밀키트 파스타

요청한 페르소나 사진이 영상 생성 호출에 실리지 않았습니다 — 에이전트가 인물 이미지를 새로 만들어 대신 넣었거나, 인물 참조 없이 보냈습니다.

STYLE:
Vertical 9:16, photoreal phone footage — eye-level, locked-off camera, natural skin and fabric texture, available light only. No on-screen text, no graphics of any kind.

Pore-level skin realism — visible pores, fine vellus hair, natural asymmetry in the face and hands. Skin stays unsmoothed and unretouched; part of the face is allowed to fall into shadow.
Matte, non-reflective surfaces. Lived-in, worn materials with real wear on them. No plastic sheen, no digital gloss.
Hair keeps individual strands and stray flyaways rather than a moulded shape.
This is a real person filmed on a phone, not a rendered portrait.

REFERENCES:
@Image1 — the person: a Korean woman in her early 30s, casual comfortable homewear, warm friendly natural expression, everyday relatable look. 100% match.
@Image2 — the product: 흰 접시에 담긴 크리미 소스 파스타, 버섯 슬라이스와 허브 가니시, 김이 나는 갓 조리된 모습, 나무 테이블 배경. 100% match; every word, logo and label exactly as the reference.

Scope — @Image1 carries appearance AND performance: it is also how this person holds themselves. @Image2 carries appearance ONLY — no pose, no motion, no performance. No reference contributes a scene, a camera move or a spoken line, and where a reference and this prompt disagree about what happens, this prompt decides.

Real-world size — The plate is about 26 cm across holding a single serving of pasta, roughly one and a half times the length of an adult palm laid flat on it. It must never look larger than her open hand span when she gestures near it.

LOCATION:
A bright home kitchen counter with a wooden dining table nearby, a mug and a few pieces of fruit set to the side under daylight from a window.

FIRST FRAME:
0.0s — eye-level medium framing, the person centred at medium distance, already resting both hands lightly on either side of the plate, not yet touching the fork, looking straight into the lens mid-thought as if already talking to someone.

ACTION TIMING:
0–3s — Centred medium framing, product already held at chest or face height. She opens straight into what she wants to say — no preamble, no greeting.
3–8s — She raises the product toward the lens until it fills the middle of the frame, turns it once so the front face reads, then performs its one control: picking up the fork with one hand from beside the plate and holding it upright, ready to dig in
8–11s — The camera pushes in on the product as the fork tines sliding into the pasta and lifting a twirl of noodles coated in creamy sauce and mushroom slices up toward the camera so the result is unmistakable — it stays on it rather than cutting away.
11–15s — She lowers the product back to chest height, returns to centred medium framing, looks into the lens, and taps the product twice with a fingertip. steam curling up off the pasta as the fork lifts a strand, sauce visibly clinging thick to the noodles rather than dripping off She lands the closing line as she does. If anything came off the product at any point — cap, lid, seal, film, wrap, zip pull, band — it is still resting exactly where it was set down, visible in this frame; if the product has no separable part, nothing is set down and nothing is expected here.

DIALOGUE:
0–3s — "퇴근하고 딱 10분 걸렸는데 이거 봐요."
3–8s — "면이랑 소스만 넣고 끓였는데 크림소스에 버섯향이 확 올라오네요."
8–11s — "이게 진짜 10분 만에 나온다는 게 좀 신기하죠."
11–15s — "완전 식당에서 먹는 맛이에요."

PERFORMANCE:
LINE_1 — wants to pull the listener in with genuine surprise at how fast this came together; leans slightly toward the plate, eyebrows lifting, quick exhale of disbelief.
LINE_2 — wants to share the discovery of the smell/taste as it happens; tilts head down toward the steam, nostrils flare slightly, voice brightens mid-line.
LINE_3 — wants to voice honest disbelief at the speed, aimed at the listener like a shared joke; small head shake, faint smile, slight pause before "신기하죠".
LINE_4 — delivers the verdict warmly and directly to the listener; sits back slightly, nods once, satisfied half-smile as she says the last word.
Gaze stays engaged and alive the whole way through, with a natural blink cadence and active forehead and brows. No frozen mask-face, no dead eyes, no held stare parked between lines. Micro-motion continues while the person is not speaking — breathing, a small shift of weight, a glance.

PHYSICS:
- Creamy sauce coats sliced mushrooms and pasta, thick enough to cling to the noodles rather than pool flat on the plate.
- Steam visibly rises off the freshly cooked dish, fading within a few seconds in room air.
- The fork lifts strands of pasta with sauce and herb garnish clinging to them, some falling back onto the plate.
- NEVER: the sauce never turns watery or separates on screen, and the pasta never appears cold or unsteaming.
- Scale is fixed: The plate is about 26 cm across holding a single serving of pasta, roughly one and a half times the length of an adult palm laid flat on it. It must never look larger than her open hand span when she gestures near it. No framing, however close, ever makes it read bigger than that

AUDIO:
No music. Room tone of a quiet home kitchen, the soft clink of the fork against the plate's edge, a faint sizzle-fade of steam, and the spoken lines carrying clearly over it all.

LOCKS:
① Exactly one product: one unit only, present from the first frame. It is never handed over, unboxed, revealed or duplicated — anything the use moment produces came from it on camera.
② Product surface text lock: print, logo and label exactly as @Image2. Nothing is ever printed onto it.
③ Only the person, the product and what PROPS names are what the shot features; the location's own fixtures and furniture may be present but stay unbranded and out of focus. No other brand's product, packaging, logo or readable mark appears anywhere, and no second person enters.
④ Lens gaze: to-lens throughout; eyes drop to the product only during the control and the use moment.
⑤ Continuity of parts and hands: if anything comes off the product — a cap, a lid, a film, a wrap, a zip pull, a band — it stays visible somewhere in frame for the rest of the clip and is never re-attached, re-sealed or allowed to vanish between shots. Many products have no separable part at all; for those this clause simply does not apply and nothing is expected to be set down. The hands obey the same continuity either way: a control that needs two hands is not performed while one hand is holding something else.

PROPS:
a fork beside the plate