로즈업.

LOCATION (lock): Inside the rooftop apartment’s bedroom, focused tightly on an old bloodstained photograph held after being removed from the wall. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: The camera completes the frontal dolly toward the photograph, isolating its image at the center while leaving thin fragments of the red-marked wall around it as physical context. The photograph stays within a realistic portion of the frame as focus resolves the rural restaurant, the roof-mounted circular sign, and the two seated girls.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: blood-stained photograph in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: Old photograph (Old and blood-stained) — The blood-stained image face is presented frontally, showing an old rural restaurant, a circular roof sign, and two seated girls; used as Primary isolated image detail at the center of the frame; Rural restaurant in photograph (Depicted in an old photograph) — Its front facade faces the original photograph camera; used as Visible within the photograph as the architectural backdrop behind the girls; Circular roof sign in photograph (Installed on the roof) — Its circular face is visible above the building roof; used as Creates the uncanny cross-like silhouette above the photographed building; Red-marked wall (Marked with a red circle) — Only peripheral sections of the wall face are visible around the photograph, carrying fragments of the red circle; used as Narrow peripheral context confirming that the photograph remains attached to the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued dusk ambient light preserves the photograph's aged tonal separation while the red mark and blood retain a deep, ominous contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The ransacked condition of the room remains, and the old photograph—bloodstained and showing two girls before the building with a circular rooftop sign—has been removed from the red wall circle into Suryoung's possession.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use an intimate macro-like insert with the photograph held perfectly frontal and centered, its worn paper edges and blood-darkened emulsion rendered with tactile, shallow-depth detail. Let focus resolve decisively across the printed restaurant, the two seated girls, and the uncanny circular rooftop sign, while the narrow red-marked wall fragments fall softly away at the perimeter. Shape the subdued dusk light obliquely across the photograph so dried blood catches a restrained gloss and the aged image retains muted tonal 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 십자가처럼 기괴한 둥근 원이 달린 건물과 두 명의 한국인 어린 여자아이가 찍힌 낡고 피 묻은 사진 클로즈업.

LOCATION (lock): Inside the rooftop apartment’s bedroom, focused tightly on an old bloodstained photograph held after being removed from the wall. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: The camera completes the frontal dolly toward the photograph, isolating its image at the center while leaving thin fragments of the red-marked wall around it as physical context. The photograph stays within a realistic portion of the frame as focus resolves the rural restaurant, the roof-mounted circular sign, and the two seated girls.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: blood-stained photograph in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: Old photograph (Old and blood-stained) — The blood-stained image face is presented frontally, showing an old rural restaurant, a circular roof sign, and two seated girls; used as Primary isolated image detail at the center of the frame; Rural restaurant in photograph (Depicted in an old photograph) — Its front facade faces the original photograph camera; used as Visible within the photograph as the architectural backdrop behind the girls; Circular roof sign in photograph (Installed on the roof) — Its circular face is visible above the building roof; used as Creates the uncanny cross-like silhouette above the photographed building; Red-marked wall (Marked with a red circle) — Only peripheral sections of the wall face are visible around the photograph, carrying fragments of the red circle; used as Narrow peripheral context confirming that the photograph remains attached to the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued dusk ambient light preserves the photograph's aged tonal separation while the red mark and blood retain a deep, ominous contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The ransacked condition of the room remains, and the old photograph—bloodstained and showing two girls before the building with a circular rooftop sign—has been removed from the red wall circle into Suryoung's possession.

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 insert with a restrained, nearly forensic frontal clarity and a deeper plane of focus, keeping the entire old photograph legible as one physical piece rather than isolating a single stain or face. Build a rigid central composition through the restaurant facade and the circular rooftop sign above it, allowing the two seated girls to anchor the lower portion of the printed image and intensify the sign’s cross-like silhouette. Keep the dusk illumination broad and low-contrast, with the bloodstains and peripheral fragments of the red-marked wall providing the only dense, ominous color accents.

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 characters from the building's signs.
- Remove the adult woman from the photograph so that only the two girls remain.

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

SHOT TEXT (authoritative, Korean): 인우를 향해 상체를 앞으로 기울이고 입을 반쯤 벌린 간절한 표정의 수리영 측면.

LOCATION (lock): The edge of a foggy harbor pier beside the moored fishing boat. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At shoulder height beside 수리영, the lateral track tightens into a medium profile composition with her forward-leaning face in the left foreground and 인우 held across her sightline in the right midground. Her half-open mouth remains clear while the docking area between them preserves their physical separation and negotiation axis.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, foreground, looks toward 인우 across the docking point; 인우 in the middle-right of the frame, midground, looks toward 수리영 in the foreground; shared docking point in the lower-center of the frame, background.
- KEY BACKGROUND ELEMENTS: Docking point (In use) — Its working edge runs between the foreground and midground figures; used as Shared spatial anchor separating and connecting the two speakers; Dense fog (Dense); used as Obscures distant harbor detail and isolates the exchange; Boat (Moored) — Its dock-facing side angles behind 인우; used as Places the boat beside the negotiation without overpowering either face.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Diffuse dusk light through dense fog creates restrained luminance and muted color, keeping the emotional contrast concentrated between 수리영 and 인우.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the dense harbor fog, dock surfaces, mooring post, rope, and muted dusk lighting from the reference. EXCLUDE the rope-pulling action as the main focus; frame the young woman leaning toward the boatman with an urgent expression.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung continues to carry her backpack, folded maps, and the old bloodstained photograph as she pleads with Inwoo.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 인우를 향해 상체를 앞으로 기울이고 입을 반쯤 벌린 간절한 표정의 수리영 측면.

LOCATION (lock): The edge of a foggy harbor pier beside the moored fishing boat. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At shoulder height beside 수리영, the lateral track tightens into a medium profile composition with her forward-leaning face in the left foreground and 인우 held across her sightline in the right midground. Her half-open mouth remains clear while the docking area between them preserves their physical separation and negotiation axis.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, foreground, looks toward 인우 across the docking point; 인우 in the middle-right of the frame, midground, looks toward 수리영 in the foreground; shared docking point in the lower-center of the frame, background.
- KEY BACKGROUND ELEMENTS: Docking point (In use) — Its working edge runs between the foreground and midground figures; used as Shared spatial anchor separating and connecting the two speakers; Dense fog (Dense); used as Obscures distant harbor detail and isolates the exchange; Boat (Moored) — Its dock-facing side angles behind 인우; used as Places the boat beside the negotiation without overpowering either face.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Diffuse dusk light through dense fog creates restrained luminance and muted color, keeping the emotional contrast concentrated between 수리영 and 인우.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the dense harbor fog, dock surfaces, mooring post, rope, and muted dusk lighting from the reference. EXCLUDE the rope-pulling action as the main focus; frame the young woman leaning toward the boatman with an urgent expression.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung continues to carry her backpack, folded maps, and the old bloodstained photograph as she pleads with Inwoo.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use an intimate, gently compressed medium profile with shallow depth of field, holding Suryoung’s forward-leaning face and half-open mouth in crisp focus while Inwoo remains softly but recognizably present across her sightline. Let the lower-center docking edge lead through the narrow focus falloff between them, with diffuse fog-muted dusk light shaping subtle moisture and restrained highlights on real surfaces.

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

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

SHOT TEXT (authoritative, Korean): 인우를 향해 상체를 앞으로 기울이고 입을 반쯤 벌린 간절한 표정의 수리영 측면.

LOCATION (lock): The edge of a foggy harbor pier beside the moored fishing boat. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At shoulder height beside 수리영, the lateral track tightens into a medium profile composition with her forward-leaning face in the left foreground and 인우 held across her sightline in the right midground. Her half-open mouth remains clear while the docking area between them preserves their physical separation and negotiation axis.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-left of the frame, foreground, looks toward 인우 across the docking point; 인우 in the middle-right of the frame, midground, looks toward 수리영 in the foreground; shared docking point in the lower-center of the frame, background.
- KEY BACKGROUND ELEMENTS: Docking point (In use) — Its working edge runs between the foreground and midground figures; used as Shared spatial anchor separating and connecting the two speakers; Dense fog (Dense); used as Obscures distant harbor detail and isolates the exchange; Boat (Moored) — Its dock-facing side angles behind 인우; used as Places the boat beside the negotiation without overpowering either face.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Diffuse dusk light through dense fog creates restrained luminance and muted color, keeping the emotional contrast concentrated between 수리영 and 인우.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the dense harbor fog, dock surfaces, mooring post, rope, and muted dusk lighting from the reference. EXCLUDE the rope-pulling action as the main focus; frame the young woman leaning toward the boatman with an urgent expression.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung continues to carry her backpack, folded maps, and the old bloodstained photograph as she pleads with Inwoo.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the medium profile with a more observational lens feel and extended depth, keeping both figures and the working docking edge clearly legible as a layered foreground-to-midground arrangement. Emphasize the open physical interval along their negotiation axis, using the angled boat side and dense fog as quiet structural planes; keep the diffuse dusk illumination even and subdued, with muted color and natural wet-surface response.

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 visible text, numbers, and characters from the surfaces of the folded map.
- Tilt the photograph and maps inward so their functional printed sides face toward Suryoung's body or downward, hiding their contents from the camera.

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

SHOT TEXT (authoritative, Korean): 어선 갑판 위에 서서 스마트폰을 입가에 바짝 댄 채 눈을 내리깐 수리영의 바스트 샷.

LOCATION (lock): The open deck of a small fishing boat while it remains at the foggy harbor before departure. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From chest height on the boat deck and slightly below 수리영's eye line, the camera holds a stable bust shot with her placed just off center. Her raised smartphone stays close to her mouth in the lower central portion, while her lowered eyes and braced posture separate the private message from the fog-muted harbor behind her.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: Boat deck (Supporting 수리영) — The deck plane recedes behind and beneath 수리영; used as Provides a narrow lower-frame base for 수리영's braced posture; Dense fog (Dense); used as Suppresses distant detail around her isolated message; Sea (Viewed through fog); used as Barely readable background context beyond the deck.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Diffuse dusk illumination through the fog remains desaturated and subdued, holding gentle facial contrast around 수리영's lowered eyes and phone.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): On the boat, Suryoung still has the backpack containing the maps and retains the old bloodstained photograph.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 어선 갑판 위에 서서 스마트폰을 입가에 바짝 댄 채 눈을 내리깐 수리영의 바스트 샷.

LOCATION (lock): The open deck of a small fishing boat while it remains at the foggy harbor before departure. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From chest height on the boat deck and slightly below 수리영's eye line, the camera holds a stable bust shot with her placed just off center. Her raised smartphone stays close to her mouth in the lower central portion, while her lowered eyes and braced posture separate the private message from the fog-muted harbor behind her.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: Boat deck (Supporting 수리영) — The deck plane recedes behind and beneath 수리영; used as Provides a narrow lower-frame base for 수리영's braced posture; Dense fog (Dense); used as Suppresses distant detail around her isolated message; Sea (Viewed through fog); used as Barely readable background context beyond the deck.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Diffuse dusk illumination through the fog remains desaturated and subdued, holding gentle facial contrast around 수리영's lowered eyes and phone.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): On the boat, Suryoung still has the backpack containing the maps and retains the old bloodstained photograph.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained long-lens feel with shallow depth of field, holding her lowered eyes, mouth, and smartphone in one crisp plane while the harbor falls into a soft fog-muted wash. Preserve quiet negative space around her off-center placement, with gentle diffuse modeling across her face and a compressed background that intensifies the privacy of the moment.

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

SHOT TEXT (authoritative, Korean): 어선 갑판 위에 서서 스마트폰을 입가에 바짝 댄 채 눈을 내리깐 수리영의 바스트 샷.

LOCATION (lock): The open deck of a small fishing boat while it remains at the foggy harbor before departure. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From chest height on the boat deck and slightly below 수리영's eye line, the camera holds a stable bust shot with her placed just off center. Her raised smartphone stays close to her mouth in the lower central portion, while her lowered eyes and braced posture separate the private message from the fog-muted harbor behind her.
- FRAMING SCALE: medium shot
- KEY BACKGROUND ELEMENTS: Boat deck (Supporting 수리영) — The deck plane recedes behind and beneath 수리영; used as Provides a narrow lower-frame base for 수리영's braced posture; Dense fog (Dense); used as Suppresses distant detail around her isolated message; Sea (Viewed through fog); used as Barely readable background context beyond the deck.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Diffuse dusk illumination through the fog remains desaturated and subdued, holding gentle facial contrast around 수리영's lowered eyes and phone.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): On the boat, Suryoung still has the backpack containing the maps and retains the old bloodstained photograph.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a natural perspective and moderately deep focus for an observational, grounded image, keeping the receding deck plane legible beneath and behind her while the sea remains only faintly discernible through the fog. Organize the frame in clear foreground, subject, and background layers, with subdued dusk light revealing damp, worn surfaces and her braced posture without breaking the scene’s muted 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:
- Change the concrete pier ground beneath and behind her into the surface of a fishing boat deck.

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

SHOT TEXT (authoritative, Korean): 어수선한 옥탑방 거실 한가운데 서서 스마트폰을 귀에 댄 채 심각한 표정으로 굳어 있는 혜수.

LOCATION (lock): The disordered living room inside the rooftop apartment near the rattling front door, in the fading evening light. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From eye level near the room boundary, the camera advances into a wide composition with 혜수 held near the center of the disordered living area, the smartphone pressed to her ear. Her body is caught in a rigid listening pause at a three-quarter angle, while the room's scattered forms remain visible around her without competing with her grave expression.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: Rooftop-room living area (Disordered) — The room opens from the camera boundary toward 혜수 at its center; used as Surrounds 혜수 with evidence of the disturbed domestic space; Dining chairs (Overturned) — Their overturned sides are visible behind and beside 혜수; used as Provides an unstable background shape within the living area; Entrance door (Moving in the wind) — Its interior-facing side is visible beyond 혜수; used as Creates the distant audible endpoint of the scene without taking focus from 혜수.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Dusk-appropriate ambient light is subdued and desaturated, leaving 혜수's grave face in tense contrast against the disordered room.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains ransacked, with footprints, disturbed belongings, an open window, and overturned dining chairs; the red circle remains on Suryoung's wall after the photograph was removed.

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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 어수선한 옥탑방 거실 한가운데 서서 스마트폰을 귀에 댄 채 심각한 표정으로 굳어 있는 혜수.

LOCATION (lock): The disordered living room inside the rooftop apartment near the rattling front door, in the fading evening light. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From eye level near the room boundary, the camera advances into a wide composition with 혜수 held near the center of the disordered living area, the smartphone pressed to her ear. Her body is caught in a rigid listening pause at a three-quarter angle, while the room's scattered forms remain visible around her without competing with her grave expression.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: Rooftop-room living area (Disordered) — The room opens from the camera boundary toward 혜수 at its center; used as Surrounds 혜수 with evidence of the disturbed domestic space; Dining chairs (Overturned) — Their overturned sides are visible behind and beside 혜수; used as Provides an unstable background shape within the living area; Entrance door (Moving in the wind) — Its interior-facing side is visible beyond 혜수; used as Creates the distant audible endpoint of the scene without taking focus from 혜수.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Dusk-appropriate ambient light is subdued and desaturated, leaving 혜수's grave face in tense contrast against the disordered room.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains ransacked, with footprints, disturbed belongings, an open window, and overturned dining chairs; the red circle remains on Suryoung's wall after the photograph was removed.

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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, nearly frontal eye-level wide shot with deep spatial clarity, letting the disordered room’s lines and overturned chairs converge visually on 혜수 near the center. Keep her three-quarter stance and grave face crisply legible while the entrance door remains a small, distant endpoint beyond her. Shape the subdued dusk ambience with soft lateral falloff, holding muted color and dense, realistic shadow detail.

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

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

SHOT TEXT (authoritative, Korean): 어수선한 옥탑방 거실 한가운데 서서 스마트폰을 귀에 댄 채 심각한 표정으로 굳어 있는 혜수.

LOCATION (lock): The disordered living room inside the rooftop apartment near the rattling front door, in the fading evening light. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From eye level near the room boundary, the camera advances into a wide composition with 혜수 held near the center of the disordered living area, the smartphone pressed to her ear. Her body is caught in a rigid listening pause at a three-quarter angle, while the room's scattered forms remain visible around her without competing with her grave expression.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: Rooftop-room living area (Disordered) — The room opens from the camera boundary toward 혜수 at its center; used as Surrounds 혜수 with evidence of the disturbed domestic space; Dining chairs (Overturned) — Their overturned sides are visible behind and beside 혜수; used as Provides an unstable background shape within the living area; Entrance door (Moving in the wind) — Its interior-facing side is visible beyond 혜수; used as Creates the distant audible endpoint of the scene without taking focus from 혜수.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Dusk-appropriate ambient light is subdued and desaturated, leaving 혜수's grave face in tense contrast against the disordered room.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains ransacked, with footprints, disturbed belongings, an open window, and overturned dining chairs; the red circle remains on Suryoung's wall after the photograph was removed.

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 중반의 얼굴, 단정한 얼굴선, 정리된 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph the same eye-level wide composition through a close layer of softly defocused disturbed belongings at the room boundary, creating strong foreground, middle-ground, and background separation without obscuring 혜수. Hold her near center in a rigid three-quarter listening pause, isolated in the clearest plane, with overturned chairs forming uneasy shapes around her and the moving entrance door receding beyond. Let fading dusk light skim her face unevenly, preserving a tense, desaturated naturalism.

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 Hye-soo's body to a three-quarter angle while keeping her rigid and holding the phone to her ear.
- Restore the heavy grey metal entrance door to the right doorway, showing its interior-facing side open inward.

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

SHOT TEXT (authoritative, Korean): 팔짱을 낀 채 입꼬리를 비틀어 올리고 못마땅한 표정을 지은 김형사의 얼굴 정면.

LOCATION (lock): The bleak, disordered living room inside the rooftop apartment, close to the wind-rattled entrance door. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level directly in front of 김형사, hold a static close frame in which his face occupies most of the image while his folded forearms remain visible along the lower edge. Keep the composition nearly frontal and tense, with only minimal room context, preparing for the subsequent level pan toward the entrance.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 김형사 in the middle-center of the frame, foreground.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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 disordered rooftop-home living room, dusk light, wind-disturbed doorway, and desolate atmosphere from the reference. EXCLUDE the woman using the smartphone; focus on the displeased male detective with folded arms and omit any restored furniture or cleaned surfaces.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 same ransacked state of the rooftop room persists around Hyesu and Detective Kim, including the footprints, open window, overturned chairs, and the now-empty red wall circle.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 김형사 (한국인 남성, 30대의 얼굴, 평범한 얼굴선, 짧은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 팔짱을 낀 채 입꼬리를 비틀어 올리고 못마땅한 표정을 지은 김형사의 얼굴 정면.

LOCATION (lock): The bleak, disordered living room inside the rooftop apartment, close to the wind-rattled entrance door. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level directly in front of 김형사, hold a static close frame in which his face occupies most of the image while his folded forearms remain visible along the lower edge. Keep the composition nearly frontal and tense, with only minimal room context, preparing for the subsequent level pan toward the entrance.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 김형사 in the middle-center of the frame, foreground.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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 disordered rooftop-home living room, dusk light, wind-disturbed doorway, and desolate atmosphere from the reference. EXCLUDE the woman using the smartphone; focus on the displeased male detective with folded arms and omit any restored furniture or cleaned surfaces.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 same ransacked state of the rooftop room persists around Hyesu and Detective Kim, including the footprints, open window, overturned chairs, and the now-empty red wall circle.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 김형사 (한국인 남성, 30대의 얼굴, 평범한 얼굴선, 짧은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a compressed, nearly symmetrical portrait perspective, holding his face dead center with the folded forearms forming a firm visual base along the lower edge. Keep the depth of field very shallow so the room falls into subdued, desaturated softness, while restrained dusk illumination models the facial planes with firm contrast and preserves every slight tension around the raised mouth corner.

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

SHOT TEXT (authoritative, Korean): 팔짱을 낀 채 입꼬리를 비틀어 올리고 못마땅한 표정을 지은 김형사의 얼굴 정면.

LOCATION (lock): The bleak, disordered living room inside the rooftop apartment, close to the wind-rattled entrance door. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level directly in front of 김형사, hold a static close frame in which his face occupies most of the image while his folded forearms remain visible along the lower edge. Keep the composition nearly frontal and tense, with only minimal room context, preparing for the subsequent level pan toward the entrance.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 김형사 in the middle-center of the frame, foreground.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

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

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 disordered rooftop-home living room, dusk light, wind-disturbed doorway, and desolate atmosphere from the reference. EXCLUDE the woman using the smartphone; focus on the displeased male detective with folded arms and omit any restored furniture or cleaned surfaces.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 same ransacked state of the rooftop room persists around Hyesu and Detective Kim, including the footprints, open window, overturned chairs, and the now-empty red wall circle.

PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 김형사 (한국인 남성, 30대의 얼굴, 평범한 얼굴선, 짧은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph from close range with a natural, slightly broader perspective, still eye-level and frontal, letting the face dominate while the folded forearms feel immediate at the bottom of frame. Maintain moderately deep focus so a narrow trace of the disordered room and entrance area remains physically legible behind him without competing for attention; shape the dusk ambience from the side for a restrained falloff across his displeased expression and worn 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:
- Twist one corner of his mouth upwards into a tense smirk or sneer.
- Restore the scattered papers, overturned chairs, and muddy footprints on the floor in the background to match the reference's ransacked state.

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

SHOT TEXT (authoritative, Korean): 조타실 문턱에 서서 양팔을 벌린 채 인우의 진입을 가로막고 버티는 수리영의 정지 구도.

LOCATION (lock): The fishing boat’s open deck directly at the wheelhouse doorway. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From several steps inside the wheelhouse at chest height, frame the open doorway head-on with 수리영 centered across it, her spread arms forming a hard horizontal barrier. Her back occupies the midground while 인우 is held beyond her in the doorway, compressing both figures along the same axis without changing the static camera position.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground; 인우 in the middle-center of the frame, background; wheelhouse doorway in the upper-center of the frame, background.
- KEY BACKGROUND ELEMENTS: wheelhouse doorway (Open and physically blocked by 수리영) — The opening faces the camera from inside the wheelhouse, with 인우 visible beyond 수리영; used as Frames 수리영's outstretched arms and separates the wheelhouse interior from 인우's approach.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient illumination consistent with sunset keeps the doorway confrontation desaturated and sharply separated in depth.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the weathered boat deck, dusk marine light, cabin exterior, and rolling-sea atmosphere from the reference. EXCLUDE the close reaction to the photograph; show the young woman planted in the wheelhouse doorway with both arms spread to block entry.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 wheelhouse walls already carry numerous strange circular markings, including a red circle. Suryoung still possesses her backpack, maps, and old photograph as she blocks Inwoo.

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

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 조타실 문턱에 서서 양팔을 벌린 채 인우의 진입을 가로막고 버티는 수리영의 정지 구도.

LOCATION (lock): The fishing boat’s open deck directly at the wheelhouse doorway. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From several steps inside the wheelhouse at chest height, frame the open doorway head-on with 수리영 centered across it, her spread arms forming a hard horizontal barrier. Her back occupies the midground while 인우 is held beyond her in the doorway, compressing both figures along the same axis without changing the static camera position.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground; 인우 in the middle-center of the frame, background; wheelhouse doorway in the upper-center of the frame, background.
- KEY BACKGROUND ELEMENTS: wheelhouse doorway (Open and physically blocked by 수리영) — The opening faces the camera from inside the wheelhouse, with 인우 visible beyond 수리영; used as Frames 수리영's outstretched arms and separates the wheelhouse interior from 인우's approach.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient illumination consistent with sunset keeps the doorway confrontation desaturated and sharply separated in depth.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the weathered boat deck, dusk marine light, cabin exterior, and rolling-sea atmosphere from the reference. EXCLUDE the close reaction to the photograph; show the young woman planted in the wheelhouse doorway with both arms spread to block entry.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 wheelhouse walls already carry numerous strange circular markings, including a red circle. Suryoung still possesses her backpack, maps, and old photograph as she blocks Inwoo.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained, natural-perspective lens feel and rigorous head-on symmetry, with the doorway’s verticals and Suryoung’s outstretched arms forming a stark, immovable crossbar composition. Hold both depth planes in firm focus so her planted back and Inwoo beyond remain spatially distinct, while soft desaturated dusk light outlines the threshold against the dimmer wheelhouse 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 조타실 문턱에 서서 양팔을 벌린 채 인우의 진입을 가로막고 버티는 수리영의 정지 구도.

LOCATION (lock): The fishing boat’s open deck directly at the wheelhouse doorway. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From several steps inside the wheelhouse at chest height, frame the open doorway head-on with 수리영 centered across it, her spread arms forming a hard horizontal barrier. Her back occupies the midground while 인우 is held beyond her in the doorway, compressing both figures along the same axis without changing the static camera position.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 수리영 in the middle-center of the frame, midground; 인우 in the middle-center of the frame, background; wheelhouse doorway in the upper-center of the frame, background.
- KEY BACKGROUND ELEMENTS: wheelhouse doorway (Open and physically blocked by 수리영) — The opening faces the camera from inside the wheelhouse, with 인우 visible beyond 수리영; used as Frames 수리영's outstretched arms and separates the wheelhouse interior from 인우's approach.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient illumination consistent with sunset keeps the doorway confrontation desaturated and sharply separated in depth.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the weathered boat deck, dusk marine light, cabin exterior, and rolling-sea atmosphere from the reference. EXCLUDE the close reaction to the photograph; show the young woman planted in the wheelhouse doorway with both arms spread to block entry.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 wheelhouse walls already carry numerous strange circular markings, including a red circle. Suryoung still possesses her backpack, maps, and old photograph as she blocks Inwoo.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a subtly compressed lens feel and shallow, controlled focus centered on Suryoung’s back and rigidly extended arms, letting Inwoo beyond remain recognizable but slightly softened by depth. Keep the interior low-key and tactile, with subdued dusk illumination grazing worn surfaces and a narrow edge of light defining her human outline without turning her into 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.

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

CORRECTIONS:
- Add a backpack onto Suryoung's back and place maps and an old photograph in her hands.

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

SHOT TEXT (authoritative, Korean): 좁고 낡은 조타실 내부 벽면 가득 기괴하게 덧그려진 수많은 붉은 원 형상들의 섬뜩한 전경.

LOCATION (lock): The cramped interior of the fishing boat’s old wheelhouse, with numerous strange red circles covering its walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At standing eye level from just beyond 인우's former shoulder line, complete the track on a wide view of the wall's full visible span. Hold the circle-covered face of the wall square enough to read the repeated forms, while slight perspective convergence preserves the cramped wheelhouse geometry.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: wheelhouse wall covered with red circles (Covered with many red circles) — The camera-facing wall surface bears numerous strange, overlapping red circular forms across its visible span; used as The central reveal, presented across the broad background as a repeated occult pattern; narrow wheelhouse interior (Narrow and old) — The wall planes recede away from the revealed marked surface at the frame edges; used as Provides the confined boundaries around the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued sunset-appropriate ambient illumination holds the interior in desaturated shadow while the documented red circles provide the sole deep-red emphasis.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wheelhouse walls remain covered with numerous strange circles, including the newly noticed red one; Suryoung still has the old photograph, maps, and backpack with 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 좁고 낡은 조타실 내부 벽면 가득 기괴하게 덧그려진 수많은 붉은 원 형상들의 섬뜩한 전경.

LOCATION (lock): The cramped interior of the fishing boat’s old wheelhouse, with numerous strange red circles covering its walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At standing eye level from just beyond 인우's former shoulder line, complete the track on a wide view of the wall's full visible span. Hold the circle-covered face of the wall square enough to read the repeated forms, while slight perspective convergence preserves the cramped wheelhouse geometry.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: wheelhouse wall covered with red circles (Covered with many red circles) — The camera-facing wall surface bears numerous strange, overlapping red circular forms across its visible span; used as The central reveal, presented across the broad background as a repeated occult pattern; narrow wheelhouse interior (Narrow and old) — The wall planes recede away from the revealed marked surface at the frame edges; used as Provides the confined boundaries around the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued sunset-appropriate ambient illumination holds the interior in desaturated shadow while the documented red circles provide the sole deep-red emphasis.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wheelhouse walls remain covered with numerous strange circles, including the newly noticed red one; Suryoung still has the old photograph, maps, and backpack with 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 restrained, near-frontal wide composition with the camera held level and the marked surface carrying most of the frame. Keep the full visible wall and receding edge planes in deep, even focus, letting the repeated circles accumulate with an unnerving forensic clarity. Soft, subdued dusk ambience reveals worn texture and layered pigment without theatrical highlights, with the red remaining the only saturated accent.

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

SHOT TEXT (authoritative, Korean): 좁고 낡은 조타실 내부 벽면 가득 기괴하게 덧그려진 수많은 붉은 원 형상들의 섬뜩한 전경.

LOCATION (lock): The cramped interior of the fishing boat’s old wheelhouse, with numerous strange red circles covering its walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At standing eye level from just beyond 인우's former shoulder line, complete the track on a wide view of the wall's full visible span. Hold the circle-covered face of the wall square enough to read the repeated forms, while slight perspective convergence preserves the cramped wheelhouse geometry.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: wheelhouse wall covered with red circles (Covered with many red circles) — The camera-facing wall surface bears numerous strange, overlapping red circular forms across its visible span; used as The central reveal, presented across the broad background as a repeated occult pattern; narrow wheelhouse interior (Narrow and old) — The wall planes recede away from the revealed marked surface at the frame edges; used as Provides the confined boundaries around the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued sunset-appropriate ambient illumination holds the interior in desaturated shadow while the documented red circles provide the sole deep-red emphasis.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wheelhouse walls remain covered with numerous strange circles, including the newly noticed red one; Suryoung still has the old photograph, maps, and backpack with 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):
Favor an assertive wide-angle sense of depth: hold the revealed wall square enough for every repeated form to register, while the adjoining planes taper sharply at the edges and make the room feel compressed around it. Let dim dusk illumination rake obliquely across the surface, catching uneven wear and the physical buildup of overlapping marks before falling quickly into desaturated edge shadow. Preserve the broad reveal while creating a subtle visual pull toward the densest layering of circles.

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

SHOT TEXT (authoritative, Korean): 고개를 살짝 숙여 수리영을 무표정하고 차갑게 내려다보는 인우의 서늘한 시선.

LOCATION (lock): Inside the narrow wheelhouse of the fishing boat, amid the walls marked with red circles. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Dolly in from near 수리영's lowered eye level with a slight upward lens axis, placing 인우's expressionless face in the upper center as his eyes cut downward. Keep 수리영 partial and unsteady in the lower foreground, allowing his face to remain the close-frame priority while their vertical power relation stays unmistakable.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 인우 in the upper-center of the frame, midground, looks toward 수리영 below him; 수리영 in the lower-left of the frame, foreground.
- KEY BACKGROUND ELEMENTS: wall with red circles (Partially visible and covered with red circles) — A limited portion of the camera-facing marked wall remains visible behind 인우, carrying partial red circular forms; used as Falls soft behind 인우, retaining a trace of the preceding reveal without distracting from his face.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient light appropriate to sunset keeps 인우's face coolly desaturated in tone, with any visible red wall markings held as a restrained threat.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the cramped, weathered wheelhouse, dim dusk illumination, and the many red circular markings covering the interior walls from the reference. EXCLUDE the empty wide-room emphasis; frame the boatman looking coldly downward and do not add the photograph or pointing hand.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 many circular markings remain across the wheelhouse walls. Suryoung still carries her backpack, maps, and old photograph as she becomes disoriented before collapsing onto Inwoo's shoulder.

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, 20대 중반의 젊은 얼굴, 반듯한 얼굴선, 짧은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

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

SHOT TEXT (authoritative, Korean): 고개를 살짝 숙여 수리영을 무표정하고 차갑게 내려다보는 인우의 서늘한 시선.

LOCATION (lock): Inside the narrow wheelhouse of the fishing boat, amid the walls marked with red circles. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Dolly in from near 수리영's lowered eye level with a slight upward lens axis, placing 인우's expressionless face in the upper center as his eyes cut downward. Keep 수리영 partial and unsteady in the lower foreground, allowing his face to remain the close-frame priority while their vertical power relation stays unmistakable.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 인우 in the upper-center of the frame, midground, looks toward 수리영 below him; 수리영 in the lower-left of the frame, foreground.
- KEY BACKGROUND ELEMENTS: wall with red circles (Partially visible and covered with red circles) — A limited portion of the camera-facing marked wall remains visible behind 인우, carrying partial red circular forms; used as Falls soft behind 인우, retaining a trace of the preceding reveal without distracting from his face.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient light appropriate to sunset keeps 인우's face coolly desaturated in tone, with any visible red wall markings held as a restrained threat.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the cramped, weathered wheelhouse, dim dusk illumination, and the many red circular markings covering the interior walls from the reference. EXCLUDE the empty wide-room emphasis; frame the boatman looking coldly downward and do not add the photograph or pointing hand.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 many circular markings remain across the wheelhouse walls. Suryoung still carries her backpack, maps, and old photograph as she becomes disoriented before collapsing onto Inwoo's shoulder.

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, 20대 중반의 젊은 얼굴, 반듯한 얼굴선, 짧은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a compressed, intimate close-up with very shallow depth, holding Inwoo’s expressionless face in crisp focus while the lower foreground and marked wall dissolve softly. Let the subdued dusk ambience skim across his slightly lowered face, preserving natural skin texture and tiny tensions around the eyelids and mouth; the restrained red arcs behind him remain muted, out-of-focus traces of threat.

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

SHOT TEXT (authoritative, Korean): 고개를 살짝 숙여 수리영을 무표정하고 차갑게 내려다보는 인우의 서늘한 시선.

LOCATION (lock): Inside the narrow wheelhouse of the fishing boat, amid the walls marked with red circles. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Dolly in from near 수리영's lowered eye level with a slight upward lens axis, placing 인우's expressionless face in the upper center as his eyes cut downward. Keep 수리영 partial and unsteady in the lower foreground, allowing his face to remain the close-frame priority while their vertical power relation stays unmistakable.
- FRAMING SCALE: close-up
- FRAME LAYOUT: 인우 in the upper-center of the frame, midground, looks toward 수리영 below him; 수리영 in the lower-left of the frame, foreground.
- KEY BACKGROUND ELEMENTS: wall with red circles (Partially visible and covered with red circles) — A limited portion of the camera-facing marked wall remains visible behind 인우, carrying partial red circular forms; used as Falls soft behind 인우, retaining a trace of the preceding reveal without distracting from his face.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient light appropriate to sunset keeps 인우's face coolly desaturated in tone, with any visible red wall markings held as a restrained threat.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): TAKE the cramped, weathered wheelhouse, dim dusk illumination, and the many red circular markings covering the interior walls from the reference. EXCLUDE the empty wide-room emphasis; frame the boatman looking coldly downward and do not add the photograph or pointing hand.

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

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

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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 many circular markings remain across the wheelhouse walls. Suryoung still carries her backpack, maps, and old photograph as she becomes disoriented before collapsing onto Inwoo's shoulder.

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, 20대 중반의 젊은 얼굴, 반듯한 얼굴선, 짧은 검은 머리) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a close, subtly wide perspective that makes the low upward viewpoint and vertical power relation feel immediate without distorting either face. Keep more depth legible through the frame: the unstable lower foreground falls away toward Inwoo in the upper center, while a narrow plane of the weathered, red-marked wall remains recognizable behind him. Shape the dusk light with restrained directional contrast, leaving his downward gaze cool, still, and severe.

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

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

CORRECTIONS:
- Tighten the framing to a compressed close-up of Inwoo's face, cropping out the wide room and side windows.
- Apply a very shallow depth of field to make the background wall softly out of focus, keeping crisp focus only on Inwoo's face.

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

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

SHOT TEXT (authoritative, Korean): 두꺼운 안개 띠 속으로 낡은 어선이 진입하며 뱃머리를 따라 물살이 V자로 갈라지는 찰나의 모습.

LOCATION (lock): The open sea at the leading edge of a dense fog bank, where a small fishing boat is entering the mist. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Track backward just above sea level from ahead and slightly beside the bow, briefly matching the boat's speed as the lens lowers toward the instant the water divides into a V. Keep the bow in the lower-right portion at a natural scale while the open V-shaped wake leads toward the lower center and the dense fog occupies the route ahead.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: old fishing boat (Entering the dense fog) — Its bow presents a three-quarter front face to the camera as it advances past the lens axis; used as Moving foreground subject whose bow creates the V-shaped division in the water; sea around the bow (Parting into a V-shape); used as Forms the V-shaped lines around the bow and provides visible forward motion; dense fog band (Thick around the boat's line of entry); used as The destination of the boat and the background that progressively removes its outline.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The remaining golden sunset reflection is muted by the dense fog, maintaining low luminance and restrained desaturated tension.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The same old fishing boat carrying Inwoo and the unconscious Suryoung continues forward into the dense fog bank.

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

SHOT TEXT (authoritative, Korean): 두꺼운 안개 띠 속으로 낡은 어선이 진입하며 뱃머리를 따라 물살이 V자로 갈라지는 찰나의 모습.

LOCATION (lock): The open sea at the leading edge of a dense fog bank, where a small fishing boat is entering the mist. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Track backward just above sea level from ahead and slightly beside the bow, briefly matching the boat's speed as the lens lowers toward the instant the water divides into a V. Keep the bow in the lower-right portion at a natural scale while the open V-shaped wake leads toward the lower center and the dense fog occupies the route ahead.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: old fishing boat (Entering the dense fog) — Its bow presents a three-quarter front face to the camera as it advances past the lens axis; used as Moving foreground subject whose bow creates the V-shaped division in the water; sea around the bow (Parting into a V-shape); used as Forms the V-shaped lines around the bow and provides visible forward motion; dense fog band (Thick around the boat's line of entry); used as The destination of the boat and the background that progressively removes its outline.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The remaining golden sunset reflection is muted by the dense fog, maintaining low luminance and restrained desaturated tension.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The same old fishing boat carrying Inwoo and the unconscious Suryoung continues forward into the dense fog bank.

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

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use an immersive wide-angle perspective with the camera skimming just above the sea, making the V-shaped division of the water the strongest graphic path through the lower frame while the three-quarter bow remains naturally scaled in the lower right. Hold broad depth so the worn hull, glossy disturbed water, and soft wall of fog remain physically legible together; let the muted dusk reflection rake faintly across the ripples before dissolving into low-contrast mist.

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

SHOT TEXT (authoritative, Korean): 두꺼운 안개 띠 속으로 낡은 어선이 진입하며 뱃머리를 따라 물살이 V자로 갈라지는 찰나의 모습.

LOCATION (lock): The open sea at the leading edge of a dense fog bank, where a small fishing boat is entering the mist. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Track backward just above sea level from ahead and slightly beside the bow, briefly matching the boat's speed as the lens lowers toward the instant the water divides into a V. Keep the bow in the lower-right portion at a natural scale while the open V-shaped wake leads toward the lower center and the dense fog occupies the route ahead.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: old fishing boat (Entering the dense fog) — Its bow presents a three-quarter front face to the camera as it advances past the lens axis; used as Moving foreground subject whose bow creates the V-shaped division in the water; sea around the bow (Parting into a V-shape); used as Forms the V-shaped lines around the bow and provides visible forward motion; dense fog band (Thick around the boat's line of entry); used as The destination of the boat and the background that progressively removes its outline.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The remaining golden sunset reflection is muted by the dense fog, maintaining low luminance and restrained desaturated tension.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

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

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

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

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

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The same old fishing boat carrying Inwoo and the unconscious Suryoung continues forward into the dense fog bank.

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 wide shot with a restrained long-lens feel, compressing the visible distance between the advancing bow and the dense fog so the mist seems to close around its route. Keep the camera low and tracking backward as specified, but favor layered tonal recession: crisp pressure and texture where the bow parts the sea, then rapidly softened hull edges and subdued dusk color toward the fog, creating a quiet sense of the boat being progressively erased.

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:
- Fill the left side and foreground with dense fog occupying the boat's forward path, enveloping the advancing bow to show it entering the mist.

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

SHOT TEXT (authoritative, Korean): 오래된 빌라 옥상 위 평화로운 옥탑방 건물을 위에서 내려다본 외부 전경.

LOCATION (lock): The open rooftop of an old multi-unit residential building, viewed from above with its rooftop room in full view. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

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

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From above the old villa, a downward-looking dolly-in settles into a centered wide overview of the rooftop room, retaining enough rooftop perimeter to establish its isolation and scale. The high angle remains calm and geometrically stable, with the rooftop room held in the middle rather than pushed into dramatic perspective.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 옥탑방 건물 in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 옥탑방 건물 (Still in daylight) — The camera sees its upper face and exterior sides from above; used as Primary architectural focus centered within the rooftop overview; 오래된 빌라 옥상 (Supporting the rooftop room) — Its upper plane faces the downward-looking camera; used as Provides the surrounding boundary and scale reference for the rooftop room; 인천 변두리 (Seen in daylight); used as Remains visible beyond the villa to establish the stated outskirts location.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural daylight appropriate to the exterior is restrained and desaturated, preserving the peaceful overview while retaining quiet unease.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 오래된 빌라 옥상 위 평화로운 옥탑방 건물을 위에서 내려다본 외부 전경.

LOCATION (lock): The open rooftop of an old multi-unit residential building, viewed from above with its rooftop room in full view. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From above the old villa, a downward-looking dolly-in settles into a centered wide overview of the rooftop room, retaining enough rooftop perimeter to establish its isolation and scale. The high angle remains calm and geometrically stable, with the rooftop room held in the middle rather than pushed into dramatic perspective.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 옥탑방 건물 in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 옥탑방 건물 (Still in daylight) — The camera sees its upper face and exterior sides from above; used as Primary architectural focus centered within the rooftop overview; 오래된 빌라 옥상 (Supporting the rooftop room) — Its upper plane faces the downward-looking camera; used as Provides the surrounding boundary and scale reference for the rooftop room; 인천 변두리 (Seen in daylight); used as Remains visible beyond the villa to establish the stated outskirts location.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural daylight appropriate to the exterior is restrained and desaturated, preserving the peaceful overview while retaining quiet unease.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

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, near-orthographic lens feel with clean verticals and minimal perspective distortion, turning the rooftop planes into a calm, orderly geometry. Hold deep focus from the rooftop perimeter through the centered structure and into the distant outskirts, with crisp but natural material detail. Let the existing daylight fall evenly and softly, keeping the desaturated palette serene while subtle wear and empty space create unease.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Create ONE FINAL photorealistic live-action film still of the moment below — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): day.

SHOT TEXT (authoritative, Korean): 오래된 빌라 옥상 위 평화로운 옥탑방 건물을 위에서 내려다본 외부 전경.

LOCATION (lock): The open rooftop of an old multi-unit residential building, viewed from above with its rooftop room in full view. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From above the old villa, a downward-looking dolly-in settles into a centered wide overview of the rooftop room, retaining enough rooftop perimeter to establish its isolation and scale. The high angle remains calm and geometrically stable, with the rooftop room held in the middle rather than pushed into dramatic perspective.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: 옥탑방 건물 in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 옥탑방 건물 (Still in daylight) — The camera sees its upper face and exterior sides from above; used as Primary architectural focus centered within the rooftop overview; 오래된 빌라 옥상 (Supporting the rooftop room) — Its upper plane faces the downward-looking camera; used as Provides the surrounding boundary and scale reference for the rooftop room; 인천 변두리 (Seen in daylight); used as Remains visible beyond the villa to establish the stated outskirts location.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Natural daylight appropriate to the exterior is restrained and desaturated, preserving the peaceful overview while retaining quiet unease.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

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 overview with gentle telephoto compression, visually drawing the surrounding rooftop boundary and distant urban layers closer around the centered rooftop room without altering their true scale. Keep the structure fully legible and sharply resolved while allowing a very gradual softness toward the far edges and deepest background. Preserve the natural daylight direction and muted color, using compressed spatial layers and stillness to make the peaceful isolation feel quietly tense.

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 window on the front wall of the rooftop room to the left side.
- Add the green door to the visible right-side wall of the rooftop room.
- Remove the window and wall section directly below the foreground rooftop parapet, replacing it with the exterior drop-off seen in the 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 실내 창문에 비친 그림자, 남자가 강민숙(민숙)의 어깨를 입으로 덮친 형상으로 겹쳐진 실루엣.

LOCATION (lock): Inside the rooftop apartment beside a window, where the attack is visible only as overlapping silhouettes on the glass. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From standing eye level several meters inside the room, face the window squarely and isolate the overlapping reflected silhouettes within the central portion of the frame. The 옥탑방 침입 남자’s head merges with 강민숙’s shoulder line as if attacking it, but his face remains unreadable and the reflection preserves grounded ambiguity.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 옥탑방 침입 남자 reflected silhouette in the middle-center of the frame, midground; 강민숙 reflected silhouette in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 실내 창문 (Reflecting the attack inside the room) — Its surface reflects the overlapping silhouettes of 옥탑방 침입 남자 and 강민숙, with his head covering her shoulder line; used as Serves as the sole perception plane on which the attack is revealed.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low night-appropriate ambient illumination renders the window reflection as subdued silhouettes with tense, desaturated contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The intruder has forced the rooftop-room door open and entered through 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 실내 창문에 비친 그림자, 남자가 강민숙(민숙)의 어깨를 입으로 덮친 형상으로 겹쳐진 실루엣.

LOCATION (lock): Inside the rooftop apartment beside a window, where the attack is visible only as overlapping silhouettes on the glass. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From standing eye level several meters inside the room, face the window squarely and isolate the overlapping reflected silhouettes within the central portion of the frame. The 옥탑방 침입 남자’s head merges with 강민숙’s shoulder line as if attacking it, but his face remains unreadable and the reflection preserves grounded ambiguity.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 옥탑방 침입 남자 reflected silhouette in the middle-center of the frame, midground; 강민숙 reflected silhouette in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 실내 창문 (Reflecting the attack inside the room) — Its surface reflects the overlapping silhouettes of 옥탑방 침입 남자 and 강민숙, with his head covering her shoulder line; used as Serves as the sole perception plane on which the attack is revealed.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low night-appropriate ambient illumination renders the window reflection as subdued silhouettes with tense, desaturated contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The intruder has forced the rooftop-room door open and entered through 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):
Use a restrained, observational lens feel and a rigidly square-on composition, with the window glass itself in crisp focus. Let the overlapping reflections remain subdued but physically legible as two fully formed human figures, preserving the unreadable face and disturbing shoulder-level merger. Keep the pane edges and surrounding room understated, with soft low ambient light, desaturated color, controlled blacks, and no theatrical highlights.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Create ONE FINAL photorealistic live-action film still of the moment below — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night.

SHOT TEXT (authoritative, Korean): 실내 창문에 비친 그림자, 남자가 강민숙(민숙)의 어깨를 입으로 덮친 형상으로 겹쳐진 실루엣.

LOCATION (lock): Inside the rooftop apartment beside a window, where the attack is visible only as overlapping silhouettes on the glass. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From standing eye level several meters inside the room, face the window squarely and isolate the overlapping reflected silhouettes within the central portion of the frame. The 옥탑방 침입 남자’s head merges with 강민숙’s shoulder line as if attacking it, but his face remains unreadable and the reflection preserves grounded ambiguity.
- FRAMING SCALE: medium shot
- FRAME LAYOUT: 옥탑방 침입 남자 reflected silhouette in the middle-center of the frame, midground; 강민숙 reflected silhouette in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: 실내 창문 (Reflecting the attack inside the room) — Its surface reflects the overlapping silhouettes of 옥탑방 침입 남자 and 강민숙, with his head covering her shoulder line; used as Serves as the sole perception plane on which the attack is revealed.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Low night-appropriate ambient illumination renders the window reflection as subdued silhouettes with tense, desaturated contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The intruder has forced the rooftop-room door open and entered through 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):
Favor a compressed, claustrophobic lens feel that makes the central reflected figures seem tightly locked together while retaining the prescribed medium scale and frontal eye-level viewpoint. Hold focus narrowly on the dim reflection plane, allowing the glass surface and room beyond it to recede into soft darkness without losing realistic material depth. Underexpose gently so the silhouettes emerge through delicate tonal separation rather than hard outlines, emphasizing the grounded ambiguity of the apparent attack.

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 man's head silhouette so his mouth covers the woman's shoulder line.
- Remove all text from the cardboard box on the left edge.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

Create ONE FINAL photorealistic live-action film still of the moment below — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.

SHOT TEXT (authoritative, Korean): 여명이 밝아오는 푸르스름한 하늘 아래, 노란 불빛이 새어 나오는 낡은 옥탑방 외부 전경.

LOCATION (lock): The rooftop exterior around an old rooftop apartment at dawn, with warm light spilling from inside against the blue sky. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the flow-prescribed rooftop-level exterior position, hold a static wide view that includes the full old rooftop room in the lower portion and a broad field of dawn sky above it. Keep the lit room slightly off-center and leave the boundary wall visible along one edge so the next lateral move toward the cat has a clear spatial destination.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 낡은 옥탑방 외부 (내부 불이 켜져 있음) — A broad exterior face and part of an adjoining side are visible from the distant rooftop-level angle; used as The full exterior is the primary architectural subject and establishes the isolated rooftop location; 옥탑방의 빛이 새어 나오는 개구부 (노란 불빛이 새어 나옴) — The camera sees the yellow interior light through the opening, while interior details remain indistinct; used as The light escaping from the room provides the warm focal point beneath the dawn sky; 여명 하늘 (푸르스름하게 밝아오고 있음); used as It occupies the upper field and establishes the approach of daybreak; 옥상 담장 (옥탑방 외곽을 경계 짓고 있음) — Its upper edge recedes laterally along one side of the frame; used as The wall sits at the edge of the establishing frame as the destination of the next lateral track.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Cool bluish dawn ambience surrounds the rooftop while yellow light from the occupied room creates a restrained warm contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The old rooftop room remains lit as dawn begins.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.

SHOT TEXT (authoritative, Korean): 여명이 밝아오는 푸르스름한 하늘 아래, 노란 불빛이 새어 나오는 낡은 옥탑방 외부 전경.

LOCATION (lock): The rooftop exterior around an old rooftop apartment at dawn, with warm light spilling from inside against the blue sky. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the flow-prescribed rooftop-level exterior position, hold a static wide view that includes the full old rooftop room in the lower portion and a broad field of dawn sky above it. Keep the lit room slightly off-center and leave the boundary wall visible along one edge so the next lateral move toward the cat has a clear spatial destination.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 낡은 옥탑방 외부 (내부 불이 켜져 있음) — A broad exterior face and part of an adjoining side are visible from the distant rooftop-level angle; used as The full exterior is the primary architectural subject and establishes the isolated rooftop location; 옥탑방의 빛이 새어 나오는 개구부 (노란 불빛이 새어 나옴) — The camera sees the yellow interior light through the opening, while interior details remain indistinct; used as The light escaping from the room provides the warm focal point beneath the dawn sky; 여명 하늘 (푸르스름하게 밝아오고 있음); used as It occupies the upper field and establishes the approach of daybreak; 옥상 담장 (옥탑방 외곽을 경계 짓고 있음) — Its upper edge recedes laterally along one side of the frame; used as The wall sits at the edge of the establishing frame as the destination of the next lateral track.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Cool bluish dawn ambience surrounds the rooftop while yellow light from the occupied room creates a restrained warm contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The old rooftop room remains lit as dawn begins.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained rectilinear wide-lens feel from a level rooftop-height viewpoint, with clean verticals and strong negative space in the sky. Keep the architecture crisp across the depth, allowing the receding boundary wall to form a quiet lateral lead while the warm opening remains the sole restrained focal accent. Render the dawn ambience softly and naturally, preserving fine wear and texture 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.

Create ONE FINAL photorealistic live-action film still of the moment below — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn.

SHOT TEXT (authoritative, Korean): 여명이 밝아오는 푸르스름한 하늘 아래, 노란 불빛이 새어 나오는 낡은 옥탑방 외부 전경.

LOCATION (lock): The rooftop exterior around an old rooftop apartment at dawn, with warm light spilling from inside against the blue sky. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

STRUCTURE LOOK AUTHORITY: the attached STRUCTURE LOOK photograph is the identity of the fixed structure at this location — wherever that structure appears in the frame, its shape, proportions, openings, materials and colors are LOCKED to it. The LOCATION PHOTOGRAPH remains the authority for this shot's sub-space, surroundings, time of day and lighting. If the two conflict on the structure itself, the STRUCTURE LOOK photo wins; for everything else, the LOCATION PHOTOGRAPH wins.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From the flow-prescribed rooftop-level exterior position, hold a static wide view that includes the full old rooftop room in the lower portion and a broad field of dawn sky above it. Keep the lit room slightly off-center and leave the boundary wall visible along one edge so the next lateral move toward the cat has a clear spatial destination.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: 낡은 옥탑방 외부 (내부 불이 켜져 있음) — A broad exterior face and part of an adjoining side are visible from the distant rooftop-level angle; used as The full exterior is the primary architectural subject and establishes the isolated rooftop location; 옥탑방의 빛이 새어 나오는 개구부 (노란 불빛이 새어 나옴) — The camera sees the yellow interior light through the opening, while interior details remain indistinct; used as The light escaping from the room provides the warm focal point beneath the dawn sky; 여명 하늘 (푸르스름하게 밝아오고 있음); used as It occupies the upper field and establishes the approach of daybreak; 옥상 담장 (옥탑방 외곽을 경계 짓고 있음) — Its upper edge recedes laterally along one side of the frame; used as The wall sits at the edge of the establishing frame as the destination of the next lateral track.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Cool bluish dawn ambience surrounds the rooftop while yellow light from the occupied room creates a restrained warm contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The old rooftop room remains lit as dawn begins.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Photograph from the prescribed rooftop-level distance with a gently compressed lens feel, flattening the architectural planes into calm layers beneath the dominant sky while retaining the required broad face, adjoining side, and edge wall. Favor a slightly denser, more intimate establishing image with subtle atmospheric separation rather than expansive perspective. Let the cool dawn remain low-contrast as the contained yellow glow falls off delicately across the aged exterior surfaces.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Rebuild the central rooftop structure to exactly match the STRUCTURE LOOK reference, placing the green door on the left-facing wall, the window on the right-facing wall, and moving the blue water tank to the rear right.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

Create ONE FINAL photorealistic live-action film still of the moment below — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 세면대 옆 하얀 타일 벽면에 핏빛의 둥근 붉은 원이 선명하게 나타난 상태.

LOCATION (lock): The small bathroom inside the rooftop apartment, on the tiled wall beside the sink and mirror. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level, place the camera square and perpendicular to the bathroom wall, isolating the deep-red circle near the center while retaining narrow margins of white tile and the edge of the basin for scale. The locked-off, close composition treats the impossible mark as stark visual evidence within 수리영's altered perception.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: white tiled bathroom wall with red circle (The red circle is visibly present) — The marked face is square to the camera, showing a sharply defined round red circle on the tiles; used as Primary focal surface carrying the apparition; washbasin edge (Present beside the wall) — Only the side nearest the wall enters the frame edge; used as Small peripheral scale reference beside the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued bathroom ambient light preserves the white-versus-deep-red contrast without stylized illumination.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung now has her doll-adorned backpack with 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 세면대 옆 하얀 타일 벽면에 핏빛의 둥근 붉은 원이 선명하게 나타난 상태.

LOCATION (lock): The small bathroom inside the rooftop apartment, on the tiled wall beside the sink and mirror. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level, place the camera square and perpendicular to the bathroom wall, isolating the deep-red circle near the center while retaining narrow margins of white tile and the edge of the basin for scale. The locked-off, close composition treats the impossible mark as stark visual evidence within 수리영's altered perception.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: white tiled bathroom wall with red circle (The red circle is visibly present) — The marked face is square to the camera, showing a sharply defined round red circle on the tiles; used as Primary focal surface carrying the apparition; washbasin edge (Present beside the wall) — Only the side nearest the wall enters the frame edge; used as Small peripheral scale reference beside the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued bathroom ambient light preserves the white-versus-deep-red contrast without stylized illumination.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung now has her doll-adorned backpack with 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 restrained, low-distortion lens feel and precise frontal geometry, with the tile grid held level and the red circle commanding the center as blunt physical evidence. Keep the marked tile surface and the peripheral basin edge in crisp focus, rendering grout, glaze, wear, and the mark’s contact with the tile with unsentimental clarity under soft, subdued ambient bathroom 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 세면대 옆 하얀 타일 벽면에 핏빛의 둥근 붉은 원이 선명하게 나타난 상태.

LOCATION (lock): The small bathroom inside the rooftop apartment, on the tiled wall beside the sink and mirror. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At eye level, place the camera square and perpendicular to the bathroom wall, isolating the deep-red circle near the center while retaining narrow margins of white tile and the edge of the basin for scale. The locked-off, close composition treats the impossible mark as stark visual evidence within 수리영's altered perception.
- FRAMING SCALE: close-up
- KEY BACKGROUND ELEMENTS: white tiled bathroom wall with red circle (The red circle is visibly present) — The marked face is square to the camera, showing a sharply defined round red circle on the tiles; used as Primary focal surface carrying the apparition; washbasin edge (Present beside the wall) — Only the side nearest the wall enters the frame edge; used as Small peripheral scale reference beside the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued bathroom ambient light preserves the white-versus-deep-red contrast without stylized illumination.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to 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): Suryoung now has her doll-adorned backpack with 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 the same locked frontal close-up with a gently compressed, claustrophobic lens feel and selective focus concentrated on the sharply defined red circle. Let the narrow tile margins and basin edge fall subtly softer without losing their identity, while restrained early-morning bathroom ambience creates delicate tonal falloff across the glazed surface and makes the deep red presence feel disturbingly immediate.

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 edge of the washbasin to the bottom edge of the frame, directly below the red circle.
- Remove the mirror edge from the top center of the tiled wall.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 식탁 위 액자 속 강민숙(민숙)의 얼굴 사진이 뭉개진 채 기괴하게 얼룩진 상태 클로즈업.

LOCATION (lock): The dining area of the rooftop apartment, centered on a framed family photograph resting on the table. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Hold just above table height at the closest point of the frontal push-in, with the distorted face of 강민숙 (사진 왜곡 상태) centered and the photograph frame still narrowly legible around it. Keep the table as a thin lower reference so the face remains an image inside a physical frame rather than becoming a disembodied portrait.
- FRAMING SCALE: close-up
- FRAME LAYOUT: distorted portrait of 강민숙 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: framed photograph (The photographed face remains visibly distorted) — Its image-bearing front faces the camera directly, showing 강민숙's smiling face smeared and flowing out of shape; used as Primary content plane containing the supernatural facial distortion; dining table surface (The photograph rests on it); used as Thin lower-frame spatial reference beneath the photograph.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient exposure and desaturated contrast keep the distortion tactile without assigning it an artificial light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung still has her doll-adorned backpack; the bathroom circle has already vanished, while the framed photograph's distortion is only momentary and returns to normal.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 식탁 위 액자 속 강민숙(민숙)의 얼굴 사진이 뭉개진 채 기괴하게 얼룩진 상태 클로즈업.

LOCATION (lock): The dining area of the rooftop apartment, centered on a framed family photograph resting on the table. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Hold just above table height at the closest point of the frontal push-in, with the distorted face of 강민숙 (사진 왜곡 상태) centered and the photograph frame still narrowly legible around it. Keep the table as a thin lower reference so the face remains an image inside a physical frame rather than becoming a disembodied portrait.
- FRAMING SCALE: close-up
- FRAME LAYOUT: distorted portrait of 강민숙 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: framed photograph (The photographed face remains visibly distorted) — Its image-bearing front faces the camera directly, showing 강민숙's smiling face smeared and flowing out of shape; used as Primary content plane containing the supernatural facial distortion; dining table surface (The photograph rests on it); used as Thin lower-frame spatial reference beneath the photograph.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient exposure and desaturated contrast keep the distortion tactile without assigning it an artificial light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung still has her doll-adorned backpack; the bathroom circle has already vanished, while the framed photograph's distortion is only momentary and returns to normal.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a compressed, claustrophobic lens feel from the locked frontal position, holding the distorted face with exact central emphasis while the narrowly visible frame encloses it like a trap. Keep focus critically sharp across the smeared photographic surface, with the thin table reference and outer frame edges falling gently softer; subdued, broad early-morning ambient light and restrained desaturated tones make the warped image feel tactile and physically present.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): early morning.

SHOT TEXT (authoritative, Korean): 식탁 위 액자 속 강민숙(민숙)의 얼굴 사진이 뭉개진 채 기괴하게 얼룩진 상태 클로즈업.

LOCATION (lock): The dining area of the rooftop apartment, centered on a framed family photograph resting on the table. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Hold just above table height at the closest point of the frontal push-in, with the distorted face of 강민숙 (사진 왜곡 상태) centered and the photograph frame still narrowly legible around it. Keep the table as a thin lower reference so the face remains an image inside a physical frame rather than becoming a disembodied portrait.
- FRAMING SCALE: close-up
- FRAME LAYOUT: distorted portrait of 강민숙 in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: framed photograph (The photographed face remains visibly distorted) — Its image-bearing front faces the camera directly, showing 강민숙's smiling face smeared and flowing out of shape; used as Primary content plane containing the supernatural facial distortion; dining table surface (The photograph rests on it); used as Thin lower-frame spatial reference beneath the photograph.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient exposure and desaturated contrast keep the distortion tactile without assigning it an artificial light source.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suryoung still has her doll-adorned backpack; the bathroom circle has already vanished, while the framed photograph's distortion is only momentary and returns to normal.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use an intimate close-focus perspective that preserves the photograph as a real object on the table rather than flattening it into a graphic portrait. Maintain the locked face-on symmetry and narrow frame border, with slightly deeper focus carrying crisp detail through the frame material, image-bearing surface, and thin strip of tabletop; let soft directional early-morning ambient light skim gently across the surfaces, revealing minute texture and irregular deformation without any supernatural glow.

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 faint red circular markings from the tiled bathroom wall in the background.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 바다 위 붉은 점과 좌표 글씨가 떠 있는 모니터 화면 클로즈업.

LOCATION (lock): A detective’s workstation inside the police office, focused on the computer monitor displaying a location result. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the advance at monitor height until the active display becomes the central viewing field, with a narrow trace of the monitor boundary preserving its physical presence. Hold the sea map, red location point, coordinate line, timestamp, source, and offline status in crisp alignment while surrounding office detail falls away.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: monitor location-result display in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: monitor location-result display (On and displaying 강민숙's phone-location result) — The active front face is nearly square to the camera, showing a sea map with a red point, coordinates 37.484400 N / 126.072486 E, timestamp 2026-02-18 11:21:08, GPS/Network source, and offline status; used as Primary information surface revealing the phone's last recorded location; monitor housing (Stationary on the desk) — Only a narrow front-facing border remains visible around the active display; used as Thin peripheral boundary confirming that the information is being viewed on an office monitor.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The active monitor provides restrained screen luminance, with the red point as the sole sharp warm accent against a desaturated display.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 바다 위 붉은 점과 좌표 글씨가 떠 있는 모니터 화면 클로즈업.

LOCATION (lock): A detective’s workstation inside the police office, focused on the computer monitor displaying a location result. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the advance at monitor height until the active display becomes the central viewing field, with a narrow trace of the monitor boundary preserving its physical presence. Hold the sea map, red location point, coordinate line, timestamp, source, and offline status in crisp alignment while surrounding office detail falls away.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: monitor location-result display in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: monitor location-result display (On and displaying 강민숙's phone-location result) — The active front face is nearly square to the camera, showing a sea map with a red point, coordinates 37.484400 N / 126.072486 E, timestamp 2026-02-18 11:21:08, GPS/Network source, and offline status; used as Primary information surface revealing the phone's last recorded location; monitor housing (Stationary on the desk) — Only a narrow front-facing border remains visible around the active display; used as Thin peripheral boundary confirming that the information is being viewed on an office monitor.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The active monitor provides restrained screen luminance, with the red point as the sole sharp warm accent against a desaturated display.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

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 dead-on, monitor-height macro perspective with strict bilateral balance, making the active display feel clinical and evidentiary. Keep the full information surface uniformly sharp and geometrically undistorted, with only the slim housing edge anchoring it as a physical object. Render the restrained screen glow cleanly, allowing the warm point to command the otherwise cool, desaturated 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 바다 위 붉은 점과 좌표 글씨가 떠 있는 모니터 화면 클로즈업.

LOCATION (lock): A detective’s workstation inside the police office, focused on the computer monitor displaying a location result. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Complete the advance at monitor height until the active display becomes the central viewing field, with a narrow trace of the monitor boundary preserving its physical presence. Hold the sea map, red location point, coordinate line, timestamp, source, and offline status in crisp alignment while surrounding office detail falls away.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: monitor location-result display in the middle-center of the frame, foreground.
- KEY BACKGROUND ELEMENTS: monitor location-result display (On and displaying 강민숙's phone-location result) — The active front face is nearly square to the camera, showing a sea map with a red point, coordinates 37.484400 N / 126.072486 E, timestamp 2026-02-18 11:21:08, GPS/Network source, and offline status; used as Primary information surface revealing the phone's last recorded location; monitor housing (Stationary on the desk) — Only a narrow front-facing border remains visible around the active display; used as Thin peripheral boundary confirming that the information is being viewed on an office monitor.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The active monitor provides restrained screen luminance, with the red point as the sole sharp warm accent against a desaturated display.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

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 intimate monitor-height close-focus position with a subtly compressed lens feel, preserving the nearly square-on display while letting the thin housing boundary soften gently toward the corners. Hold every essential screen element crisp and aligned across the central plane, but use delicate luminance falloff and faint natural surface reflections to give the monitor tangible glass depth. Let the isolated warm accent cut through the muted sea map with quiet, ominous 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:
- Change the date in the bottom right system tray from '2020' to '2026' to match the specified year.
- Remove the misspelled English window title 'Policess Location', the map label 'South Koas', and the gibberish text at the bottom right.

PRESERVE EVERYTHING ELSE EXACTLY as in the original photograph —
every person, pose, face, garment, object, set feature, lighting,
camera and framing stay identical. No text, captions or
watermarks anywhere.

Create ONE FINAL photorealistic live-action film still of the moment below — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 프린터 기기에서 절반쯤 빠져나온 흑백 해안가 지도의 멈춘 상태.

LOCATION (lock): The printer station inside the internet café, where a coastal map is being produced. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At the printer output-slot height, the camera holds close and square to the direction of the emerging sheet, isolating the half-printed coastal map in the central lower portion while retaining the printer body and work surface as scale references. The page remains below forty percent of the frame, with shallow focus suppressing everything beyond the output area.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: Printed coastal map (Half-emerged and momentarily still) — The black-and-white printed face is visible to camera, with the coastal geography readable on the exposed half; used as Primary focal detail suspended across the central lower frame; Printer (Printing) — The output-slot side faces the camera along the paper's travel axis; used as Surrounds the page and establishes its physical emergence point; Work surface (Visible); used as Provides a narrow environmental strip beneath the suspended page.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient PC café illumination keeps the monochrome page crisp while the surrounding workstation falls into restrained contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The printed coastal maps are being produced for Suryoung and will remain folded inside her doll-adorned backpack.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 프린터 기기에서 절반쯤 빠져나온 흑백 해안가 지도의 멈춘 상태.

LOCATION (lock): The printer station inside the internet café, where a coastal map is being produced. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At the printer output-slot height, the camera holds close and square to the direction of the emerging sheet, isolating the half-printed coastal map in the central lower portion while retaining the printer body and work surface as scale references. The page remains below forty percent of the frame, with shallow focus suppressing everything beyond the output area.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: Printed coastal map (Half-emerged and momentarily still) — The black-and-white printed face is visible to camera, with the coastal geography readable on the exposed half; used as Primary focal detail suspended across the central lower frame; Printer (Printing) — The output-slot side faces the camera along the paper's travel axis; used as Surrounds the page and establishes its physical emergence point; Work surface (Visible); used as Provides a narrow environmental strip beneath the suspended page.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient PC café illumination keeps the monochrome page crisp while the surrounding workstation falls into restrained contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The printed coastal maps are being produced for Suryoung and will remain folded inside her doll-adorned backpack.

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 precise, near-orthographic lens feel with rigid frontal geometry, making the output slot and sheet edges form a controlled, almost mechanical symmetry. Keep the exposed map crisply resolved while focus drops away immediately behind the output area; subdued, even illumination and restrained neutral tones turn the halted paper into a tense visual interruption.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): late morning.

SHOT TEXT (authoritative, Korean): 프린터 기기에서 절반쯤 빠져나온 흑백 해안가 지도의 멈춘 상태.

LOCATION (lock): The printer station inside the internet café, where a coastal map is being produced. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At the printer output-slot height, the camera holds close and square to the direction of the emerging sheet, isolating the half-printed coastal map in the central lower portion while retaining the printer body and work surface as scale references. The page remains below forty percent of the frame, with shallow focus suppressing everything beyond the output area.
- FRAMING SCALE: insert close-up on a detail
- KEY BACKGROUND ELEMENTS: Printed coastal map (Half-emerged and momentarily still) — The black-and-white printed face is visible to camera, with the coastal geography readable on the exposed half; used as Primary focal detail suspended across the central lower frame; Printer (Printing) — The output-slot side faces the camera along the paper's travel axis; used as Surrounds the page and establishes its physical emergence point; Work surface (Visible); used as Provides a narrow environmental strip beneath the suspended page.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued ambient PC café illumination keeps the monochrome page crisp while the surrounding workstation falls into restrained contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The printed coastal maps are being produced for Suryoung and will remain folded inside her doll-adorned backpack.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Give the close insert a tactile, intimate lens feel, with razor-thin focus favoring the coastal contours and the leading edge of the suspended sheet. Let the existing café light skim gently across the paper fibers and printer surfaces, producing soft directional modeling and a rapid falloff into blur, so the physical weight and arrested motion of the page dominate the moment.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Remove all text, labels, and annotations from the printed map and the blurred monitor screen on the left.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 수리영의 방 하얀 벽면 한가운데 붉은색으로 짙게 칠해진 커다란 원형 표식과 중앙에 꽂힌 낡은 사진.

LOCATION (lock): The white wall of a bedroom inside the ransacked rooftop apartment, marked by a red circle with a photograph pinned at its center. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From chest height just outside the open bedroom, the pan settles into a near-frontal wide hold across the doorway, aligning the large red circle and its centered photograph as one accusatory graphic. The marked wall occupies the central background, while the doorway edges remain visible on both sides to preserve the violated domestic space.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: red circular wall mark with centered photograph in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: Bedroom wall with red circle (Marked with a red circle) — The marked face is held nearly frontal to camera, displaying the large, heavily painted red circle; used as Primary graphic focal plane in the center of the composition; Old photograph (Fixed to the wall and blood-stained) — Its blood-stained image face points toward camera from the exact center of the circle; used as Small central anchor within the red circle; Bedroom doorway (Open) — The opening faces the camera, with both doorway edges visible; used as Frames the marked wall and establishes the camera as observing from outside the room.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Dusk-appropriate ambient light is kept subdued and desaturated, allowing the wall's red mark and the blood on the photograph to form the only forceful color contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains ransacked, with footprints, disturbed household goods, an open living-room window, and overturned dining chairs. Suryoung still carries the folded maps in her backpack.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 수리영의 방 하얀 벽면 한가운데 붉은색으로 짙게 칠해진 커다란 원형 표식과 중앙에 꽂힌 낡은 사진.

LOCATION (lock): The white wall of a bedroom inside the ransacked rooftop apartment, marked by a red circle with a photograph pinned at its center. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From chest height just outside the open bedroom, the pan settles into a near-frontal wide hold across the doorway, aligning the large red circle and its centered photograph as one accusatory graphic. The marked wall occupies the central background, while the doorway edges remain visible on both sides to preserve the violated domestic space.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: red circular wall mark with centered photograph in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: Bedroom wall with red circle (Marked with a red circle) — The marked face is held nearly frontal to camera, displaying the large, heavily painted red circle; used as Primary graphic focal plane in the center of the composition; Old photograph (Fixed to the wall and blood-stained) — Its blood-stained image face points toward camera from the exact center of the circle; used as Small central anchor within the red circle; Bedroom doorway (Open) — The opening faces the camera, with both doorway edges visible; used as Frames the marked wall and establishes the camera as observing from outside the room.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Dusk-appropriate ambient light is kept subdued and desaturated, allowing the wall's red mark and the blood on the photograph to form the only forceful color contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains ransacked, with footprints, disturbed household goods, an open living-room window, and overturned dining chairs. Suryoung still carries the folded maps in her backpack.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a restrained rectilinear wide-lens feel with strict near-symmetry, keeping the doorway edges, marked wall, painted circle, and pinned photograph clearly resolved in deep focus. Let the subdued dusk ambience fall evenly across the physical wall texture, preserving muted shadows and an austere, evidentiary stillness; render the dense red paint and stained, worn photograph with tactile surface detail.

PRIORITY OF INSTRUCTIONS: the VISUAL APPROACH above governs camera,
framing and composition ONLY. Every other instruction in this prompt —
location, time of day, people and their identity, poses, props,
carried state, physical rules, and the no-text rule — is binding
exactly as written earlier. If the VISUAL APPROACH appears to conflict
with any of them, the earlier instruction wins.

Create ONE FINAL photorealistic live-action film still of the moment below — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 수리영의 방 하얀 벽면 한가운데 붉은색으로 짙게 칠해진 커다란 원형 표식과 중앙에 꽂힌 낡은 사진.

LOCATION (lock): The white wall of a bedroom inside the ransacked rooftop apartment, marked by a red circle with a photograph pinned at its center. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From chest height just outside the open bedroom, the pan settles into a near-frontal wide hold across the doorway, aligning the large red circle and its centered photograph as one accusatory graphic. The marked wall occupies the central background, while the doorway edges remain visible on both sides to preserve the violated domestic space.
- FRAMING SCALE: wide shot
- FRAME LAYOUT: red circular wall mark with centered photograph in the middle-center of the frame, background.
- KEY BACKGROUND ELEMENTS: Bedroom wall with red circle (Marked with a red circle) — The marked face is held nearly frontal to camera, displaying the large, heavily painted red circle; used as Primary graphic focal plane in the center of the composition; Old photograph (Fixed to the wall and blood-stained) — Its blood-stained image face points toward camera from the exact center of the circle; used as Small central anchor within the red circle; Bedroom doorway (Open) — The opening faces the camera, with both doorway edges visible; used as Frames the marked wall and establishes the camera as observing from outside the room.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Dusk-appropriate ambient light is kept subdued and desaturated, allowing the wall's red mark and the blood on the photograph to form the only forceful color contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The rooftop room remains ransacked, with footprints, disturbed household goods, an open living-room window, and overturned dining chairs. Suryoung still carries the folded maps in her backpack.

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 subtly compressed perspective and selective depth, allowing the close doorway edges to fall softly out of focus while the marked wall and central photograph remain sharply fixed beyond them. Keep the exposure low and the dusk ambience directional enough to let the room recede into gentle shadow, making the red circle feel heavy and confrontational without losing the real brush buildup, wall grain, pinning, and age of 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.

Edit this photograph. Apply ONLY the corrections listed below,
each in place, changing nothing else:

CORRECTIONS:
- Add the window with curtains to the wall facing the doorway inside the bedroom, matching the fixed architecture of the reference location.
- Change the people depicted in the old photograph to have clearly Korean features and appropriate attire.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 십자가처럼 기괴한 둥근 원이 달린 건물과 두 명의 한국인 어린 여자아이가 찍힌 낡고 피 묻은 사진 클로즈업.

LOCATION (lock): Inside the rooftop apartment’s bedroom, focused tightly on an old bloodstained photograph held after being removed from the wall. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: The camera completes the frontal dolly toward the photograph, isolating its image at the center while leaving thin fragments of the red-marked wall around it as physical context. The photograph stays within a realistic portion of the frame as focus resolves the rural restaurant, the roof-mounted circular sign, and the two seated girls.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: blood-stained photograph in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: Old photograph (Old and blood-stained) — The blood-stained image face is presented frontally, showing an old rural restaurant, a circular roof sign, and two seated girls; used as Primary isolated image detail at the center of the frame; Rural restaurant in photograph (Depicted in an old photograph) — Its front facade faces the original photograph camera; used as Visible within the photograph as the architectural backdrop behind the girls; Circular roof sign in photograph (Installed on the roof) — Its circular face is visible above the building roof; used as Creates the uncanny cross-like silhouette above the photographed building; Red-marked wall (Marked with a red circle) — Only peripheral sections of the wall face are visible around the photograph, carrying fragments of the red circle; used as Narrow peripheral context confirming that the photograph remains attached to the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued dusk ambient light preserves the photograph's aged tonal separation while the red mark and blood retain a deep, ominous contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The ransacked condition of the room remains, and the old photograph—bloodstained and showing two girls before the building with a circular rooftop sign—has been removed from the red wall circle into Suryoung's possession.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 십자가처럼 기괴한 둥근 원이 달린 건물과 두 명의 한국인 어린 여자아이가 찍힌 낡고 피 묻은 사진 클로즈업.

LOCATION (lock): Inside the rooftop apartment’s bedroom, focused tightly on an old bloodstained photograph held after being removed from the wall. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: The camera completes the frontal dolly toward the photograph, isolating its image at the center while leaving thin fragments of the red-marked wall around it as physical context. The photograph stays within a realistic portion of the frame as focus resolves the rural restaurant, the roof-mounted circular sign, and the two seated girls.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: blood-stained photograph in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: Old photograph (Old and blood-stained) — The blood-stained image face is presented frontally, showing an old rural restaurant, a circular roof sign, and two seated girls; used as Primary isolated image detail at the center of the frame; Rural restaurant in photograph (Depicted in an old photograph) — Its front facade faces the original photograph camera; used as Visible within the photograph as the architectural backdrop behind the girls; Circular roof sign in photograph (Installed on the roof) — Its circular face is visible above the building roof; used as Creates the uncanny cross-like silhouette above the photographed building; Red-marked wall (Marked with a red circle) — Only peripheral sections of the wall face are visible around the photograph, carrying fragments of the red circle; used as Narrow peripheral context confirming that the photograph remains attached to the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued dusk ambient light preserves the photograph's aged tonal separation while the red mark and blood retain a deep, ominous contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The ransacked condition of the room remains, and the old photograph—bloodstained and showing two girls before the building with a circular rooftop sign—has been removed from the red wall circle into Suryoung's possession.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use an intimate macro-like insert with the photograph held perfectly frontal and centered, its worn paper edges and blood-darkened emulsion rendered with tactile, shallow-depth detail. Let focus resolve decisively across the printed restaurant, the two seated girls, and the uncanny circular rooftop sign, while the narrow red-marked wall fragments fall softly away at the perimeter. Shape the subdued dusk light obliquely across the photograph so dried blood catches a restrained gloss and the aged image retains muted tonal 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 십자가처럼 기괴한 둥근 원이 달린 건물과 두 명의 한국인 어린 여자아이가 찍힌 낡고 피 묻은 사진 클로즈업.

LOCATION (lock): Inside the rooftop apartment’s bedroom, focused tightly on an old bloodstained photograph held after being removed from the wall. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: The camera completes the frontal dolly toward the photograph, isolating its image at the center while leaving thin fragments of the red-marked wall around it as physical context. The photograph stays within a realistic portion of the frame as focus resolves the rural restaurant, the roof-mounted circular sign, and the two seated girls.
- FRAMING SCALE: insert close-up on a detail
- FRAME LAYOUT: blood-stained photograph in the middle-center of the frame, midground.
- KEY BACKGROUND ELEMENTS: Old photograph (Old and blood-stained) — The blood-stained image face is presented frontally, showing an old rural restaurant, a circular roof sign, and two seated girls; used as Primary isolated image detail at the center of the frame; Rural restaurant in photograph (Depicted in an old photograph) — Its front facade faces the original photograph camera; used as Visible within the photograph as the architectural backdrop behind the girls; Circular roof sign in photograph (Installed on the roof) — Its circular face is visible above the building roof; used as Creates the uncanny cross-like silhouette above the photographed building; Red-marked wall (Marked with a red circle) — Only peripheral sections of the wall face are visible around the photograph, carrying fragments of the red circle; used as Narrow peripheral context confirming that the photograph remains attached to the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued dusk ambient light preserves the photograph's aged tonal separation while the red mark and blood retain a deep, ominous contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The ransacked condition of the room remains, and the old photograph—bloodstained and showing two girls before the building with a circular rooftop sign—has been removed from the red wall circle into Suryoung's possession.

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 insert with a restrained, nearly forensic frontal clarity and a deeper plane of focus, keeping the entire old photograph legible as one physical piece rather than isolating a single stain or face. Build a rigid central composition through the restaurant facade and the circular rooftop sign above it, allowing the two seated girls to anchor the lower portion of the printed image and intensify the sign’s cross-like silhouette. Keep the dusk illumination broad and low-contrast, with the bloodstains and peripheral fragments of the red-marked wall providing the only dense, ominous color accents.

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 characters from the building's signs.
- Remove the adult woman from the photograph so that only the two girls remain.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 좁고 낡은 조타실 내부 벽면 가득 기괴하게 덧그려진 수많은 붉은 원 형상들의 섬뜩한 전경.

LOCATION (lock): The cramped interior of the fishing boat’s old wheelhouse, with numerous strange red circles covering its walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At standing eye level from just beyond 인우's former shoulder line, complete the track on a wide view of the wall's full visible span. Hold the circle-covered face of the wall square enough to read the repeated forms, while slight perspective convergence preserves the cramped wheelhouse geometry.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: wheelhouse wall covered with red circles (Covered with many red circles) — The camera-facing wall surface bears numerous strange, overlapping red circular forms across its visible span; used as The central reveal, presented across the broad background as a repeated occult pattern; narrow wheelhouse interior (Narrow and old) — The wall planes recede away from the revealed marked surface at the frame edges; used as Provides the confined boundaries around the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued sunset-appropriate ambient illumination holds the interior in desaturated shadow while the documented red circles provide the sole deep-red emphasis.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wheelhouse walls remain covered with numerous strange circles, including the newly noticed red one; Suryoung still has the old photograph, maps, and backpack with 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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 좁고 낡은 조타실 내부 벽면 가득 기괴하게 덧그려진 수많은 붉은 원 형상들의 섬뜩한 전경.

LOCATION (lock): The cramped interior of the fishing boat’s old wheelhouse, with numerous strange red circles covering its walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At standing eye level from just beyond 인우's former shoulder line, complete the track on a wide view of the wall's full visible span. Hold the circle-covered face of the wall square enough to read the repeated forms, while slight perspective convergence preserves the cramped wheelhouse geometry.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: wheelhouse wall covered with red circles (Covered with many red circles) — The camera-facing wall surface bears numerous strange, overlapping red circular forms across its visible span; used as The central reveal, presented across the broad background as a repeated occult pattern; narrow wheelhouse interior (Narrow and old) — The wall planes recede away from the revealed marked surface at the frame edges; used as Provides the confined boundaries around the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued sunset-appropriate ambient illumination holds the interior in desaturated shadow while the documented red circles provide the sole deep-red emphasis.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wheelhouse walls remain covered with numerous strange circles, including the newly noticed red one; Suryoung still has the old photograph, maps, and backpack with 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 restrained, near-frontal wide composition with the camera held level and the marked surface carrying most of the frame. Keep the full visible wall and receding edge planes in deep, even focus, letting the repeated circles accumulate with an unnerving forensic clarity. Soft, subdued dusk ambience reveals worn texture and layered pigment without theatrical highlights, with the red remaining the only saturated accent.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk.

SHOT TEXT (authoritative, Korean): 좁고 낡은 조타실 내부 벽면 가득 기괴하게 덧그려진 수많은 붉은 원 형상들의 섬뜩한 전경.

LOCATION (lock): The cramped interior of the fishing boat’s old wheelhouse, with numerous strange red circles covering its walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: At standing eye level from just beyond 인우's former shoulder line, complete the track on a wide view of the wall's full visible span. Hold the circle-covered face of the wall square enough to read the repeated forms, while slight perspective convergence preserves the cramped wheelhouse geometry.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: wheelhouse wall covered with red circles (Covered with many red circles) — The camera-facing wall surface bears numerous strange, overlapping red circular forms across its visible span; used as The central reveal, presented across the broad background as a repeated occult pattern; narrow wheelhouse interior (Narrow and old) — The wall planes recede away from the revealed marked surface at the frame edges; used as Provides the confined boundaries around the marked wall.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Subdued sunset-appropriate ambient illumination holds the interior in desaturated shadow while the documented red circles provide the sole deep-red emphasis.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The wheelhouse walls remain covered with numerous strange circles, including the newly noticed red one; Suryoung still has the old photograph, maps, and backpack with 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):
Favor an assertive wide-angle sense of depth: hold the revealed wall square enough for every repeated form to register, while the adjoining planes taper sharply at the edges and make the room feel compressed around it. Let dim dusk illumination rake obliquely across the surface, catching uneven wear and the physical buildup of overlapping marks before falling quickly into desaturated edge shadow. Preserve the broad reveal while creating a subtle visual pull toward the densest layering of circles.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog.

SHOT TEXT (authoritative, Korean): 바다와 하늘의 경계를 완전히 지워버리듯 수평선을 가로막고 솟아오른 짙은 잿빛 안개 장벽의 압도적인 전경.

LOCATION (lock): The open sea at dusk before a dense gray wall of fog that erases the visible horizon. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From a low, wide vantage just above sea level, complete the upward tilt with the dense fog bank extending across the horizon head-on and erasing the division between sea and sky. Exclude most nearby water, retaining only a narrow lower band of golden reflection beneath the immense fog field before the camera begins its forward approach.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: dense dark-gray fog bank (Dense and extending across the full horizon); used as Primary environmental subject spanning the horizon and obscuring the sea-sky boundary; sea (Visible mainly as a narrow foreground band) — The visible surface reflects the golden light of the setting sun beneath the fog bank; used as A narrow lower strip that carries the sunset reflection and establishes the camera's low height; horizon (Obscured by the fog bank); used as Its disappearance is the visual measure of the fog bank's scale.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Golden sunset reflection is restrained against the deep gray fog, with subdued luminance and ominous warm-versus-neutral contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog.

SHOT TEXT (authoritative, Korean): 바다와 하늘의 경계를 완전히 지워버리듯 수평선을 가로막고 솟아오른 짙은 잿빛 안개 장벽의 압도적인 전경.

LOCATION (lock): The open sea at dusk before a dense gray wall of fog that erases the visible horizon. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From a low, wide vantage just above sea level, complete the upward tilt with the dense fog bank extending across the horizon head-on and erasing the division between sea and sky. Exclude most nearby water, retaining only a narrow lower band of golden reflection beneath the immense fog field before the camera begins its forward approach.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: dense dark-gray fog bank (Dense and extending across the full horizon); used as Primary environmental subject spanning the horizon and obscuring the sea-sky boundary; sea (Visible mainly as a narrow foreground band) — The visible surface reflects the golden light of the setting sun beneath the fog bank; used as A narrow lower strip that carries the sunset reflection and establishes the camera's low height; horizon (Obscured by the fog bank); used as Its disappearance is the visual measure of the fog bank's scale.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Golden sunset reflection is restrained against the deep gray fog, with subdued luminance and ominous warm-versus-neutral contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use an expansive wide-lens feel with severe frontal symmetry, holding the camera just above the sea and letting the upward framing make the fog bank dominate almost the entire image. Keep the narrow golden water strip visually compressed along the bottom edge while dense, physically textured gray vapor rises as a monumental continuous field. Render the restrained sunset reflection with soft specular detail and preserve deep, subdued tonal separation within the fog.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog.

SHOT TEXT (authoritative, Korean): 바다와 하늘의 경계를 완전히 지워버리듯 수평선을 가로막고 솟아오른 짙은 잿빛 안개 장벽의 압도적인 전경.

LOCATION (lock): The open sea at dusk before a dense gray wall of fog that erases the visible horizon. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: From a low, wide vantage just above sea level, complete the upward tilt with the dense fog bank extending across the horizon head-on and erasing the division between sea and sky. Exclude most nearby water, retaining only a narrow lower band of golden reflection beneath the immense fog field before the camera begins its forward approach.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: dense dark-gray fog bank (Dense and extending across the full horizon); used as Primary environmental subject spanning the horizon and obscuring the sea-sky boundary; sea (Visible mainly as a narrow foreground band) — The visible surface reflects the golden light of the setting sun beneath the fog bank; used as A narrow lower strip that carries the sunset reflection and establishes the camera's low height; horizon (Obscured by the fog bank); used as Its disappearance is the visual measure of the fog bank's scale.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: Golden sunset reflection is restrained against the deep gray fog, with subdued luminance and ominous warm-versus-neutral contrast.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use a compressed lens feel from the same low, head-on vantage, flattening the fog bank into an impenetrable gray plane with no readable horizon line. Build the composition through broad horizontal tonal layers: a very narrow, dim golden reflection below and an immense neutral-dark fog mass above, with subtle density variation providing depth rather than a visible boundary. Keep the image austere and low in contrast, allowing only the muted warmth on the sea to interrupt the enveloping gray.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog.

SHOT TEXT (authoritative, Korean): 두꺼운 안개 띠 속으로 낡은 어선이 진입하며 뱃머리를 따라 물살이 V자로 갈라지는 찰나의 모습.

LOCATION (lock): The open sea at the leading edge of a dense fog bank, where a small fishing boat is entering the mist. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Track backward just above sea level from ahead and slightly beside the bow, briefly matching the boat's speed as the lens lowers toward the instant the water divides into a V. Keep the bow in the lower-right portion at a natural scale while the open V-shaped wake leads toward the lower center and the dense fog occupies the route ahead.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: old fishing boat (Entering the dense fog) — Its bow presents a three-quarter front face to the camera as it advances past the lens axis; used as Moving foreground subject whose bow creates the V-shaped division in the water; sea around the bow (Parting into a V-shape); used as Forms the V-shaped lines around the bow and provides visible forward motion; dense fog band (Thick around the boat's line of entry); used as The destination of the boat and the background that progressively removes its outline.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The remaining golden sunset reflection is muted by the dense fog, maintaining low luminance and restrained desaturated tension.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The same old fishing boat carrying Inwoo and the unconscious Suryoung continues forward into the dense fog bank.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog.

SHOT TEXT (authoritative, Korean): 두꺼운 안개 띠 속으로 낡은 어선이 진입하며 뱃머리를 따라 물살이 V자로 갈라지는 찰나의 모습.

LOCATION (lock): The open sea at the leading edge of a dense fog bank, where a small fishing boat is entering the mist. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Track backward just above sea level from ahead and slightly beside the bow, briefly matching the boat's speed as the lens lowers toward the instant the water divides into a V. Keep the bow in the lower-right portion at a natural scale while the open V-shaped wake leads toward the lower center and the dense fog occupies the route ahead.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: old fishing boat (Entering the dense fog) — Its bow presents a three-quarter front face to the camera as it advances past the lens axis; used as Moving foreground subject whose bow creates the V-shaped division in the water; sea around the bow (Parting into a V-shape); used as Forms the V-shaped lines around the bow and provides visible forward motion; dense fog band (Thick around the boat's line of entry); used as The destination of the boat and the background that progressively removes its outline.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The remaining golden sunset reflection is muted by the dense fog, maintaining low luminance and restrained desaturated tension.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The same old fishing boat carrying Inwoo and the unconscious Suryoung continues forward into the dense fog bank.

NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so.

No text, captions, watermarks or annotations anywhere.

VISUAL APPROACH — this take (camera, framing, composition):
Use an immersive wide-angle perspective with the camera skimming just above the sea, making the V-shaped division of the water the strongest graphic path through the lower frame while the three-quarter bow remains naturally scaled in the lower right. Hold broad depth so the worn hull, glossy disturbed water, and soft wall of fog remain physically legible together; let the muted dusk reflection rake faintly across the ripples before dissolving into low-contrast mist.

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 — South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, dense fog.

SHOT TEXT (authoritative, Korean): 두꺼운 안개 띠 속으로 낡은 어선이 진입하며 뱃머리를 따라 물살이 V자로 갈라지는 찰나의 모습.

LOCATION (lock): The open sea at the leading edge of a dense fog bank, where a small fishing boat is entering the mist. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place.

CAMERA & FRAME (follow exactly — this is the composition authority for this still; the reference images supply identity and place, never the framing):
- CAMERA: Track backward just above sea level from ahead and slightly beside the bow, briefly matching the boat's speed as the lens lowers toward the instant the water divides into a V. Keep the bow in the lower-right portion at a natural scale while the open V-shaped wake leads toward the lower center and the dense fog occupies the route ahead.
- FRAMING SCALE: wide shot
- KEY BACKGROUND ELEMENTS: old fishing boat (Entering the dense fog) — Its bow presents a three-quarter front face to the camera as it advances past the lens axis; used as Moving foreground subject whose bow creates the V-shaped division in the water; sea around the bow (Parting into a V-shape); used as Forms the V-shaped lines around the bow and provides visible forward motion; dense fog band (Thick around the boat's line of entry); used as The destination of the boat and the background that progressively removes its outline.
Compose the frame exactly as specified above — camera angle, subject scale and screen placement. Keep true physical scale between people and background elements: fixtures and distant objects occupy only the small screen area their real size and distance dictate; never enlarge a background object into a foreground presence.

LIGHTING & MOOD (these govern light, color and surface rendering):
- LIGHTING & MOOD: The remaining golden sunset reflection is muted by the dense fog, maintaining low luminance and restrained desaturated tension.
- MATERIAL REALISM: every object and surface must read as a real,
  physical material — correct texture, weight, wear and light response
  (metal reflects, fabric drapes and creases, liquid is glossy and
  pools, painted or drawn marks sit ON a surface and follow its
  curvature and lighting). Nothing may look like a flat sticker, a
  doodle or a graphic overlay pasted onto the frame.

THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes.

REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot
text may describe characters metaphorically, figuratively or with
exaggeration. Photograph what a real movie camera would actually
record on a physical set — exaggerated or figurative impressions
become realistic staging choices (lighting, distance, angle,
wardrobe), not literal fantasy imagery.
EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly
features non-human or virtual beings (as in science fiction or
fantasy), every character — however indirectly, vaguely or
figuratively the text describes them — IS a real human. When the
text gives no direct visual description of a person, IMAGINE one
and still show them as a concrete, fully-formed human being:
always render the human form to the maximum extent — build,
posture, face, hands, clothing — never reduce a person to a shape,
blob, solid silhouette or abstract mass.

EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a
person's eyes, face or presence emotionally or figuratively (vacant,
hollow, dazed, burning, lifeless gaze and the like), it describes an
ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY
through gaze direction, focus, eyelids, facial muscles, stillness
and posture. Every living person's eyes remain anatomically normal
human eyes with a natural iris and pupil, natural sclera and normal
proportions; NEVER whiten, blank out, cloud over, glow, enlarge or
otherwise alter eyeballs, skin or anatomy — unless the story
explicitly declares that being non-human or supernatural in form.

PROPS FACE THE RIGHT WAY: every handheld or used object must be
oriented exactly as its real-world use requires. A person reading,
watching or operating something (a phone, a photograph, a paper,
any device) has its functional side — screen, front, page — facing
THEIR OWN eyes; the camera then sees whatever side the staging
geometry implies (often its back). Show the functional side to the
camera ONLY when the shot text itself stages it toward the viewer.
Never flip, mirror or reverse an object's front and back.

CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The same old fishing boat carrying Inwoo and the unconscious Suryoung continues forward into the dense fog bank.

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 wide shot with a restrained long-lens feel, compressing the visible distance between the advancing bow and the dense fog so the mist seems to close around its route. Keep the camera low and tracking backward as specified, but favor layered tonal recession: crisp pressure and texture where the bow parts the sea, then rapidly softened hull edges and subdued dusk color toward the fog, creating a quiet sense of the boat being progressively erased.

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:
- Fill the left side and foreground with dense fog occupying the boat's forward path, enveloping the advancing bow to show it entering the mist.

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.