프로젝트 프롬프트
GLOBAL VISUAL AND ANIMATION LOCK
Create a 2D animated shot that brings the supplied isometric illustration to life. Treat the references as approved production designs, not loose inspiration. Preserve the established illustrated world. The scene brief controls the action; it must not redesign the characters, location, proportions, or rendering style.
REFERENCE AUTHORITY
Use the current scene image for composition, environment, object placement, and lighting. Use the approved character references for identity and the shared world reference for consistent scale, linework, colors, and saturation.
1.철창안에 거대한 사탕이 들어있는 트럭이 아기 오우거가 있는 초원으로 다가간다
아기오우거는 그대로 사탕을 향해 다가가 철창안으로 들어간다
올려져있던 철창문이 내려가며 닫히고
트럭은 아기오우거를 가둔채 화면밖으로 주행하여 나간다
아빠 오우거가 자신의 아이가 트럭에 실려 떠나가자
자신의 아이를 찾기 위해
트럭이 나간 방향으로 따라나선다
(카메라 절대 고정)
2.아빠 오우거가 트럭 자국을 따라 달려
아기 오우거가 실린 트럭을 쫓아가지만 차량 도로가 나오자 바퀴 자국이 끊긴다
(카메라 절대 고정)
3.도시로 이어지는 도로가 보이고 아기 오우거를 태운 트럭이 도시로 들어가고 화면 밖으로 나가자
아빠 오우거가 같은 방향으로 향해 달려간다
(오우거가 화면밖으로 사라질 때까지 영상을 진행)
(카메라 절대 고정)
4.아빠 오우거가 도심을 헤집으며 지나다니자 수많은 사람들이 놀라 도망간다
(위멜빌트식으로 수많은 관중들)
(카메라 절대 고정)
5.경찰차들이 화면 밖에서 부터 몰려와 멈춰 경찰들이 내리고 경찰들이 총을 쏴보지만 아들을 찾아 건물을 부수며 헤집고 지나가는 오우거에겐 아무럭 타격이 없다
(오우거가 화면밖으로 사라질 때까지 영상을 진행)
(카메라 절대 고정)
6.아빠 오우거는 계쏙해서 도시를 헤집으면서 앞으로 나아가자
화면 밖에서 탱크와 헬기들도 몰려와 아빠 오우거에게 포격을 날리기 시작한다
(카메라 절대 고정)
7.탱크의 포격에는 살짝의 타격이 있는지 화가 난 아빠 오우거가 탱크를 잡아 집어던져 헬기에 맞추어 격추시킨다.
(카메라 절대 고정)
8.전투기가 날아가며 미사일을 발사해 아빠 오우거에게 맞추어도 아빠오우거는 멈추지 않고 자신을 가로막으며 포격을 하는 탱크들을 집어던지며 나아간다.
(오우거가 화면밖으로 사라질 때까지 영상을 진행)
(카메라 절대 고정)
9.어느 거대한 연구소 앞에 사탕이 담긴 케이지를 실은 트럭을 발견한 아빠 오우거는
트럭을 향해 다가와 내려다 본 후 앞에 있는 거대 연구소를 주먹으로 부수기 시작한다
부서진 연구소에 들어간 아빠 오우거는 연구소 안에서 아기 오우거가 갇힌 감옥을 찾아내고 감옥을 부숴버린 뒤 아기 오우거를 끌어안는다
아빠 오우거는 안도의 미소로 아기 오우거를 감싸며
하늘 위에선 핵미사일이 떨어져 화면을 가득 채운 거대한 폭발을 일으킨다
(카메라 절대 고정)
Do not combine different reference locations into one environment. Preserve each reference’s assigned role.
CAMERA AND PROJECTION
Maintain the reference’s fixed elevated isometric view and near-orthographic projection. Keep architectural axes consistent, without exaggerated perspective convergence.
Use one continuous locked-off shot: no cuts, zoom, pan, tilt, orbit, tracking, camera shake, or automatic reframing.
Keep the same framing and magnification from the first frame to the last. Do not enlarge characters when they become emotionally important. Show emotion through posture and acting within the existing composition.
DESIGN AND SCALE
Preserve each character’s silhouette, face, hairstyle, clothing, colors, anatomy, and proportions.
The parent ogre retains olive-green skin, short dark-brown hair, a loose patched off-white shirt, brown patched shorts, bare feet, and a gentle parental appearance.
The baby retains the approved toddler proportions, short dark hair, green skin, and brown garment. Do not age up or redesign the baby.
Maintain the reference size relationships between parent, baby, humans, vehicles, furniture, doors, and buildings. The enormous laboratory must remain much larger than the parent.
Do not independently resize objects to fill the composition. Human figures share a consistent scale, allowing only intentional age and height differences.
UNIFIED ILLUSTRATION STYLE
Match the references’ fine dark outlines, controlled line weight, clear enclosed shapes, colorful flat fills, and restrained cel shading.
Use the same drawing and shading language for ogres, people, vehicles, vegetation, architecture, and debris.
Retain the established saturation and palette: warm cream architecture, cyan-blue glass, clear greens, olive skin, earthy clothing, and selective bright accents.
Keep lighting direction and color balance stable. No cinematic regrading, photorealism, glossy 3D materials, painterly style drift, or exaggerated cartoon redesign.
CLEAN DETAIL, NOT SURFACE NOISE
Preserve meaningful structural detail while removing incidental speckles and meaningless micro-marks.
Render rubble as clearly separated large slabs, medium concrete blocks, readable beams, and a few purposeful cracks. Leave calm areas of exposed floor between debris groups.
Keep concrete, soil, walls, clothing, and skin as clean color surfaces. Suggest foliage with coherent leaf masses rather than scattered colored dots.
Do not fill empty areas with gravel confetti, tiny shards, stippling, fake texture, random bolts, excessive scratches, or fragmented color patches.
Any initial texture cleanup must remain consistent throughout the shot. Do not blur the image to hide detail.
ANIMATION TIMING AND ACTING
Target a 24 fps delivery with an on-twos hand-drawn cadence for ordinary acting: clear poses, short intentional holds, controlled spacing, and restrained follow-through.
Use closer motion spacing only where the specified action requires it.
Animate articulated bodies with believable weight transfer. Feet stay planted during weight-bearing moments; hands stay attached to the objects or bodies they touch.
Keep movement purposeful and localized. Do not make every character, leaf, wall, and object move continuously.
Avoid whole-image wobble, breathing backgrounds, floating feet, rubbery limbs, morphing transitions, and uniformly interpolated motion.
FACES, EYES, AND CONTACT
Preserve facial landmarks and consistent eye placement through every pose.
Keep both eyes aimed at the same intended target. Use coherent pupils and eyelids, without drifting eyes, duplicated pupils, or changing facial features.
For peaceful closed eyes, draw two clean, anatomically aligned eyelid curves.
Maintain clear separation between touching bodies, fingers, sleeves, and faces. During an embrace, show understandable arm placement, gentle contact, and secure support of the baby.
No merged hands, extra fingers, intersecting limbs, or objects passing through bodies.
ENVIRONMENT AND CONTINUITY
Architecture remains physically coherent: supported floors, connected stairs, aligned doorways, and structures anchored to the ground.
Vehicles remain separate from feet, walls, and other vehicles.
Keep every major background object fixed unless its movement is explicitly requested.
In the ruined laboratory reunion scene, the destruction has already finished. Debris rests on the ground; no fresh collapse, explosions, flying fragments, smoke bursts, or additional damage.
Keep that location empty except for the parent and baby. Do not add researchers, crowds, guards, police, soldiers, or other creatures.
Use the detailed isometric composition of the references without automatically filling every scene with people.
FINAL EXCLUSIONS
No grain, random dots, crawling textures, flickering details, blurry edges, excessive bloom, artificial depth-of-field, motion trails, added captions, logos, or interface elements.
Maintain clean silhouettes, stable geometry, readable action, and the same illustrated-world identity throughout.
SCENE ACTION
[Describe the initial state, one primary action, its visible reaction, and the settled end state. Keep all action within the locked camera and established design.]
