아침 여덟 시 부산 시장길을 한 여자가 카메라를 보며 내려옵니다. 길을 막은 마을버스는 옆면을 바닥 삼아 걸어서 지나가고, 착지하면서 팔을 던지면 세상이 오른쪽으로 90도 기울어 노점과 활어 통과 사람들이 전부 쏟아집니다. 여자만 똑바로 서 있습니다. 닫힌 셔터로 들어갔다가 고양이 두 마리가 모는 수박 트럭에서 조수석 문을 걷어차고 나오고, 손가락을 튕기면 트럭만 한 대게가 나타납니다. 그 위에 올라서서 떠나는 30초, 컷은 한 번도 없습니다.
이 작품의 엔진은 후진하는 카메라 하나입니다. 카메라는 30초 내내 뒷걸음질만 치고 여자는 렌즈만 봅니다. 그래서 사건은 여섯 개인데 화면은 한 호흡으로 읽힙니다. 사건마다 무엇이 어디서 왔는지를 먼저 적었습니다. 버스는 처음부터 길을 막고 있고, 트럭은 비탈 위 차선에서 내려오고, 여자는 셔터 안으로 사라졌다가 트럭 조수석에서 다시 나옵니다. 근원 없이 튀어나오는 것은 대게 하나뿐이고, 그것만 손가락 튕김이라는 신호를 달았습니다.
레퍼런스는 두 장입니다. 흰 배경에 앞과 옆과 뒤와 얼굴을 한 장에 담은 여자 캐릭터 시트, 그리고 사람이 없는 아침 시장길 한 장입니다. 시장길은 카메라가 서는 자리에서 오르막을 올려다보는 각도로 만들어, 왼쪽 벽 중간의 닫힌 셔터 앞을 비워 두고 차선도 비워 두었습니다. 셔터는 13초의 무대이고 차선은 버스와 트럭과 대게가 들어올 자리라서요. 재킷이 양어깨에서 내려간 채로 나온 것은 그대로 살리고, 대신 그 상태와 머리 위 선글라스를 30초 내내 고정하라고 적었습니다.
마지막 두 초는 대사 없이 비워 두었습니다. 대게 위에서 눈을 한 번 감았다 뜨고 턱을 살짝 드는 것이 전부입니다. 붕괴는 소리로만 채웠습니다. 금속과 유리와 활어 통이 아스팔트에 떨어지는 소리 다음에 갑자기 수평이 돌아오면, 여자가 멀쩡하다는 것이 설명 없이 전달됩니다.
단계 3개 · 레퍼런스 2장
따라 만들기
각 단계의 프롬프트를 복사해 이미지를 만들고, 이미지마다 붙은 @Image 번호 순서 그대로 업로드하면 마지막 영상 프롬프트의 번호가 정확히 맞습니다.
Step 1
여자 캐릭터 시트
여자 캐릭터 시트
1번째로 업로드하면 프롬프트의 @Image 1이 됩니다
생성 프롬프트 · 2241자
Character reference sheet as FOUR full-body views in a row on a clean pure-white studio background, FRONT, 3/4, SIDE PROFILE, BACK, plus a large front-facing head-and-shoulders close-up inset panel at the right end. The same young Korean woman in every view, face based on @image_1, identity anchor: high cheekbones, sharp elongated eyes with a slight upward tilt, soft full lips, a clean defined jawline, glowy dewy skin, a thin cat-eye liner, glossy tangerine-tinted lips, long jet-black glass-sleek straight hair with blunt ends. The attached photo provides facial identity, skin and hair only; do not copy its market background, camera angle, framing, hand prop, half-smile or warm side sunlight; every view follows the neutral lookbook standing described here.
Tall runway-model proportions, about nine heads tall: a small head, a long neck, long legs making up more than half of her standing height, the full figure from the top of her hair to the soles of her sneakers filling each panel top to bottom, no shrinking or compressing to fit the panel.
Complete outfit, identical in every view: a cropped glossy tangerine-orange nylon windbreaker with white contrast piping along the sleeves and a chunky white zipper, worn half-zipped, over a fitted cobalt-blue ribbed knit tank with a scoop neckline; high-waisted wide-leg cream cotton cargo trousers with lime-green drawstring cords at the waist and cuffs and deep patch pockets; chunky white leather sneakers with cobalt-blue panels and lime laces over lime-green ribbed socks. Worn accessories: thick chrome hoop earrings, a short necklace of tiny cobalt glass beads, translucent orange-framed sunglasses pushed up on top of her head. Hands empty, arms relaxed at her sides, neutral calm expression, feet slightly apart, the back view showing the windbreaker's plain back and the trousers' rear pockets.
Clean even studio lighting like a fashion lookbook turnaround, soft true shadows under the sneakers, true fabric color, visible nylon sheen, rib-knit texture and cotton weight, real skin texture with visible pores in the close-up. A high-resolution contemporary digital editorial photo, crisp edges, minimal noise. No text, no logo, no watermark, no lettering on any garment.
Step 2
부산 시장길 아침 로케이션
부산 시장길 아침 로케이션
2번째로 업로드하면 프롬프트의 @Image 2이 됩니다
생성 프롬프트 · 2870자
A location-scout photograph of a narrow sloping market street in an old Busan port neighborhood, shot at chest height from the bottom of the slope looking straight up the hill, on a Canon EOS 5D with a 35mm lens, the road running from the bottom edge of the frame up into the distance where it bends slightly left and disappears behind the buildings. Early morning, about 8 a.m.: low hard sunlight comes in from the upper right, raking across the street, throwing long crisp shadows of utility poles and parasol ribs across the asphalt, the shaded left wall cool and blue-grey while the sunlit surfaces glow warm. The asphalt has just been hosed down by the vendors and is wet and glossy, catching the sun in a long bright streak up the center of the lane, a yellow hose still lying half-coiled by the curb with a puddle spreading from its nozzle.
Left side: a continuous row of low two-story concrete shop fronts with corrugated roll-up steel shutters. In the mid-ground, about ten meters up the hill, one shutter is fully closed, clean and pale grey, with an empty patch of wet pavement in front of it and nothing stacked against it. Before and after that closed shop, the sidewalk is crowded with market gear: a faded red parasol tilted over a stall, blue plastic tubs with water sloshing at the rim and a green hose looped over one edge, a stack of white styrofoam boxes with condensation running down the sides, lime-green plastic crates, a pair of orange rubber gloves hung on a tub handle, a hotteok griddle cart with its steel lid closed, a fish-cake cart with a steaming broth tray, red plastic stools, a red mailbox by the curb, a delivery scooter parked on its stand with a helmet hanging from the mirror.
Right side: the single asphalt traffic lane, empty, rising with the hill, bordered by a worn yellow curb line, then a low row of shops with awnings, a chalk price board turned away from the camera, a bicycle leaning on a pole, tangled power lines overhead against a clear pale-blue morning sky, a few seagulls on a rooftop edge. Far up the hill, softly out of focus, more parasols and the green hillside above the roofs.
Lived-in detail everywhere: peeling paint, rust streaks under the shutters, a half-finished paper cup of coffee on a styrofoam lid, a folded newspaper on a stool, fish scales glinting on the wet concrete, a faded poster with no readable text on the wall. Real architecture, physically grounded objects, true light falloff, subtle film grain, slightly imperfect handheld framing like a real scouting snap. The color palette is dominated by wet asphalt grey, warm sunlit concrete and cream, punctuated by faded parasol red, cobalt-blue tubs, lime-green crates and orange rubber gloves. Empty of people and vehicles in the lane. NOT a 3D render, NOT CGI, NOT AI-looking. No readable text, no logo, no watermark. Ultra-detailed, 4K.
Step 3
영상 프롬프트
최종본
생성 프롬프트 · 10305자
defines the woman's face, hair and complete outfit, including the orange windbreaker worn dropped off both shoulders, the cobalt tank, the cream cargo trousers, the blue-and-lime sneakers, the chrome hoops, the cobalt bead necklace and the orange sunglasses on top of her head. Do not use its white background, lookbook standing poses, neutral expression or flat studio lighting.
defines the street only: the gently rising lane, the left wall of shop fronts with roll-up steel shutters and the one closed clean shutter in the mid-ground, the stall gear on both sides, the wet asphalt, the manhole cover, the low morning sun from the upper right. Geometry, materials and light sources only, not camera, framing or people. The reference is empty; in this shot it is crowded with shoppers and vendors.
ADDED and not present in the reference: a green village minibus, a blue one-ton flatbed truck, two cats, a giant king crab.
A 2000s Korean studio-comedy film shot, 16:9, 35mm spherical, moderate film grain, bright early-morning Busan daylight. ONE UNBROKEN STEADICAM TAKE. The camera walks backward down a gently sloping market street, chest-high, always facing the woman, holding her in a medium-wide as she walks down the slope toward camera the whole clip. Smooth steadicam, no cuts, no drone, no phone, no gimbal whip, no crash zoom. She looks into the lens.
PLACE
The market street from , about 8 a.m. One asphalt traffic lane, freshly hosed and glossy, a manhole cover in the middle. Left wall: low two-story shop fronts with corrugated roll-up steel shutters, one shutter fully closed and clean in the mid-ground with empty wet pavement in front of it; along the rest of the wall a red paper parasol over a stall, blue plastic tubs of live fish with a green hose, stacked white styrofoam boxes, a lime-green plastic crate, a yellow hose coiled by the curb, a parked delivery scooter, a hotteok griddle cart, a fish-cake cart with a steaming broth tray, red plastic stools. Right side: more stalls under green and orange awnings, a bicycle on a pole, tangled power lines, a pale-blue morning sky, seagulls on the rooftops. Low hard sun from the upper right throws long crisp shadows of poles and parasols across the wet asphalt. At the bottom of the slope, behind the camera, the harbor and container cranes.
CHARACTER
The woman from , exactly as in the sheet. The orange windbreaker stays dropped off both shoulders the whole clip and the orange sunglasses stay on top of her head the whole clip. She walks with a lot of swag, eyes on camera. Exact same face the entire clip. Exactly one named character; everyone else is an unnamed extra whose face resembles no reference. No dialogue. No singing. No music.
TIMELINE
0-2s: [Steadicam walking backward down the slope, she walks toward lens] Crowded morning market street. She comes at camera with heavy swag, looking straight into the lens, shoulders rolling, a bounce in the step, heel landing first, shoppers splitting around her. Market noise only. A green village minibus is already wedged across the street ahead of her, curb to wall, nose toward the left stalls, blocking everything.
2-7s: [Steadicam walking backward] She does not stop and does not squeeze past. Without breaking eye contact she steps onto the SIDE of the minibus and walks along the vertical bus panel as if it were the floor, body horizontal, parallel to the ground, heel landing first, one sneaker always on the metal, fast, no effort, physics ignoring her. Passengers inside press their faces to the windows right under her feet, staring up, incredulous. At the front corner of the bus she kicks off with a sharp lateral jump, lands on the wet asphalt, and keeps walking toward camera as if nothing happened.
7-12s: [Steadicam, still on her face] She jumps. On the landing she throws both arms hard to the right, an abrupt full-body gesture, then freezes in a balanced stance, upright, unmoving. A camera/world tilt slams everything toward screen-right as if gravity rotated 90 degrees: the street becomes a cliff falling toward the right-hand stalls. Shoppers, the minibus, the delivery scooter, parasols, the hotteok cart, the fish-cake cart with its broth, tubs of live fish, stacks of styrofoam boxes, the lime crate, red stools, the coiled yellow hose, all lose their footing and crash to the right with real weight and real physics, fish flopping in the air, broth sheeting across the asphalt, long morning shadows swinging with them. She stays perfectly vertical, as if her gravity never changed. The frame itself feels canted. Five seconds of the collapse.
12-13s: [Steadicam levels back] The world snaps level. Disaster on the ground: people on the pavement, the minibus on its side against the right-hand awnings, the scooter in the gutter, fish flopping on wet asphalt, hotteok everywhere, steam rising from the tipped broth cart. She has not a scratch. She is still looking at camera.
13-15s: [Steadicam holds] The closed steel shutter on the left is beside her path. She stops in front of it, still looking at camera. One hand gesture. The shutter screams straight up and slams open. She steps into the black interior and vanishes. The shutter slams down. Closed shutter, two seconds. Camera stays on the closed shutter and the wet pavement in front of it. No pan.
15-17s: [Steadicam still holding that same piece of street] Engine scream. A blue one-ton flatbed delivery truck, bed piled with watermelons, shoots down the lane from up the slope, two fat orange tabby cats in the cab: one standing on the driver's seat with both front paws on the wheel, ears back, mouth open, the other on the dashboard, tail straight up. No human driver. The truck is already out of control, bouncing over debris from the tilt, watermelons rolling off the bed. It does not slow down.
17-20s: [Steadicam, no pan, the crash happens in frame] The truck slams nose-first into the closed steel shutter. Real impact: hood folds, the shutter buckles inward, headlight bursts, the windshield stars, watermelons burst on the asphalt, red pulp and black seeds spraying, the chassis wedges against the shop front and dies. Through the intact passenger window the woman is sitting in the passenger seat, unharmed, looking toward camera. She plants one foot, kicks the passenger door from the inside. The door shears off both hinges, flies across the street and skids on the wet asphalt. She ducks through the empty door frame, both feet on the street, stands up, windbreaker still off her shoulders and still clean, sunglasses still on her head, and walks toward camera again, swag, eyes on the lens. The two cats stay in the cab, one paw still on the wheel, both yowling. She came out of the cab through the kicked-off door. Not the truck bed.
20-22s: [Steadicam walking backward with her] She takes two steps toward camera, stops. Raises one hand and snaps her fingers, loud, close enough to see the fingers. On the snap, a giant king crab is suddenly there in the traffic lane beside her, truck-scale, spiny red-orange carapace wider than the truck, eight jointed legs crusted with barnacles, two claws the size of scooters, stalk eyes swiveling. The asphalt cracks under its legs and the manhole cover pops up. People still on the ground from the tilt look up at it. No fade, no glow: it is just there.
22-25s: [Steadicam] She runs two steps and jumps onto the carapace. Both sneakers land on the top of the shell, knees bend, she finds her balance, stands upright on the crab like a platform, still facing camera, still looking into the lens. The crab lifts one leg and sets it down, claw scraping. She rides it.
25-27s: [Steadicam pushes in from medium-wide to a tight medium] The camera walks closer, chest-high, filling the frame with her face and the spiny shell under her feet, the low sun on the right side of her face. She holds completely still on the crab, no swagger, just looking into the lens. She says nothing. A slow blink, then a small lift of the chin, mouth closed, eyes locked on the lens. Two seconds of held silence, only the crab's claws settling on the asphalt and the seagulls. No smile.
27-30s: [Steadicam, still close, then she leaves] The crab launches. Eight legs hammer the asphalt, the shell lurches forward at full speed down the slope toward camera. She stays standing on it, knees absorbing the start, still looking at the lens as they fill the frame. They blast past the camera. The steadicam pivots and holds as she and the crab recede down the wrecked street toward the harbor at the bottom, her riding away at full speed, claws gouging pavement, seagulls scattering, the cats still yowling in the crashed truck. Clip ends on her leaving. Never cut.
AUDIO
Morning market street: vendors, seagulls, broth bubbling, water dripping from hosed tubs, scooter engines. Sneakers on the bus panel, passengers gasping through glass, a landing. Jump landing, the roar of a gravity tilt (metal, glass, fish tubs, styrofoam, bodies hitting asphalt), then a sudden level-out. Steel shutter screaming up, slamming down. Engine scream, two cats yowling, tires over debris, a truck hitting a steel shutter: metal fold, glass, watermelons bursting. A door kicked off, steel on wet asphalt. Finger snap. A sudden heavy animal weight cracking asphalt, a manhole cover clanging, crab claws. Two seconds of held silence, only claws settling and seagulls. No dialogue anywhere in the clip: no one speaks, no mouth is synced to any voice. Then claws ripping pavement, the shell taking off, the crash receding, cats still yowling. No music. No extra score. No singing. 2000s film production sound.
STYLE & QUALITY
Looks like a real early-2000s Korean comedy movie steadicam shot that never cuts: 35mm grain, low morning sun, wet glossy asphalt, stable face, real crowd, real bus-walk, real tilt-gravity, real crash into the steel shutter, real kicked-off door, real giant crab with weight, real takeoff. Photoreal. No cartoon, no CGI sheen. No subtitles, no on-screen text, no logo, no watermark throughout, and no readable lettering on any sign, box or garment. No background music, keep only diegetic and ambient sound. No object appears, disappears, floats, or morphs into another object except the crab at the snap.