Superhuman Classroom Showdown

Format

Text

Inputs

Male_Character_Reference (image) · Required Female_Character_Reference (image) · Required Classroom_Tone_Reference (image) · Required

Outputs

Generated_video (video)

Create an 18-second, 16:9 multi-cut live-action superhuman action video. Keep all timeline sections moving continuously; do not pause at section boundaries to reset poses.

REFERENCE IMAGES
Use @01_남자_캐릭터시트.png for the man's face, black hair, build, charcoal cardigan, white shirt, navy tie, charcoal trousers, and white sneakers.
Use @02_여자_캐릭터시트.png for the woman's face, long black hair, build, charcoal jacket, ivory knit top, dark indigo jeans, and burgundy shoes.
Use @03_교실_톤참조.png for bright window light, the ivory, green, and wood color palette, and the floor material. Adapt the actual architecture and furniture to the scene below.
Each character sheet is appearance reference for one person. Keep that person's face, hair, build, clothing, and shoes consistent. Do not reproduce the sheets' plain backgrounds, panels, or static poses. They are not locked first-frame references.

SUBJECTS AND CLASSROOM
The woman writes on the board with a piece of white chalk in her right hand. At the very back of the classroom, the man sleeps with his folded arms on his desk and snores. His feet remain under the desk; his shoulders and back rise and fall slowly with his breathing.
All other seats are occupied by students. Give them distinct faces and hairstyles, while keeping them in the same school's white shirts, navy ties, charcoal cardigans, and charcoal trousers or skirts. They perform varied actions—writing, resting their chins on their hands, or looking at classmates. One student secretly records with a smartphone held at chest height. Their reactions and timing vary: some duck or look toward the commotion, while others continue filming.

It is daytime in a bright Korean school classroom. There is a green board at the front, exterior windows and curtains along one side, a door on the opposite side, rows of desks on both sides, and a central aisle. On the board, white-chalk drawings, arrows, and dotted lines explain a ninja's concealment, afterimages, and the exchange of positions between a person and a log. Keep the board work diagram-led, not dominated by long writing or a large heading. The diagrams never become real people.
The chalk's flight is visible along the central aisle. The surprise attack and counterattack take place in the open area beside the teacher's desk. The man's final flight crosses an open path near the board, ahead of the front-row desks, and ends at the side wall. Students are outside this flight path. The board and the wall that is pierced are at different locations.

TIMELINE

0–1 seconds — Writing on the board
From the central aisle, show an eye-level wide shot facing the board. The woman's back and students on both sides are visible. She draws an exchange arrow between a person and a log. Between the sounds of chalk scraping, the man's snoring is heard from the back of the room, off-screen. Do not cut to the man's face first.

1–2 seconds — Fast zoom in
Within the same shot, rapidly zoom from wide to medium on the woman's shoulder and the back of her head. Hearing the snoring, her writing hand stops and moves away from the board; she turns her head first.

2–5 seconds — Turn, speak, and throw
The woman turns to look toward the back row and speaks in a low, firm voice:
Woman: “누가 수업 시간에 자나?”
Carry her body rotation into a short throw with her right arm, flicking her wrist at the end of the line. Keep her face and right hand in frame, showing her fingers open and the piece of white chalk she was writing with leave her fingertips. Connect 0–5 seconds without an intermediate cut. Let the final syllable carry into the flight shot.

5–7 seconds — Chalk in flight
Use an independent close tracking shot from obliquely behind the chalk, moving in the same direction. The nearby chalk rotates as it crosses the central aisle; students, desks, and window frames stream rapidly backward. The man's head, folded arms, and desk grow larger at the destination. This is the first clear reveal of his sleeping face. Keep the chalk a short, matte-white cylindrical piece, and maintain continuity of its direction, height, and path from the woman's fingertips to its destination.

7–11 seconds — Substitution and impact
Approach the man's head from the same flight direction. Decelerate briefly only just before contact. The man's eyes snap open and his snoring stops. Before the chalk touches his skin, he vanishes in an instant and is replaced by a log. The chalk continues on the same trajectory and strikes the wood where his head had been above the desk, scattering white powder and small wood splinters.
The man is gone; only the log remains on the desk edge, then rolls off. Do not show a gradual transformation. A nearby student looks back and forth between the empty seat and the log, recoiling; the student filming hesitates. Cut to the next shot without waiting for the log to finish falling, carrying the fall and rolling sounds across the cut.

11–14 seconds — Reappearance, ambush, simultaneous dialogue, dodge, and board destruction
Use a side three-quarter two-shot of the woman turning back toward the board and the space behind and beside her. At the exact instant a burst of inky black smoke erupts from her blind spot, the man is already bursting out of the smoke with his right fist extended. His reappearance and the striking action of his shoulder, hips, and right arm happen simultaneously. His fist cuts through the smoke, and his face and upper body emerge in that same action. Do not wait for his entrance to finish or for the smoke to clear.
As he appears, he throws the punch extremely fast and speaks arrogantly at the same time:
Man: “너무 지루하네.”
The line overlaps from the punch's launch through the woman's dodge and the board impact. Do not have him attack after speaking or slow the punch to match the line's length. Convey instant teleportation from the back row to this position as disappearance and reappearance, with no run-up or afterimage.
The woman dodges with a small, quick movement of only her head and upper body, her expression and breathing unshaken. At the same time, she pivots to her right on the ball of her left foot. The man, the place the woman dodges to, and the board align along one attack line, so the missed punch immediately slams into the board. The board briefly bends inward, then breaks radially, ejecting board fragments and chalk dust; its tray and chalk pieces fly as well.
The board is already broken by his punch immediately after the dodge. The man recoils, retracting his right arm and leaving his balance open, while the woman continues her evasive rotation. Flow directly into the counterattack, with no standoff, retreat, or separate preparation. The front-row student flinches or ducks. The student filming swings the phone forward, which jolts briefly at the impact. Show these reactions in the periphery of the same shot.

14–15 seconds — Spinning back kick, continuing the dodge rotation
Match the continuing dodge movement into a low, side three-quarter full-body wide shot. The woman continues turning to her right on the ball of her left foot and checks the man over her right shoulder. She explosively extends her tucked right knee and drives the heel-side sole of her shoe into the center of his abdomen. Show her planted foot, hips, striking leg, the man's abdomen, and the burst behind his back together.
The impact continues without a pause through compression, rearward burst, and mass recoil:
1. Compression: At actual heel contact, his abdomen briefly compresses inward and the shirt gathers into wrinkles. The air around the sole compresses like a transparent pressure lens, locally warping the straight lines of the board; suspended chalk dust is drawn toward the contact point.
2. Burst: Force transfers through his back. His cardigan back billows dramatically; his hem and hair whip backward. Air erupts forcefully as a transparent shockwave and a thin white condensation ring expand and scatter. Floor dust and paper burst upward in a fan, while the curtains and papers on desks are swept hard once in the direction of the impact.
3. Recoil: His compressed torso explodes backward and both feet leave the ground simultaneously. His torso flies first, followed by his head, limbs, and clothes. Do not have the woman continue pushing with her shoe: his whole body separates and flies away immediately after contact. She immediately bends her right knee and retracts her foot. No second kick.

15–17 seconds — The man flies through the wall
The man flies along the open path; the shockwave, dust, and paper behind him emphasize his direction of travel. The wall remains intact until his body reaches it.
Use a three-quarter shot toward the wall that continues the direction of travel. Show the instant his torso directly strikes it: the impact point caves inward, radial cracks spread, and his body punches through the opening. His torso, then pelvis, then legs completely pass through the wall's thickness and emerge on the other side. Bricks, panels, and dust burst in the direction of travel; heavier debris falls. Clearly show the wall's thickness and his body passing all the way through.
While he flies through the wall, the woman retracts her foot, turns her body back, and plants her right foot. Connect to a rear wide shot as she completes her recovery, with the broken board and hole in the wall visible. Nearby students duck or cover their heads; students farther away gape or look toward the hole. The filming student's smartphone tracks the man's flight, then jolts briefly at the wall collision.

17–18 seconds — Smile
Connect the landing movement to an off-center, three-quarter shot of the woman's face. She looks away from the hole in the wall, exhales briefly, and the video ends as the corner of her mouth rises. Keep debris and background students moving. Do not hold on the smile, use a slow push-in, or show the man's further landing or counterattack.

CAMERA
Frame the characters and contact clearly enough to read; place faces off-center and leave space in the direction of their gaze. Keep the ambush, dodge, and board impact in the same shot. Match the dodge rotation into the full-body kick, then cut to flight and wall penetration only after confirming the kick's impact. Do not interrupt the fight with student-reaction inserts or switch to the smartphone's screen.
Keep the camera stable before impact; use a brief, strong directional jolt at the impact and air burst, then stabilize immediately and track the flight. Match a separate single jolt to the wall collision. Do not obscure contact or penetration with camera shake or smoke.

VISUAL STYLE
Live-action superhuman action with bright, natural-looking skin, clothes, board, and floor; soft window light and blue-gray shadows. 35mm film texture, IMAX sense of space, Panavision lens look, delicate film grain, natural halation, restrained bloom, and soft highlight roll-off.
Keep the black reappearance smoke, white chalk and wall dust, and momentary condensation ring visually distinct. Concentrate the largest destruction and air burst in the final back kick. Only at the final kick's single impact, use a three-frame, high-contrast exposure impact: deep shadows and warm white highlights, while compression, burst, and recoil continue; immediately return to the original exposure. Keep the action in real time without slow motion, hit-stops, energy-gathering, or pose resets, except for the brief deceleration just before the chalk arrives.

AUDIO
Speak the two specified Korean lines exactly once each, by the specified speaker, synchronized to mouth movements. The woman sounds low and firm; the man sounds fast and arrogant as he attacks. No reading of directions, surprised scream from the woman, or exertion vocalization.
Chalk scraping stops when her hand stops. The snoring drops beneath the woman's line and cuts off when the man's eyes open. Synchronize the chalk leaving her fingertips, its flight whoosh, the dry wooden impact, and the log's fall with their respective events. The reappearance burst, black smoke, punch whoosh, and man's line begin together; no continuous running footsteps. Mix the board's sharp cracking and the smoke sound so they do not mask dialogue.
For the final impact, use: foot friction, a weighty low-frequency impact with a clear contact attack, a brief tightening compression bass, an air burst, the body's wall-penetration collision, then falling bricks and debris. Do not use a preceding bass sound to suggest energy gathering. Place students' gasps, chair sounds, and clothing sounds quietly at varied timings. End with the woman's exhale and the lingering sounds of debris and impact. No background music or on-screen captions.

CONTINUITY AND CONSTRAINTS
Maintain the shape and path of the single piece of chalk, the main characters' appearances, students' positions, uniforms and individual identities, the same single smartphone held by the filming student, the classroom layout, and the direction of daylight across cuts. Students do not join the fight. After vanishing, the man reappears as one person only; no clones, fused bodies, or extra limbs.
The shockwave occurs only after the heel strike. The man must directly collide with the wall, break through it, and pass completely through; do not substitute destruction by a preceding shockwave or have him vanish before reaching the wall. The log, damaged board, hole in the wall, and dust persist. Show the characters and results through the end. No guns, knives, shuriken, blood, wounds, captions, watermarks, split screen, or blackout.