헐 대박, 백설공주 안 잤대

@Image1 defines the princess: her face, black bob with the burgundy velvet bow headband, makeup, the gold apple choker and red drop earrings, her full-figured hourglass build, and her gown exactly as shown. Use her identity, figure and costume only — not the white studio background and not the standing poses.
@Image2 defines the prince: his face, chocolate-brown wolf-cut hair with the clean center part, the pearl drop earring in each ear, the cropped ivory military jacket with gold frog closures, black satin band-collar shirt with gold collar chain, black sash, wide black trousers, black ankle boots, and the royal-purple velvet cape lined in gold. Use his identity and costume only — not the white background and not the standing poses.
@Image3 defines the three dwarfs: their faces, proportions, fluffy beards, colored pointed felt caps (red, blue, mustard), vests, belts and boots exactly as shown. Use their design only — not the white background and not the standing poses.
@Image4 defines the location only: the forest clearing, the gilded glass coffin on its mossy stone dais, the old oaks and the direction of the sunlight. Use its geometry, materials, warm golden palette and light; not its camera or framing. Render it as a real place photographed on film. The reference is empty; here it is populated. One change: the coffin's glass lid stands fully open on its hinges.

THE GOWN (locked, identical to @Image1 in every shot): an off-the-shoulder sweetheart bodice with a burgundy satin center panel and black velvet side panels; small burgundy satin puff sleeves sitting off the shoulders with black velvet bands; a FLOOR-LENGTH burgundy satin mermaid skirt with black velvet side panels; ONE high slit on her RIGHT leg only, from the hem to the upper thigh. Lying down, the skirt covers her left leg past her feet and pools in heavy folds; only her right leg shows through the slit. The gown never becomes a short dress and never changes color or cut. Her full figure fills the bodice exactly as in @Image1, soft and natural with real weight, never rigid, perfectly round or implant-like.

WORLD: live-action footage shot on location in a real old-growth forest clearing with practical sets and real props; the princess and the prince are real actors. The three dwarfs are photoreal animated characters composited seamlessly into the live-action plate, the way a big-budget family film blends lifelike creatures with real actors: same sunlight, real contact shadows on the moss and silk, the same golden rim light and film grain on their felt, wool, beards and skin. They stand about hip height next to a standing adult (about 90 cm) and reach the coffin's edge easily from the dais, never toy-sized, keep their big round heads, big glossy eyes, chubby rosy cheeks and soft round bodies from @Image3, move with bouncy, expressive animation and real weight, and never turn into real elderly men, statues, plush toys or puppets. Red cap = the lookout (ginger beard, brass spyglass). Blue cap = the chubby feeder. Mustard cap = the dreamy fanner with round spectacles. Exactly one princess, one prince and three dwarfs exist in this story; nobody else appears.

A multi-shot 30-second sitcom-style comedy scene with clean cuts. The comic premise: a princess who is supposed to be lying in a deathlike sleep in her glass coffin is actually lounging like a pampered queen, and has to fake her sleep the moment her prince arrives.

0–3s — SHOT 1, the hook, occupied from the very first frame. A close medium shot from slightly above her front, the camera close to the coffin's edge, framing her from the top of her head to her waist. She lies on her LEFT side on the ivory silk cushion, propped on her left elbow with her head in her left hand, her shoulders and chest turned openly toward the lens so her face, bare shoulders, collarbones and the full sweetheart neckline of the bodice fill the center of the vertical frame in warm golden light; her bare right leg peeks through the slit at the lower edge. Her corset laces hang loose. The blue-capped dwarf stands on the dais at the right edge of the frame with his whole round face and blue cap visible, holding a small bite-sized apple slice, no bigger than a fingertip, up to her lips; she nibbles it from his fingers with a lazy, smug half-smile. The red and mustard dwarfs fan her with huge glossy leaves from behind the coffin, their caps visible at the top of the frame. Static camera with a very slight handheld drift; no push-in.
3–6s — SHOT 2. The red-capped dwarf sits on a low oak branch above the clearing, spyglass to his eye; he gasps, then hops down in three quick bouncy little jumps — branch, tree stump, moss — boing, boing, boing — scurries to the coffin, cups a hand beside his mouth and whispers urgently into her ear in Korean: "공주님… 왕자 떴어요. 완전 얼짱이에요." Far behind him down the sunlit forest path, the prince in his purple cape strolls toward the clearing.
6–8.5s — SHOT 3. Medium shot of the coffin, total chaos. The princess sits bolt upright and snaps in Korean, irritated, in a sharp early-2000s attitude: "뭐? 이 씨, 연락도 없이 오고 난리야!" while she grabs her loose corset laces in her teeth and yanks them tight; the blue dwarf stuffs the apple bowl under the coffin, the mustard dwarf throws handfuls of rose petals everywhere.
8.5–10.5s — SHOT 4. Wide shot from the foot of the dais. She flops back into a perfect sleeping-beauty pose, hands folded on her waist, cheeks puffed from holding her breath. The three dwarfs drop to their knees around the coffin and fake-sob into their caps, peeking at each other.
10.5–13s — SHOT 5. Medium shot. The prince kneels beside the open coffin and slowly leans over her. He notices a tiny apple crumb at the corner of her lips, and one corner of his mouth lifts knowingly. He says in Korean, low and tender like a 2000s drama lead: "공주, 자고 있었어?"
13–15s — SHOT 6. Close-up of her face, eyes squeezed shut, perfectly still — and she answers in a tiny automatic voice in Korean: "…응." Her eyes stay shut; behind her the mustard-capped dwarf slaps both hands over his own mouth.
15–19s — SHOT 7. Two-shot close on their faces. The prince bites back a laugh, gently wipes the tiny crumb from her lip with his thumb, pops it into his own mouth, chews thoughtfully and says in Korean, deadpan and sweet: "음… 잠꼬대가 사과 맛이네."
19–24s — SHOT 8. Medium shot of the coffin. The prince sits down leaning against the side of the coffin, takes her hand and closes his eyes. She opens one eye, sees him, fails to hold it in, bursts out laughing and sits up, saying in Korean, flustered and laughing: "아 몰라, 너 땜에 망했어! 이 씨!" He laughs, finds her too cute, cups her cheek and gives her one short, sweet kiss on the lips, about one second. She grabs him by the collar and pulls him down into the coffin with her.
24–27s — SHOT 9. Wide shot of the dais. The glass coffin rocks and thumps on its stone base, ka-thunk ka-thunk, with muffled giggling from inside; only the edge of his purple cape hanging over the side flaps wildly and one of his black boots pops up over the rim and drops back; rose petals bounce off the coffin. The three dwarfs stand frozen beside it, eyes huge, mouths open.
27–30s — SHOT 10. Same wide shot. The three dwarfs look at each other, each grabs an apple, bites it, and they all flop backward onto the moss around the coffin at once, arms and legs out. They say together in Korean, deadpan: "…저희도 자는 척할게요." Hold on the wide shot to the end.

Sitcom timing: after each spoken line the actors hold a short half-beat pause, as if waiting for a studio audience to laugh, but no audience, laughter track or applause is heard.

All dialogue is spoken in Korean exactly as written, and each character's lip movements precisely match the pronunciation of their Korean line. The princess speaks with a sharp, picky early-2000s attitude; the prince speaks in a low, calm, tender voice; the dwarfs speak in small, bright, squeaky voices, and the red-capped dwarf's line is a hushed whisper.

Props: the wooden bowl of small bite-sized apple slices, the two huge leaves, the brass spyglass, the rose petals and the apples all exist from the start of their shots and stay in hands or on surfaces; nothing appears, vanishes, floats or morphs.

Look: real frames from a late-1990s Hollywood fairy-tale romantic comedy shot on 35mm Kodak film on a lush practical set, keeping the warm golden palette of @Image4. Warm golden sun shafts from behind as rim light, a soft warm fill from the front on faces and shoulders, soft diffusion so highlights bloom into a gentle halo; tiny sparkles on the gilded coffin, the glass edges, gold jewelry and dewy moss; pollen and dust glittering in the light shafts. Visible fine 35mm film grain, rich warm colors, slightly lifted blacks, a gentle vignette. Real textures: pores and peach fuzz on the actors' skin, crushed velvet pile, satin creases, real moss and soil. The princess, the prince, the forest and every prop are photographed, not rendered: never a painting, never HDR. Every object in frame is period-correct for a medieval European kingdom.

Sound: the dialogue above, small crunchy apple nibbles, the whoosh of the fanning leaves, three soft bouncy boing steps, rustling petals, fake sobbing, the coffin's thumping and muffled giggles, birdsong and a light breeze.

Keep the princess identical to @Image1, the prince identical to @Image2 and the dwarfs identical to @Image3 in every shot. No subtitles, no on-screen text, no logo, no watermark throughout. No background music; keep only the dialogue and diegetic sounds.