★ 선정본 모아보기 (Gemini 점수 단독, 23샷)
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime. SHOT TEXT (authoritative, Korean): 맑은 낮, 오래된 다세대 빌라 옥상 위에 자리 잡은 옥탑방을 높은 곳에서 내려다본 부감 구도 LOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: No person is visible; the rooftop room remains fixed on top of the old multi-family villa beneath the high, downward-looking camera. FIGURES — size & depth (follow exactly): The rooftop room appears small, about ~1/6 of the frame height, and is FARTHER from the camera than the surrounding upper roof surfaces in the foreground. No people appear unless the shot text itself says so. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night. SHOT TEXT (authoritative, Korean): 현관 철문이 아주 살짝 열린 틈새로 보이는 어두운 실내와 신발 앞코 LOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): The unknown man's shoe toe advances from the rooftop exterior through the narrowly opened iron doorway into the dark room, leading his unseen body inward. FIGURES — size & depth (follow exactly): The shoe toe is small, about ~1/10 of the frame height, and lies FARTHER from the camera than the NEARER iron door edges; the dark interior recedes farthest beyond it. No people appear unless the shot text itself says so. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night. SHOT TEXT (authoritative, Korean): 불이 켜진 옥탑방 창문에 거대한 그림자가 작은 그림자의 어깨 쪽으로 고개를 꺾은 형태가 맺혀 있는 정지 구도 LOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. PROPS FACE THE RIGHT WAY: every handheld or used object must be oriented exactly as its real-world use requires. A person reading, watching or operating something (a phone, a photograph, a paper, any device) has its functional side — screen, front, page — facing THEIR OWN eyes; the camera then sees whatever side the staging geometry implies (often its back). Show the functional side to the camera ONLY when the shot text itself stages it toward the viewer. Never flip, mirror or reverse an object's front and back. MOVEMENT (follow exactly): static: A real man appearing as a large dark silhouette, with normal human build, leans into Minsook and angles his head down toward her shoulder as she is caught beneath him. FIGURES — size & depth (follow exactly): The man's shadow fills roughly ~2/3 of the frame height, larger than Minsook's smaller shadow at about ~1/3; both people are FARTHER than the NEARER window surface, while their mutual camera-depth order is not established. Their silhouettes overlap at Minsook's shoulder, leaving almost no distance between their paths. No people appear unless the shot text itself says so. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night. SHOT TEXT (authoritative, Korean): 옥상에 선 수리영의 시선 끝에 반쯤 열려 있는 어두운 현관 철문이 보이는 정면 구도 LOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place. THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes. PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the aged rooftop surface, metal entrance door, surrounding exterior materials, and nighttime illumination from the reference. Keep the entrance door visibly open to the degree required by the current scene. Exclude the stranger's shoe and any suggestion that the stranger is still standing at the doorway. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: Suriyoung stands tensely on the rooftop with her body and gaze directed straight toward the half-open iron entrance door and its dark interior. FIGURES — size & depth (follow exactly): Suriyoung appears about ~1/2 of the frame height in the NEARER rooftop area, while the half-open door appears about ~1/3 and is FARTHER ahead along her line of sight. PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dawn. SHOT TEXT (authoritative, Korean): 옥상 담벼락 위에서 한쪽 앞발을 허공으로 뻗은 검은 고양이의 측면 LOCATION (lock): The flat rooftop of an aging low-rise apartment building, enclosed by a waist-high parapet. A small rooftop dwelling has a metal entrance door and a window visible from the open roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): The black cat moves side-on across and over the rooftop wall toward the opposite side, extending one forepaw into the air as its body follows. FIGURES — size & depth (follow exactly): The cat appears medium-sized, about ~1/3 of the frame height, and is NEARER to the camera than the FARTHER side beyond the wall; the wall runs beneath its crossing path. No people appear unless the shot text itself says so. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night. SHOT TEXT (authoritative, Korean): 철제 파이프 난간을 손으로 잡은 수리영이 코끝을 찡그린 채 계단 중간에 서 있는 얼굴 클로즈업 LOCATION (lock): A narrow exterior metal staircase attached to an old low-rise residential building. It has exposed steel steps and tubular pipe railings leading upward toward the roof. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: Suri-young pauses midway up the staircase while ascending toward the rooftop, gripping the metal-pipe railing with a tense posture and wrinkling her nose at the sudden foul smell, her body oriented uphill. FIGURES — size & depth (follow exactly): Suri-young’s face fills ~2/3 of the frame height in close-up and is the nearest figure; her hand and the metal-pipe railing sit slightly farther from the camera as she remains midway on the stairs. PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night. SHOT TEXT (authoritative, Korean): 수리영이 초점을 잃은 눈으로 허공을 응시하며 서 있는 모습 LOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: Su-ri-young stands motionless and dazed after coming down from the rooftop room, her unfocused eyes staring into empty space and her body lacking purposeful direction. FIGURES — size & depth (follow exactly): Su-ri-young is the only visible figure, so she is both the nearest and farthest person; her apparent fraction of frame height is unspecified in the source. PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night. SHOT TEXT (authoritative, Korean): 고개를 든 채 혜수의 얼굴을 마주보고 있는 수리영의 측면 구도 LOCATION (lock): A confined ground-level alley and small courtyard beside an aging multi-unit residential building. Concrete walls, building entrances, and the base of the exterior access structure frame the space. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place. THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes. PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the confined courtyard's concrete surfaces, building entrances, access structure, and nighttime emergency ambience from the reference. Preserve the young woman's standing position in the same ground-level area. Exclude her earlier vacant stare and empty-air eyeline; frame her now looking up at the approaching woman. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: Su-ri-young holds her head raised and faces Hye-su directly in side profile, looking up at her while remaining dazed and stationary. FIGURES — size & depth (follow exactly): Su-ri-young and Hye-su's face are visible facing each other, but their respective frame-height fractions and which is nearer to the camera are unspecified; their paths have converged at conversational distance, with neither moving past the other. PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영, 혜수 — never anyone else, and never add a person the shot text does not show. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light. SHOT TEXT (authoritative, Korean): 다급하게 상체를 기울이며 손가락 끝으로 TV 전원 버튼을 세게 누르고 있는 민숙의 측면 구도 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): Min-sook urgently pitches her upper body forward toward the TV and forcefully drives a fingertip into its power button to turn it off as Su-ri-young emerges from her room. FIGURES — size & depth (follow exactly): Min-sook's side-view upper body fills roughly 2/3 of the frame height, with her reaching hand and the TV button NEARER to the camera than her face and torso. The TV is FARTHER along her forward reach, and her body closes the short distance toward it. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains in her apron, with the same small circular mark on her wrist; the mark must already be present here because she has had it since childhood. PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 — never anyone else, and never add a person the shot text does not show. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): interior ambient light. SHOT TEXT (authoritative, Korean): 민숙의 손목에 선명하게 드러난 작은 원형 표식의 타이트 샷 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place. THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes. PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the cramped living area's worn materials, daylight, and the woman's apron and position from the reference. Preserve the continuity of her wrist and its small circular mark. Exclude the TV-button-pressing action and any wider room elements that fall outside this tight wrist framing. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: Min-sook's wrist is held in view, with the sharply visible small circular mark facing the camera. FIGURES — size & depth (follow exactly): The wrist fills most of the tight frame, while the circular mark occupies a small area at its center. The skin and mark are the NEAREST and only principal subject, with any body or room detail FARTHER and out of focus. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The TV remains switched off, and Minsuk still wears the apron. The small, unusually distinct circular mark remains 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: 민숙 — never anyone else, and never add a person the shot text does not show. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night. SHOT TEXT (authoritative, Korean): 옷과 피부가 힘없이 무너져 미동이 없는 민숙이 바닥에 주저앉아 고개를 푹 숙인 정지 상태 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward, shoulders fallen, limbs limp, and body weight fully given way. FIGURES — size & depth (follow exactly): Min-sook's dark stains-covered body fills about 2/3 of the frame height and is the NEAREST principal figure. The floor directly beneath her is nearer than the surrounding bedroom and curtain area, which recede FARTHER behind her. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Min-sook remains dead behind the curtain, seated collapsed on the floor with her head dropped forward, her torn shoulder and collarbone exposed amid the dark stains and dark-stained footprints. One hand is clenched around a crumpled photograph, and the small circular mark remains 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: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night. SHOT TEXT (authoritative, Korean): 민숙의 손에 꽉 쥐어진 구겨진 사진의 타이트 샷 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place. THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes. PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the bedroom's dim nighttime look and the seated woman's fixed body, clothing, and hand position from the reference. Preserve the dark-stained condition and the crumpled photograph held in her hand. Exclude the wider view of her body, wounds, bed, and curtain from this tight photograph insert. IMMOBILE CHARACTER POSE — CANONICAL (identical wherever this character appears in ANY panel; on any conflict THIS POSE WINS): Min-sook is seated collapsed on the floor behind the curtain with her head dropped forward. One hand is clenched around a crumpled photograph. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: utterly motionless, collapsed Min-sook's hand remains clenched around a crumpled photograph, with the photograph exposed toward the camera. FIGURES — size & depth (follow exactly): The dead woman's hand fills roughly 2/3 of the tight frame, and the crumpled photograph fills about 1/3. The photograph is NEARER where it protrudes from her grasp, while her palm, wrist, and collapsed body are progressively FARTHER behind it. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk remains seated collapsed on the floor behind the curtain with her head dropped forward, with the wounds and dark stains undisturbed. The crumpled photograph stays clenched in her hand until Suri-young pulls it free, as the circular wrist mark turns red. PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 민숙 (환시) — never anyone else, and never add a person the shot text does not show. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night. SHOT TEXT (authoritative, Korean): 침대 위쪽 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. PROPS FACE THE RIGHT WAY: every handheld or used object must be oriented exactly as its real-world use requires. A person reading, watching or operating something (a phone, a photograph, a paper, any device) has its functional side — screen, front, page — facing THEIR OWN eyes; the camera then sees whatever side the staging geometry implies (often its back). Show the functional side to the camera ONLY when the shot text itself stages it toward the viewer. Never flip, mirror or reverse an object's front and back. MOVEMENT (follow exactly): A red circular mark spreads around the wall above the bed, progressing along a ring-like path as though an unseen brush is drawing it, with about half the circle formed. FIGURES — size & depth (follow exactly): The half-formed red circle fills roughly 1/2 of the frame height on the wall and is the principal visible object. The wall surface and mark are FARTHER than the nearer edge of the bed, with the red pigment visually sitting closest on that wall plane. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Minsuk’s motionless figure, wounds, and the room’s dark stains traces remain unchanged; her hand is now without the photograph, which Suri-young has taken, and the wrist mark is red. A red circle is partially formed on the wall above the bed. NO PEOPLE IN THIS SHOT: the shot text shows only the place and its state — no living person or any body part appears in frame, unless the shot text itself explicitly says so. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night. SHOT TEXT (authoritative, Korean): 어두운 얼룩 없이 깨끗한 방 내부 전경 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. PROPS FACE THE RIGHT WAY: every handheld or used object must be oriented exactly as its real-world use requires. A person reading, watching or operating something (a phone, a photograph, a paper, any device) has its functional side — screen, front, page — facing THEIR OWN eyes; the camera then sees whatever side the staging geometry implies (often its back). Show the functional side to the camera ONLY when the shot text itself stages it toward the viewer. Never flip, mirror or reverse an object's front and back. MOVEMENT (follow exactly): static: the excessively tidy bedroom stands empty, with no dark stainsstains, red wall mark, or collapsed body remaining anywhere in the room. FIGURES — size & depth (follow exactly): The empty room fills the full frame; nearer floor and furniture edges occupy the foreground, while the bed, curtain, and clean back wall are FARTHER away. No person is visible, and the formerly occupied curtain area is now empty. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The room is unnaturally spotless, with no dark stains, wall circle, or motionless figure behind the curtain. The backpack and doll are present in positions slightly different from when the body was discovered. PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 (Korean young woman, early 20s face, oval face, natural black long hair); 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night. SHOT TEXT (authoritative, Korean): 수리영이 멍한 눈으로 텅 빈 방 안을 응시하는 얼굴 클로즈업 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place. THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes. PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the spotless bedroom layout, fixed furnishings, worn surfaces, and nighttime lighting from the reference. Keep the room free of dark stains, a body, and the red wall mark. Exclude the wide empty-room composition from the close-up, showing only as much background as supports the woman's stunned gaze. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. PROPS FACE THE RIGHT WAY: every handheld or used object must be oriented exactly as its real-world use requires. A person reading, watching or operating something (a phone, a photograph, a paper, any device) has its functional side — screen, front, page — facing THEIR OWN eyes; the camera then sees whatever side the staging geometry implies (often its back). Show the functional side to the camera ONLY when the shot text itself stages it toward the viewer. Never flip, mirror or reverse an object's front and back. MOVEMENT (follow exactly): static: pale-faced Su-ri-young holds her body rigid and stares blankly into the empty bedroom where she expected to find her mother's body. FIGURES — size & depth (follow exactly): Su-ri-young's face fills about 2/3 of the frame height and is the NEAREST figure. The empty room she watches is FARTHER beyond her eyeline, with no other person visible. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The empty room remains excessively clean, with the motionless figure, dark stains, and red wall mark still absent. The backpack and doll remain in their 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 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): night. SHOT TEXT (authoritative, Korean): 혜수가 날카로운 눈빛으로 김형사를 노려보는 모습 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: Hye-su fixes a sharp, hostile stare toward Detective Kim, her face and body oriented directly at him. FIGURES — size & depth (follow exactly): Hye-su fills roughly 2/3 of the frame height and is the NEAREST visible figure. Detective Kim is the FARTHER target of her gaze, whether at the edge of the frame or just off-screen, with no crossing movement between them. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains cleared of the earlier evidence: the table is clean, and Suri-young’s room has no motionless figure, dark stains, or red circle. The backpack and doll remain slightly displaced from their earlier positions. PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 — never anyone else, and never add a person the shot text does not show. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime. SHOT TEXT (authoritative, Korean): 거울 속 반사된 욕실 타일 벽면에 붉은색 원형 표식이 절반쯤 나타난 상태 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): A red circular mark suddenly develops across the bathroom tile wall seen in the mirror, extending around a ring-like path until roughly half is visible. FIGURES — size & depth (follow exactly): The mirror and reflected tiled wall fill most of the frame, while the half-formed red circle occupies about 1/2 of the reflected frame height. The mirror surface is physically NEARER to the camera, while the marked bathroom wall appears FARTHER within the reflection. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): Suri-young continues to have her doll-adorned backpack with her, while her bedroom remains clean and without a motionless figure. A red circle is partially visible on the bathroom wall only in the mirror reflection. PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime. SHOT TEXT (authoritative, Korean): 액자 속 민숙의 얼굴 부분 이미지가 아래로 일그러지며 흘러내리는 찰나 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. PROPS FACE THE RIGHT WAY: every handheld or used object must be oriented exactly as its real-world use requires. A person reading, watching or operating something (a phone, a photograph, a paper, any device) has its functional side — screen, front, page — facing THEIR OWN eyes; the camera then sees whatever side the staging geometry implies (often its back). Show the functional side to the camera ONLY when the shot text itself stages it toward the viewer. Never flip, mirror or reverse an object's front and back. MOVEMENT (follow exactly): The image of Min-sook's smiling face inside the framed photograph distorts and flows downward before Su-ri-young's eyes. FIGURES — size & depth (follow exactly): The framed photograph fills most of the close frame, and Min-sook's pictured face occupies roughly 1/2 of its height. The photograph's glass and frame are NEARER to the camera, while the collapsing facial image is visually FARTHER beneath the surface. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The bathroom’s red circle has vanished, and Suri-young still has the doll-adorned backpack. The framed photograph remains on the table as Minsuk’s face in it distorts and runs downward. No people appear unless the shot text itself says so. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): daytime. SHOT TEXT (authoritative, Korean): 수리영이 두 손으로 머리를 감싸 쥐고 입을 크게 벌린 얼굴 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place. THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes. PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the same worn living-room materials, small-window daylight, sparse furnishings, and established room layout from the reference. Use only the background continuity and place the distressed young woman within that space. Exclude the apron-wearing woman and the earlier TV-button-pressing action, and do not reproduce the distorted photograph as the main subject. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: terrified and overwhelmed, Su-ri-young clamps both hands around her head and holds her mouth wide open in a scream, her posture rigid with panic. FIGURES — size & depth (follow exactly): Su-ri-young's face and hands fill about 3/4 of the frame height and form the NEAREST subject. Her hands sit slightly NEARER than her face on either side, while the room behind her is FARTHER and secondary. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The framed photograph remains on the table but has returned to normal, and the bathroom wall remains without the red circle. Suri-young still has the doll-adorned backpack with her. PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset. SHOT TEXT (authoritative, Korean): 해질 무렵 옥탑방 거실, 흙 묻은 발자국들이 찍힌 바닥과 쓰러진 식탁 의자들이 보이는 전경 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: muddy footprints remain across the ransacked living-room floor among overturned dining chairs, indicating a prior path through the room but no current movement. FIGURES — size & depth (follow exactly): The footprint-marked floor fills the lower half of the wide frame, with the NEAREST prints and fallen chair parts in the foreground appearing larger. Additional prints, the dining area, and the open living-room window recede FARTHER into the room. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with dirty footprints on the floor, the living-room window open, and the dining chairs overturned. The red circle and the stained old photograph pinned at its center are already present in Suri-young’s room. PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 수리영 — never anyone else, and never add a person the shot text does not show. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset. SHOT TEXT (authoritative, Korean): 붉은 원 한가운데 얼룩진 낡은 흑백 사진이 벽에 꽂혀 있는 타이트 샷 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached LOCATION PHOTOGRAPH shows the exact spot. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: a stained old photograph remains pinned at the center of the red circle on Su-ri-young's bedroom wall, facing outward toward the camera. FIGURES — size & depth (follow exactly): The photograph fills roughly 1/3 of the tight frame height, while the surrounding red circle occupies most of the frame. The photograph projects NEARER from the wall, and the red mark lies FARTHER against the flat wall surface behind it. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The dirty footprints, ransacked furnishings, open window, and overturned chairs remain undisturbed. In the bedroom, the stained old photograph is still pinned at the center of the red wall circle. No people appear unless the shot text itself says so. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset. SHOT TEXT (authoritative, Korean): 수리영의 손이 구겨진 사진을 꽉 움켜쥔 타이트 샷 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place. THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes. PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the worn bedroom wall texture, sunset illumination, and the continuing red circle from the reference. Preserve the same stained old photograph after it has been pulled from the wall. Exclude the pinning position and empty the center of the wall mark; focus instead on the hand tightly gripping the photograph. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. MOVEMENT (follow exactly): static: Su-ri-young's tense hand crushes the crumpled photograph in a tight grip as she holds it close. FIGURES — size & depth (follow exactly): Su-ri-young's hand fills roughly 2/3 of the tight frame, and the exposed portion of the photograph fills about 1/3. Her knuckles are NEARER to the camera, while the photograph is partly FARTHER inside her closed fingers. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, and the red wall circle remains after the photograph has been removed from its center. Suri-young tightly grips the same crumpled, stained 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 (Korean young woman, early 20s face, oval face, natural black long hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above. No text, captions, watermarks or annotations anywhere.
Create ONE FINAL photorealistic live-action film still of the moment below — contemporary South Korea, 2026; all people are Korean unless stated. TIME OF DAY (lock): dusk, just after sunset. SHOT TEXT (authoritative, Korean): 혜수가 미간을 깊게 찌푸린 채 스마트폰을 내려다보는 얼굴 클로즈업 LOCATION (lock): A cramped, aging rooftop residence with a small living area, bedroom wall, sparse furniture, and a compact tiled bathroom. Fixed features include the metal entrance door, a window, a bed, and worn interior walls. The shot takes place here — the attached PREVIOUS SHOT STILL shows this exact place. THIS SHOT CONTINUES THE PREVIOUS SHOT: everything the attached still established — the place, its fixed features and wear, each person's clothing and state — persists. Any person in it who cannot move stays PRECISELY as photographed (body, pose, contact points, held objects); only the camera changes. PREVIOUS STILL USAGE (follow exactly — what to take from the attached still and what to exclude): Take the ransacked living area's worn materials, sunset light, open-window condition, muddy footprints, and overturned chairs from the reference as continuing environmental state. Place the middle-aged woman with her smartphone within that same room. Exclude the earlier empty wide-floor emphasis, and do not add the young woman, her backpack, or the stained photograph to this close-up. REALIZE FIGURATIVE LANGUAGE AS A LIVE-ACTION SHOT: the Korean shot text may describe characters metaphorically, figuratively or with exaggeration. Photograph what a real movie camera would actually record on a physical set — exaggerated or figurative impressions become realistic staging choices (lighting, distance, angle, wardrobe), not literal fantasy imagery. EVERY CHARACTER IS A HUMAN BEING: unless the story explicitly features non-human or virtual beings (as in science fiction or fantasy), every character — however indirectly, vaguely or figuratively the text describes them — IS a real human. When the text gives no direct visual description of a person, IMAGINE one and still show them as a concrete, fully-formed human being: always render the human form to the maximum extent — build, posture, face, hands, clothing — never reduce a person to a shape, blob, solid silhouette or abstract mass. EXPRESSIONS ARE ACTED, NEVER ANATOMICAL: when the text describes a person's eyes, face or presence emotionally or figuratively (vacant, hollow, dazed, burning, lifeless gaze and the like), it describes an ACTOR'S PERFORMANCE captured by a real camera — realize it ONLY through gaze direction, focus, eyelids, facial muscles, stillness and posture. Every living person's eyes remain anatomically normal human eyes with a natural iris and pupil, natural sclera and normal proportions; NEVER whiten, blank out, cloud over, glow, enlarge or otherwise alter eyeballs, skin or anatomy — unless the story explicitly declares that being non-human or supernatural in form. PROPS FACE THE RIGHT WAY: every handheld or used object must be oriented exactly as its real-world use requires. A person reading, watching or operating something (a phone, a photograph, a paper, any device) has its functional side — screen, front, page — facing THEIR OWN eyes; the camera then sees whatever side the staging geometry implies (often its back). Show the functional side to the camera ONLY when the shot text itself stages it toward the viewer. Never flip, mirror or reverse an object's front and back. MOVEMENT (follow exactly): static: Hye-su lowers her gaze toward the smartphone and listens to Su-ri-young's recorded message with her brow deeply furrowed. FIGURES — size & depth (follow exactly): Hye-su's face fills about 2/3 of the close-up frame, while the smartphone occupies a smaller area below her face. The phone is NEARER to the camera, Hye-su's face is slightly FARTHER, and the room behind her is farthest. CARRIED STATE (persist exactly — must match the neighbouring shots of this scene): The apartment remains ransacked, with the footprints, open window, overturned chairs, and the now-empty red wall circle left in place; Suri-young has departed with the photograph and backpack. Hyesu holds the smartphone on which she is checking Suri-young’s recorded message. PEOPLE: the SHOT TEXT alone decides whether any person is visible in this shot. IF a person appears, they must be one of: 혜수 (Korean middle-aged woman, mid-40s face, mature facial features, dark natural hair) — never anyone else, and never add a person the shot text does not show. IF only part of a person is in frame (a hand, arm, foot, back, silhouette), that body part belongs to the specific person the shot text names — its sex, age, build, skin and grooming must unmistakably match that person's profile above. No text, captions, watermarks or annotations anywhere.