유튜브 채널 Kane Pixels에서 출발해 독자적인 세계관을 구축한 ‘백룸(Backrooms)’이 영화로 개봉을 앞두고 있다. 끝없이 반복되는 노란 공간, 아무도 없는데 등 뒤에 뭔가 있는 것 같은 묘한 불안감. 그 특유의 분위기를 AI 도구만으로 티저 영상에 담아낼 수 있을까. AI 미디어 AI매터스가 챗GPT(ChatGPT) 이미지 2.0과 힉스필드(Higgsfield)의 시댄스(Seedance) 2.0을 활용해 직접 실험에 나섰다.
챗GPT 이미지 2.0이 최근 업데이트되면서 실제 같은 공간을 묘사하는 능력이 한 단계 향상됐다. 여기에 힉스필드의 시댄스 2.0을 더하자 완성도 높은 영상 클립까지 뽑아낼 수 있었다.
이미지 생성 단계에서는 프롬프트(prompt) 구성 요소를 다섯 가지로 압축했다. 공간, 카메라 구도, 조명, 분위기, 렌더링 스타일이다. 이 다섯 가지를 바탕으로 총 아홉 개 장면의 이미지 프롬프트를 작성한 뒤 챗GPT에 입력하면, 백룸 특유의 분위기를 살린 장면 이미지가 생성된다. 한 가지 팁으로, 모든 장면 이미지를 하나의 채팅방에서 생성하면 톤이 일관된 이미지를 얻을 수 있다.
이미지 중 1.5번 장면은 1번 이미지에서 편집 기능을 눌러 1.5 프롬프트를 입력하는 방식으로 생성한다. 마지막 9번 장면에는 반전 요소로 AI매터스의 캐릭터 ‘매터냥’을 등장시켰다. 로고가 필요한 장면은 가상의 로고 이미지로 대체해 생성하는 것도 가능하다. 프롬프트 전체는 설명란에 무료로 공개했다.
영상 제작은 힉스필드 사이트에서 시댄스 2.0을 활용했다. 이미지를 업로드하면 사용 가능 여부가 표시되는데, ‘엘리지블(Eligible)’은 사용 가능, ‘낫 엘리지블(Not Eligible)’은 사용 불가를 뜻한다. ‘체크 엘리지빌리티(Check Eligibility)’로 표시될 경우 해당 글자를 눌러 엘리지블 상태로 전환하면 된다.
영상 프롬프트는 카메라 구도, 레이어 진행, 조명, 분위기, 디테일 다섯 가지 요소로 구성했다. 총 세 개 클립으로 나눠 제작한 뒤 이어 붙이는 방식을 택했다. 한 번에 길게 뽑으면 크레딧 소모가 크고 의도치 않은 방향으로 생성될 수 있기 때문이다. 영상 프롬프트 역시 설명란에 무료로 공개했으며, 마지막 영상 프롬프트의 고양이 부분만 원하는 대로 바꿔 쓸 수 있다.
이미지를 지정할 때는 골뱅이(@)를 입력해 원하는 이미지를 직접 선택하면 더 나은 결과물을 얻을 수 있다. 생성 시간, 화면 비율, 화질을 설정한 뒤 생성 버튼을 누르면 클립이 완성된다. 세 개의 클립을 이어 붙이고 배경음악(BGM)을 더하면 한 편의 AI 백룸 티저가 완성된다. AI로 만들었다고 쉽게 믿기 어려운 분위기가 연출된다는 평이다.
📌 자세한 내용은 AI매터스 유튜브 채널에서 확인할 수 있다.
AI 이미지 프롬프트 모음
LAYER 1 — 햇살이 드는 지하실 (코너 샷, 낮)
A cinematic CORNER SHOT (two-point perspective) wide-angle still of an abandoned,
sunlit basement room with strong geometric window grid shadows. Photo-realistic
cinematic still with an unsettling, eerie atmosphere. The composition is shot from
a LOW camera angle, slightly off-center to the LEFT, looking diagonally toward the
BACK-RIGHT INTERIOR CORNER of the room.
═══════════════════════════════════════════
CRITICAL — CAMERA & COMPOSITION (CORNER SHOT — FIXED):
═══════════════════════════════════════════
– TWO-POINT PERSPECTIVE CORNER SHOT — NOT a flat front view
– Camera positioned in the FRONT-LEFT area of the room, LOW to the floor
(approximately 40-50cm above floor)
– Looking DIAGONALLY toward the BACK-RIGHT INTERIOR CORNER where the back wall
meets the right wall
– BACK WALL: occupies the left and center portion of the frame, contains the
windows and the armchair
– RIGHT WALL: extends from the back-right corner FORWARD toward the camera on
the right side, contains the door
– The INTERIOR CORNER where the two walls meet is visible in the UPPER-RIGHT
portion of the frame
– Wide-angle lens (18-22mm equivalent)
– 16:9 ultra-wide cinematic aspect ratio
– Floor occupies lower 55-60% of the frame
– Ceiling visible in upper 15-20% with the dome light at top-center area
═══════════════════════════════════════════
SETTING & ARCHITECTURE:
═══════════════════════════════════════════
– Empty rectangular basement room with cream/off-white painted walls
– White acoustic ceiling tiles with a single small dome-shaped ceiling light
fixture (TURNED OFF, inactive, no glow)
– Beige/tan colored low-pile carpet floor
– BACK WALL: a row of small horizontal rectangular windows high on the wall,
just below the ceiling, with white window grids/muntins dividing them into
multiple square panes; tree branches/leaves visible through the glass
– RIGHT WALL: a dark wooden door (closed) with a worn vintage appearance, set
into the right wall, appearing angled in perspective
– Plain white air vent grille on the upper portion of the right wall, near the
back-right corner
═══════════════════════════════════════════
LIGHTING — BRIGHT SUNLIGHT WITH GRID SHADOWS:
═══════════════════════════════════════════
– STRONG NATURAL SUNLIGHT streaming through the high grid windows on the back
wall (afternoon daylight)
– The light creates DRAMATIC GEOMETRIC GRID-PATTERN SHADOWS cast diagonally
across the FLOOR and the RIGHT WALL
– The window grid pattern projects as CLEAR CROSS-HATCHED CHECKERBOARD SHADOWS
— bright squares of light separated by dark grid lines
– The shadows fall from the upper-back-left, descending diagonally toward the
lower-front-right of the frame
– The cross-hatched shadow pattern dominates the floor in the center and right
side
– Warm GOLDEN AFTERNOON SUNLIGHT contrasted with deep shadows in the corners
– Heavy chiaroscuro lighting — bright window light area vs deep shadow areas
– NO prismatic rainbow effect — just clean geometric sunlight shadows
– The ceiling lamp is NOT on — only sunlight illuminates the room
═══════════════════════════════════════════
ARMCHAIR:
═══════════════════════════════════════════
– A vintage upholstered wingback armchair with faded distressed floral/paisley
pattern fabric (soft beige, dusty pink, muted brown tones), placed AGAINST the
BACK WALL directly beneath the windows, in the center-back area of the frame
– High wingback with curved wing sides, rolled armrests, worn seat cushion
– Looks abandoned, dusty, and slightly tattered
– The chair is partially backlit by the sunlight coming through the windows above it
═══════════════════════════════════════════
OTHER ROOM OBJECTS:
═══════════════════════════════════════════
– A DARK WOODEN SHORT BOOKSHELF / CABINET on the LEFT side of the back wall,
with a small lower shelf compartment visible, partially in shadow. A few items
(possibly books, a small object) visible on top
– SMALL CARDBOARD BOXES and scattered papers/debris on the floor in front of and
near the bookshelf
– CRUMPLED DARK BLUE FABRIC or discarded clothing on the floor in the
FOREGROUND-RIGHT corner
– Tiny scraps of trash/paper scattered across the floor throughout
– LEFT FOREGROUND: a strong vertical wall edge/column on the far LEFT of the
frame creating a dark vertical border (Corner Shot framing element)
═══════════════════════════════════════════
MOOD & STYLE:
═══════════════════════════════════════════
– Photo-realistic cinematic still, like a frame from a psychological thriller
or horror film
– Aspect ratio 16:9, ultra-wide cinematic composition
– Muted desaturated color palette: warm beige, cream, tan, with deep brown
shadows
– Slight film grain texture
– Shot on ARRI Alexa, anamorphic lens, shallow depth of field
– Reminiscent of films like “The Conjuring,” “Hereditary,” or “Prisoners”
– Sense of abandonment, isolation, quiet dread
– The geometric shadows create a sense of order amidst the abandonment
– No people, no text, no logos
═══════════════════════════════════════════
TECHNICAL DETAILS:
═══════════════════════════════════════════
– Photo-realistic with cinematic quality
– Natural sunlight as the primary light source
– Strong chiaroscuro from window grid shadows
– Subtle film grain
– Slight lens vignetting at corners
Layer 1.5 — 타이포 추가 (1P 이미지 편집 버전)
💡 해당 1P_2 프롬프트는 타이포 로고 부분을 원하시는 타이포 로고로 편집해서 사용하시면 됩니다.
Add ONLY the text “B24” at the EXACT CENTER of this existing image as a film production
logo overlay. DO NOT change, modify, regenerate, or alter ANY other part of the image —
keep the room, armchair, windows, lighting, shadows, floor, door, bookshelf, and all
existing objects 100% identical to the original. Only add the “B24” text on top of the
existing scene.
═══════════════════════════════════════════
POSITION (CRITICAL):
═══════════════════════════════════════════
– Placed at the GEOMETRIC CENTER of the entire frame
– Horizontal position: exactly 50% from the left edge (perfectly centered horizontally)
– Vertical position: exactly 50% from the top edge (perfectly centered vertically)
– The center point of the “B24” text aligns precisely with the center point of the image
– Floating in the middle of the scene as an opening title card
═══════════════════════════════════════════
FONT / TYPOGRAPHY:
═══════════════════════════════════════════
– Classic elegant SERIF typeface
company logo
– Modified Caslon / Didone-style serif
– The letter “B”: sharp pointed triangular apex, traditional bracketed serifs at the base
– The number “2”: elegant curved top with a flat horizontal baseline
– The number “4”: open-top style (open counter), clean geometric strokes
– High contrast between thick vertical strokes and thin horizontal strokes
– Tight letter spacing — letters almost touching each other
– Upright (no italic), refined and minimalist
═══════════════════════════════════════════
SIZE:
═══════════════════════════════════════════
– Medium-large size
– Total text width approximately 15-17% of the entire frame width
– Letter height approximately 8-10% of the frame height
═══════════════════════════════════════════
COLOR & APPEARANCE:
═══════════════════════════════════════════
– Warm cream / ivory / pale gold color (#F5E6C8 to #EBD9B0)
– Soft, subtle glow as if illuminated by warm projector light
– NO black outline
– NO drop shadow
– NO background box or frame
– NO border
– Semi-opaque, blending naturally with the warm lighting of the scene
– Looks like an authentic film studio production logo, not stamped or pasted on
═══════════════════════════════════════════
STYLE INTEGRATION:
═══════════════════════════════════════════
– Should look like the opening title card of an B24 film
– Match the warm color temperature of the existing scene
– Ethereal and elegant, not bold or intrusive
═══════════════════════════════════════════
STRICT CONSTRAINTS:
═══════════════════════════════════════════
– DO NOT modify the room, walls, ceiling, floor, or any furniture
– DO NOT change lighting, shadows, or colors of the existing scene
– DO NOT add any other text, numbers, symbols, or logos
– DO NOT add visual effects, vignettes, or filters
– DO NOT crop or resize the original image
– ONLY render the “B24” text overlay at the exact geometric center — nothing else
LAYER 2 — 프리즘 무지개 빛 지하실 (야간)
A cinematic CORNER SHOT (two-point perspective) wide-angle still of a dimly-lit
Backrooms liminal space basement room with a striking PRISMATIC RAINBOW LIGHT
EFFECT cast through the windows. Stylized 3D rendered cinematic look with eerie
supernatural atmosphere. The composition is shot from a LOW camera angle, slightly
off-center to the LEFT, looking diagonally toward the BACK-RIGHT INTERIOR CORNER
of the room.
═══════════════════════════════════════════
CRITICAL — CAMERA & COMPOSITION (CORNER SHOT — FIXED):
═══════════════════════════════════════════
– TWO-POINT PERSPECTIVE CORNER SHOT — NOT a flat front view
– Camera positioned in the FRONT-LEFT area of the room, LOW to the floor
(approximately 40-50cm above floor)
– Looking DIAGONALLY toward the BACK-RIGHT INTERIOR CORNER where the back wall
meets the right wall
– BACK WALL: occupies the left and center portion of the frame, contains the
windows and the armchair
– RIGHT WALL: extends from the back-right corner FORWARD toward the camera on
the right side, contains the door
– The INTERIOR CORNER where the two walls meet is visible in the UPPER-RIGHT
portion of the frame
– Wide-angle lens (18-22mm equivalent)
– 16:9 ultra-wide cinematic aspect ratio
– Floor occupies lower 55-60% of the frame
– Ceiling visible in upper 15-20% with the lamp at top-center area
═══════════════════════════════════════════
CRITICAL LIGHTING — PRISMATIC RAINBOW EFFECT:
═══════════════════════════════════════════
– Faint, weak sunlight filtering through the high grid windows on the BACK WALL
– The light passing through the windows produces a STRONG PRISMATIC CHROMATIC
ABERRATION / RAINBOW DISPERSION EFFECT — the window grid shadows projected
on the RIGHT WALL and RIGHT FLOOR show distinct rainbow color bands (deep
blue, cyan, golden yellow, orange) separating each grid line, as if sunlight
passed through a prism or crystal
– The rainbow-tinted grid shadows fall diagonally across the right wall and
right portion of the floor, descending from upper-left to lower-right
– The chromatic dispersion is the visual centerpiece — beautiful, ethereal,
supernatural
– Each shadow line shimmers with rainbow iridescence, like light through a
crystal prism
═══════════════════════════════════════════
CEILING LIGHT (TURNED ON):
═══════════════════════════════════════════
– A single small dome ceiling light fixture in the center of the ceiling,
TURNED ON, emitting a SOFT WARM YELLOW GLOW
– The lit dome creates a soft warm halo on the surrounding ceiling tiles
– Acts as a secondary artificial light source alongside the prismatic window light
– Positioned in the upper-center of the frame
═══════════════════════════════════════════
ROOM LAYOUT:
═══════════════════════════════════════════
– Rectangular basement room with cream/off-white painted walls (appearing dim
and shadowy due to low light)
– White acoustic tile ceiling
– Dark OLIVE/KHAKI-tinted carpet floor (appearing very dark due to dim ambient
light)
– BACK WALL — UPPER LEFT/CENTER: a row of small horizontal grid windows positioned
high on the wall, divided by white muntins into multiple square panes, with
tree leaves visible through the glass (daylight outside)
– BACK WALL — CENTER: a vintage upholstered wingback armchair with faded
distressed floral/paisley pattern fabric, placed against the back wall directly
beneath the windows. The chair has visible rolled armrests, a high back, and
worn cushions. Looks abandoned and dusty
– LEFT SIDE: a dark wooden short cabinet/nightstand against the left side of
the back wall, partially in shadow, with a small lower shelf compartment
visible
– RIGHT WALL: a dark vintage wooden door (closed), positioned in the right wall,
appearing angled in perspective due to the corner shot view
– BACK WALL — TOP CENTER: a small white air vent grille on the upper portion of
the back wall
– RIGHT WALL — TOP: another small white air vent grille on the upper portion
of the right wall
– LEFT FOREGROUND: a strong vertical wall edge/column on the far LEFT of the
frame creating a dark vertical border (Corner Shot framing element)
═══════════════════════════════════════════
COLOR PALETTE & MOOD:
═══════════════════════════════════════════
– OVERALL VERY DARK and MOODY — deep shadows dominate the scene
– Muted, desaturated dark color palette: deep brown, charcoal, dusty olive,
faded cream
– The ONLY vibrant color is the prismatic rainbow shadow on the right side
(blues, cyans, yellows, oranges)
– Soft warm yellow glow from the ceiling light contrasts with the cool
prismatic shadows
– Heavy chiaroscuro lighting — extreme contrast between the lit dome, the
prismatic shadows, and the dark room
– Atmosphere: eerie, supernatural, otherworldly, abandoned, unsettling silence
– Sense of magic-realism, Backrooms liminal mystery, paranormal presence
═══════════════════════════════════════════
RENDERING STYLE:
═══════════════════════════════════════════
– STYLIZED 3D RENDERED look — slightly low-poly, like a horror video game
cinematic or animated short
– Photorealistic-leaning but with a slight stylized quality
– Soft volumetric lighting around the ceiling lamp
– Slight lens vignetting darkening the corners
– Subtle film grain texture
– Reminiscent of Kane Pixels Backrooms videos, “Hereditary,” “Annihilation,”
liminal space horror aesthetics
– 16:9 ultra-wide cinematic aspect ratio
– No people, no text, no logos
LAYER 3 — 의자가 바닥에 반쯤 잠긴 방
A cinematic CORNER SHOT (two-point perspective) wide-angle still of an abandoned,
dimly-lit basement room with an unsettling, eerie Backrooms liminal space atmosphere.
The composition is shot from a LOW camera angle, slightly off-center to the LEFT,
looking diagonally toward the BACK-RIGHT INTERIOR CORNER of the room.
═══════════════════════════════════════════
CRITICAL — CAMERA & COMPOSITION (CORNER SHOT — DO NOT CHANGE):
═══════════════════════════════════════════
– This is a TWO-POINT PERSPECTIVE CORNER SHOT — NOT a flat front view
– The camera is positioned in the FRONT-LEFT area of the room, LOW to the floor
(approximately 40-50cm above floor)
– The camera is looking DIAGONALLY toward the BACK-RIGHT INTERIOR CORNER where the
back wall meets the right wall
– TWO WALLS are clearly visible converging at the back-right corner:
• BACK WALL: occupies the left and center portion of the frame, mostly facing the
camera but at a slight angle — contains the windows and the armchair
• RIGHT WALL: extends from the back-right corner FORWARD toward the camera on the
right side of the frame, clearly angled in perspective — contains the door
– The INTERIOR CORNER where the two walls meet is visible in the UPPER-RIGHT portion
of the frame, behind/beside the chair
– Wide-angle lens (18-22mm equivalent) creating expansive perspective with mild
natural distortion
– 16:9 ultra-wide cinematic aspect ratio
– Floor occupies lower 55-60% of the frame, stretching from foreground to the back
walls
– Ceiling visible in upper 15-20% with the lamp at the top-center
– The composition is NOT symmetrical — it has dimensional 3D depth from the corner
perspective
═══════════════════════════════════════════
SETTING & ARCHITECTURE:
═══════════════════════════════════════════
– Empty rectangular basement room with cream/off-white painted walls
– White acoustic ceiling tiles with a single small dome-shaped ceiling light fixture
(TURNED ON, GLOWING with WARM YELLOW-AMBER LIGHT)
– Beige/tan low-pile carpet floor
– BACK WALL — a row of small horizontal rectangular windows high on the wall, just
below the ceiling, with white window grids/muntins dividing them into multiple
panes. THE WINDOWS ARE BLOCKED / BOARDED UP — the glass panes appear DARK, BLACK,
OPAQUE, completely sealed off from the outside. NO light, NO view, NO trees
visible through them
– RIGHT WALL — a dark wooden door (closed) with a worn vintage appearance, set
into the right wall (visible angled in perspective)
– Plain white air vent grille on the upper right wall, near the back-right corner
═══════════════════════════════════════════
LIGHTING:
═══════════════════════════════════════════
– The ONLY light source is the SINGLE DOME CEILING LAMP, emitting a WARM
YELLOW-AMBER GLOW
– NO sunlight, NO daylight enters the room (windows are blocked)
– The lamp creates a soft warm halo on the surrounding ceiling tiles
– Warm yellow ambient light falls off into deep shadows at the edges and corners
– Heavy chiaroscuro lighting — bright warm center near the lamp, fading into
near-black at the frame edges and corners
– Sickly warm yellow cast tinting all surfaces — Backrooms liminal space lighting
– Nighttime / eternal night atmosphere
═══════════════════════════════════════════
ARMCHAIR (HALF-SUBMERGED IN FLOOR):
═══════════════════════════════════════════
– A vintage TRADITIONAL AMERICAN WINGBACK ARMCHAIR from the 1970s-80s era, placed
against the BACK WALL directly beneath the blocked windows, positioned in the
center-left area of the frame
– DESIGN DETAILS:
• HIGH WINGBACK with curved wing-shaped sides flaring outward from the backrest
• ROLLED ARMRESTS — soft, fully upholstered, rolling outward in a curved scroll
• SKIRTED BASE — the upholstery fabric extends all the way down to the floor,
completely covering any legs (NO visible wooden legs)
• Plush, padded, soft traditional cushioned design
– FABRIC PATTERN:
• Faded MUTED FLORAL / PAISLEY pattern in soft beige, dusty pink, muted brown,
and cream tones
• Vintage upholstery aesthetic, slightly worn and dusty
– ★ CRITICAL — HALF-SUBMERGED INTO THE FLOOR:
• The armchair is HALF-BURIED / HALF-SUNKEN into the floor
• Only the UPPER HALF of the chair is visible above the carpet — the backrest,
wings, armrests, and the top of the seat cushion
• The bottom half (skirted base, lower frame) is BURIED beneath the floor surface
• The seat cushion appears to be AT THE SAME HEIGHT AS THE FLOOR — perfectly
flush with the carpet
• The skirted fabric meets the carpet seamlessly, as if merged with the ground
• Creates a surreal, uncanny visual — the chair seems to grow out of the floor
– Worn, dusty, abandoned appearance
OTHER ROOM OBJECTS:
– A dark wooden short bookshelf/cabinet on the LEFT side of the back wall, partially
visible at the LEFT edge of the frame, with a glass bottle on top
– Small cardboard boxes and scattered papers/debris on the floor near the bookshelf
– Crumpled dark blue fabric or discarded clothing on the floor in the FOREGROUND
RIGHT corner
– Tiny scraps of trash/paper scattered across the floor
MOOD & STYLE:
– Photo-realistic cinematic still, Backrooms liminal space horror aesthetic
– Aspect ratio 16:9, ultra-wide cinematic composition
– Warm monochromatic SEPIA/AMBER palette: deep brown, honey gold, faded cream,
warm khaki — heavy yellow-amber cast across the entire image
– Deep black shadows in the corners and edges, fading to near-black
– Strong lens vignetting darkening the four corners
– Slight film grain texture
– Shot on ARRI Alexa, anamorphic lens, shallow depth of field
– Reminiscent of Backrooms liminal space horror, Kane Pixels videos, “Skinamarink”
– Atmosphere of profound LIMINAL DREAD, existential isolation, sealed-off space
– Surreal uncanny element with the half-submerged chair as the visual anchor
– No people, no text, no logos
CAMERA (REPEATING FOR EMPHASIS — CORNER SHOT):
– LOW-ANGLE WIDE SHOT, eye-level approximately 40-50cm from the floor
– TWO-POINT PERSPECTIVE looking at the back-right corner
– Camera positioned in front-left of the room, slightly off-center
– Back wall visible on the left-center of frame, right wall visible on the right
of frame, meeting at a corner in the upper-right
– Photorealistic Backrooms found-footage aesthetic
LAYER 4 — 무너진 의자, 떨어진 창문
A cinematic CORNER SHOT (two-point perspective) wide-angle still of an empty,
unsettling Backrooms liminal space basement room. Stylized 3D rendered cinematic
look with low-poly aesthetic and warm sepia tones. The composition is shot from a
LOW camera angle, slightly off-center to the LEFT, looking diagonally toward the
BACK-RIGHT INTERIOR CORNER of the room.
═══════════════════════════════════════════
CRITICAL — CAMERA & COMPOSITION (CORNER SHOT — FIXED):
═══════════════════════════════════════════
– TWO-POINT PERSPECTIVE CORNER SHOT — NOT a flat front view
– Camera positioned in the FRONT-LEFT area of the room, LOW to the floor
(approximately 40-50cm above floor)
– Looking DIAGONALLY toward the BACK-RIGHT INTERIOR CORNER where the back wall
meets the right wall
– BACK WALL: occupies the left and center portion of the frame, contains the
fallen window
– RIGHT WALL: extends from the back-right corner FORWARD toward the camera on the
right side, contains the door
– The INTERIOR CORNER where the two walls meet is visible in the UPPER-RIGHT
portion of the frame
– Wide-angle lens (18-22mm equivalent)
– 16:9 ultra-wide cinematic aspect ratio
– Floor occupies lower 55-60% of the frame
– Ceiling visible in upper 15-20% with the lamp at top-center area
═══════════════════════════════════════════
ROOM ARCHITECTURE:
═══════════════════════════════════════════
– Empty rectangular basement room with warm cream/pale yellow painted walls
– HORIZONTAL TRIM/MOLDING band running along the walls at chair-rail height
(about waist-level), creating a subtle horizontal line dividing the walls
– White acoustic ceiling tiles
– Tan/beige uniform low-pile carpet floor (clean, no debris)
– The room is MOSTLY EMPTY — no bookshelf, no boxes, no clutter
═══════════════════════════════════════════
WINDOWS (ANOMALOUS / FALLEN):
═══════════════════════════════════════════
– The window structure has FALLEN OFF the wall and is now LEANING/RESTING ON THE
FLOOR against the back wall (lower portion of the back wall)
– The window frame (with multiple square panes divided by white muntins) sits
upright on the floor, propped against the back wall like a picture frame that
has been taken down
– A SECOND smaller window frame or panel leans at an ANGLE next to it (tilted,
diagonal), as if knocked askew
– The wall ABOVE where the windows used to be is now EMPTY and BLANK — just a
flat wall surface where the windows have been removed
– The fallen windows appear DARK/EMPTY on the inside — no glass reflection, just
the white grid frames with dark/black panes
– This creates a deeply UNCANNY, WRONG, BACKROOMS-ANOMALY feeling — windows do
not belong on the floor
═══════════════════════════════════════════
LIGHTING (CEILING LAMP ONLY):
═══════════════════════════════════════════
– The ONLY light source is a single DOME CEILING LAMP, turned ON, emitting a
WARM YELLOW-AMBER GLOW
– The lamp creates a soft warm halo on the surrounding ceiling tiles
– NO sunlight, NO daylight
– Warm yellow ambient illumination across the room, with deep shadows fading toward
the corners
– Sickly warm yellow cast tinting all surfaces — Backrooms signature lighting
═══════════════════════════════════════════
ARMCHAIR (★ COMPLETELY COLLAPSED — UNRECOGNIZABLE):
═══════════════════════════════════════════
– What WAS once an armchair is now a SHAPELESS, COLLAPSED, RUINED HEAP of faded
floral upholstery — barely recognizable as a chair at all
– ★ CRITICAL — COMPLETELY DESTROYED FORM:
• The chair has TOTALLY COLLAPSED, DEFLATED, and MELTED into an amorphous lump
of fabric and stuffing
• NO clear chair silhouette remains — no distinct backrest, no proper armrests,
no recognizable seat shape
• The form looks like a CRUMPLED PILE of upholstered fabric and cushions slumped
against the back wall
• Like an old armchair that has been completely caved in, melted, or rotted
until it became a shapeless mass
• One small protrusion might suggest where the backrest once was, but it sags
and droops
• The rest is just a chaotic blob of faded floral fabric folded and crumpled
on the floor
• Looks more like an abandoned pile of clothes or a deflated cushion heap than
a piece of furniture
• If you didn’t know it used to be a chair, you wouldn’t be able to identify it
as one — it’s just a wrong, melted, organic-looking mound
– FABRIC: faded muted floral/paisley pattern in dusty pink, beige, muted brown,
and cream tones — but the pattern is barely visible through the dust and the
crumpled folds
– Positioned against the BACK WALL, slightly to the right of center, near the
back-right corner area
– The whole mass sits LOW to the ground, slumped and lifeless
– Deeply unsettling — the absence of recognizable form is more disturbing than
any clearly damaged chair would be
═══════════════════════════════════════════
DOOR:
═══════════════════════════════════════════
– A dark wooden door (closed) set into the RIGHT WALL, appearing angled in
perspective due to the corner shot view
– The door is mostly in shadow on the right side of the frame
– Vintage worn appearance
═══════════════════════════════════════════
MOOD & STYLE:
═══════════════════════════════════════════
– STYLIZED 3D RENDERED look — slightly low-poly, like a horror video game
cinematic or animated short
– Soft warm sepia/amber color palette: pale cream walls, tan carpet, dark wood door
– Warm yellow-amber cast across the entire image (Backrooms signature)
– Deep shadows at the edges and corners, but not pitch black
– Heavy lens vignetting darkening the four corners
– Atmosphere: Backrooms anomaly, liminal space wrongness, deceptively simple
empty room with deeply unsettling broken/displaced elements
– The eerie feeling comes from things being WRONG (fallen windows, collapsed
unrecognizable chair) rather than from explicit horror
– 16:9 ultra-wide cinematic aspect ratio
– No people, no text, no logos
═══════════════════════════════════════════
TECHNICAL DETAILS:
═══════════════════════════════════════════
– Stylized 3D animation/game cinematic rendering, slightly painterly
– Reminiscent of Backrooms found-footage videos, indie horror game cinematics
– Subtle film grain
– Strong lens vignetting at corners
– The room feels strangely small and enclosed, claustrophobic
LAYER 5 — 완전히 텅 빈 방
A cinematic CORNER SHOT (two-point perspective) wide-angle still of a completely
EMPTY Backrooms liminal space basement room. Absolutely no furniture, no objects,
no windows, no doors — only bare walls, ceiling, floor, and a single ceiling lamp.
Stylized 3D rendered cinematic look with warm sepia tones. The composition is shot
from a LOW camera angle, slightly off-center to the LEFT, looking diagonally toward
the BACK-RIGHT INTERIOR CORNER of the room.
═══════════════════════════════════════════
CRITICAL — CAMERA & COMPOSITION (CORNER SHOT — FIXED):
═══════════════════════════════════════════
– TWO-POINT PERSPECTIVE CORNER SHOT — NOT a flat front view
– Camera positioned in the FRONT-LEFT area of the room, LOW to the floor
(approximately 40-50cm above floor)
– Looking DIAGONALLY toward the BACK-RIGHT INTERIOR CORNER where the back wall
meets the right wall
– BACK WALL: occupies the left and center portion of the frame
– RIGHT WALL: extends from the back-right corner FORWARD toward the camera on the
right side
– The INTERIOR CORNER where the two walls meet is visible in the UPPER-RIGHT
portion of the frame
– Wide-angle lens (18-22mm equivalent)
– 16:9 ultra-wide cinematic aspect ratio
– Floor occupies lower 55-60% of the frame
– Ceiling visible in upper 15-20% with the lamp at top-center area
═══════════════════════════════════════════
ROOM (COMPLETELY EMPTY — CRITICAL):
═══════════════════════════════════════════
– ABSOLUTELY EMPTY rectangular basement room
– NO furniture, NO chair, NO sofa, NO armchair
– NO bookshelf, NO cabinet, NO shelves
– NO windows on any wall — completely blank uninterrupted walls
– NO doors — completely sealed unbroken walls
– NO boxes, NO debris, NO clothing, NO trash on the floor
– NO vent grilles, NO outlets, NO decorations
– NO pictures, NO frames, NO objects of any kind
– The room contains ONLY:
• Bare walls
• Bare ceiling
• Bare floor
• A single ceiling lamp
– The walls are smooth, flat, plain, and completely unbroken — no features, no
fixtures, no openings
═══════════════════════════════════════════
ROOM SURFACES:
═══════════════════════════════════════════
– WALLS: smooth, evenly painted warm CREAM/PALE YELLOW drywall — completely plain
and featureless, tinted golden by the lamp light
– CEILING: smooth pale ceiling, slightly textured, in the same warm cream tone
– FLOOR: uniform tan/brown low-pile carpet, clean and untouched, stretching across
the entire room
– The LEFT FOREGROUND has a thick vertical wall edge/column creating a dark
vertical border (this is the camera’s side wall, part of the corner shot
framing, not a separate structure)
═══════════════════════════════════════════
LIGHTING (CEILING LAMP — ONLY LIGHT SOURCE):
═══════════════════════════════════════════
– A SINGLE small DOME CEILING LAMP at the top-center of the frame, TURNED ON,
emitting a WARM YELLOW-AMBER GLOW
– The lamp creates a soft warm halo of light on the surrounding ceiling area
– This is the ONLY light source — no other lights anywhere
– NO sunlight, NO daylight, NO other artificial lights
– Warm yellow ambient light spreads across the room, with deep shadows fading
toward the corners and edges
– Heavy chiaroscuro lighting — bright warm center near the lamp, near-black at
the frame edges and corners
– Sickly warm yellow cast tinting all surfaces — Backrooms signature lighting
═══════════════════════════════════════════
MOOD & STYLE:
═══════════════════════════════════════════
– STYLIZED 3D RENDERED look — slightly low-poly, like a horror video game
cinematic or animated short
– Warm monochromatic SEPIA/AMBER palette: pale cream walls, tan carpet
– Heavy yellow-amber cast across the entire image (the Backrooms signature)
– Deep shadows in the corners and edges
– Strong lens vignetting darkening the four corners
– Atmosphere: ULTIMATE LIMINAL DREAD — the profound, existential horror of
pure EMPTINESS. An infinite, sealed, featureless void of a room. The absence
of any object, exit, or feature creates intense claustrophobia and existential
isolation
– Feels like being trapped in a sealed cube with no way out
– 16:9 ultra-wide cinematic aspect ratio
– No people, no text, no logos, no objects of any kind
═══════════════════════════════════════════
TECHNICAL DETAILS:
═══════════════════════════════════════════
– Stylized 3D animation/game cinematic rendering, slightly painterly
– Reminiscent of Backrooms found-footage videos, Kane Pixels Backrooms, indie
horror game cinematics
– Subtle film grain
– Strong lens vignetting at corners
– The completely empty room creates overwhelming liminal dread through pure
absence
LAYER 6 — 바닥에 테이프 마킹이 있는 빈 방
A cinematic CORNER SHOT (two-point perspective) wide-angle still of a completely
EMPTY Backrooms liminal space basement room. Absolutely no furniture, no objects,
no windows, no doors — only bare walls, ceiling, a single ceiling lamp, and
mysterious tape lines on the floor. Stylized 3D rendered cinematic look with warm
sepia tones. The composition is shot from a LOW camera angle, slightly off-center
to the LEFT, looking diagonally toward the BACK-RIGHT INTERIOR CORNER of the room.
═══════════════════════════════════════════
CRITICAL — CAMERA & COMPOSITION (CORNER SHOT — FIXED):
═══════════════════════════════════════════
– TWO-POINT PERSPECTIVE CORNER SHOT — NOT a flat front view
– Camera positioned in the FRONT-LEFT area of the room, LOW to the floor
(approximately 40-50cm above floor)
– Looking DIAGONALLY toward the BACK-RIGHT INTERIOR CORNER where the back wall
meets the right wall
– BACK WALL: occupies the left and center portion of the frame
– RIGHT WALL: extends from the back-right corner FORWARD toward the camera on the
right side
– The INTERIOR CORNER where the two walls meet is visible in the UPPER-RIGHT
portion of the frame
– Wide-angle lens (18-22mm equivalent)
– 16:9 ultra-wide cinematic aspect ratio
– Floor occupies lower 55-60% of the frame
– Ceiling visible in upper 15-20% with the lamp at top-center area
═══════════════════════════════════════════
ROOM (COMPLETELY EMPTY — CRITICAL):
═══════════════════════════════════════════
– ABSOLUTELY EMPTY rectangular basement room
– NO furniture, NO chair, NO sofa, NO armchair
– NO bookshelf, NO cabinet, NO shelves
– NO windows on any wall — completely blank uninterrupted walls
– NO doors — completely sealed unbroken walls
– NO boxes, NO debris, NO clothing, NO trash on the floor
– NO vent grilles, NO outlets, NO decorations
– NO pictures, NO frames, NO objects of any kind
– The room contains ONLY:
• Bare walls
• Bare ceiling
• Bare floor with tape lines
• A single ceiling lamp
– The walls are smooth, flat, plain, and completely unbroken — no features, no
fixtures, no openings
═══════════════════════════════════════════
ROOM SURFACES:
═══════════════════════════════════════════
– WALLS: smooth, evenly painted warm CREAM/PALE YELLOW drywall — completely plain
and featureless, tinted golden by the lamp light
– CEILING: smooth pale ceiling, slightly textured, in the same warm cream tone
– FLOOR: uniform tan/brown low-pile carpet, clean and untouched
– The LEFT FOREGROUND has a thick vertical wall edge/column creating a dark
vertical border (this is the camera’s side wall, part of the corner shot
framing, not a separate structure)
═══════════════════════════════════════════
FLOOR TAPE (★ NEW — ONLY OBJECT IN THE ROOM):
═══════════════════════════════════════════
– THIN DARK TAPE LINES stuck to the floor surface, forming a CLOSED IRREGULAR
PENTAGONAL/HEXAGONAL SHAPE outlined on the carpet
– The tape is dark brown/black, narrow (like masking tape or duct tape strips),
flat against the carpet
– The shape is a CLOSED OUTLINE forming an irregular polygon with the following
edges (clockwise from top-left):
1. TOP EDGE: a long horizontal straight line running across the top
2. RIGHT EDGE: a long vertical straight line descending from the top-right
corner all the way down to the bottom-right corner
3. BOTTOM EDGE: a short horizontal line at the bottom (only spanning the
right portion)
4. LOWER-LEFT VERTICAL: a short vertical line going UP from the left end
of the bottom edge
5. DIAGONAL EDGE: a DIAGONAL LINE angling UP and to the LEFT, connecting from
the top of the short vertical line up to the LEFT end of the top edge —
this creates a NOTCHED/ANGLED-CORNER appearance on the LOWER-LEFT side
of the shape
– The overall silhouette resembles a rectangle with the LOWER-LEFT CORNER
CUT OFF DIAGONALLY (like a chamfered corner)
– All edges are STRAIGHT LINES — no curves
– The shape is located on the FLOOR in the FOREGROUND-RIGHT to MIDDLE-RIGHT area
of the frame, lying flat on the carpet
– The tape lines look intentionally placed but mysterious, suggesting some kind
of marker, boundary, or unknown purpose
– Adds an unsettling, anomalous detail to the otherwise empty room — a single
cryptic geometric outline in an empty space
– The tape is the ONLY object/feature in the entire room besides the lamp
═══════════════════════════════════════════
LIGHTING (CEILING LAMP — ONLY LIGHT SOURCE):
═══════════════════════════════════════════
– A SINGLE small DOME CEILING LAMP at the top-center of the frame, TURNED ON,
emitting a WARM YELLOW-AMBER GLOW
– The lamp creates a soft warm halo of light on the surrounding ceiling area
– This is the ONLY light source — no other lights anywhere
– NO sunlight, NO daylight, NO other artificial lights
– Warm yellow ambient light spreads across the room, with deep shadows fading
toward the corners and edges
– Heavy chiaroscuro lighting — bright warm center near the lamp, near-black at
the frame edges and corners
– Sickly warm yellow cast tinting all surfaces — Backrooms signature lighting
═══════════════════════════════════════════
MOOD & STYLE:
═══════════════════════════════════════════
– STYLIZED 3D RENDERED look — slightly low-poly, like a horror video game
cinematic or animated short
– Warm monochromatic SEPIA/AMBER palette: pale cream walls, tan carpet
– Heavy yellow-amber cast across the entire image (the Backrooms signature)
– Deep shadows in the corners and edges
– Strong lens vignetting darkening the four corners
– Atmosphere: ULTIMATE LIMINAL DREAD — the profound existential horror of pure
emptiness, broken only by the mysterious tape lines on the floor. The cryptic
geometric marking on the floor is more unsettling than any object would be,
hinting at some unknown purpose or warning
– 16:9 ultra-wide cinematic aspect ratio
– No people, no text, no logos
═══════════════════════════════════════════
TECHNICAL DETAILS:
═══════════════════════════════════════════
– Stylized 3D animation/game cinematic rendering, slightly painterly
– Reminiscent of Backrooms found-footage videos, Kane Pixels Backrooms, indie
horror game cinematics
– Subtle film grain
– Strong lens vignetting at corners
LAYER 7 — 코너에 작은 아치형 구멍
A cinematic CORNER SHOT (two-point perspective) wide-angle still of an empty
Backrooms liminal space basement room with a mysterious small arched opening in
the corner. Stylized 3D rendered cinematic look with warm sepia tones. The
composition is shot from a LOW camera angle, slightly off-center to the LEFT,
looking diagonally toward the BACK-RIGHT INTERIOR CORNER of the room.
═══════════════════════════════════════════
CRITICAL — CAMERA & COMPOSITION (CORNER SHOT — FIXED):
═══════════════════════════════════════════
– TWO-POINT PERSPECTIVE CORNER SHOT — NOT a flat front view
– Camera positioned in the FRONT-LEFT area of the room, LOW to the floor
(approximately 40-50cm above floor)
– Looking DIAGONALLY toward the BACK-RIGHT INTERIOR CORNER where the back wall
meets the right wall
– BACK WALL: occupies the left and center portion of the frame
– RIGHT WALL: extends from the back-right corner FORWARD toward the camera on
the right side
– The INTERIOR CORNER where the two walls meet is visible in the CENTER-RIGHT
portion of the frame — the mysterious opening is at the base of this corner
– Wide-angle lens (18-22mm equivalent)
– 16:9 ultra-wide cinematic aspect ratio
– Floor occupies lower 55-60% of the frame
– Ceiling visible in upper 15-20% with the lamp at top-center area
═══════════════════════════════════════════
ROOM (EMPTY — ONLY THE ARCHED OPENING):
═══════════════════════════════════════════
– Empty rectangular basement room with smooth warm cream/pale yellow painted walls
– NO furniture, NO chair, NO bookshelf, NO boxes, NO debris
– NO windows on any wall — completely blank uninterrupted walls
– The walls are smooth, flat, plain — no trim, no molding, no decorations
– Smooth pale ceiling tinted golden by the lamp light
– Uniform tan/brown low-pile carpet floor, clean and untouched
– The LEFT FOREGROUND has a thick vertical wall edge/column creating a dark
vertical border (part of the corner shot framing)
═══════════════════════════════════════════
ARCHED OPENING (★ CRITICAL — IN THE CORNER):
═══════════════════════════════════════════
– A SMALL ARCHED OPENING / DOORWAY cut into the wall at the BASE of the BACK-RIGHT
INTERIOR CORNER where the back wall meets the right wall
– The opening is positioned right where the two walls meet, at FLOOR LEVEL
– SHAPE: like a HALF-ARCH or QUARTER-CIRCLE — flat vertical edge on one side
(against the corner), curved arched top transitioning to the floor on the
other side, like a doorway sliced in half by the corner
– The arch is asymmetric — it follows the corner where the two walls meet
– SIZE: small — about 60-80cm tall, just large enough for a person to crouch
or crawl through
– The inside of the opening is COMPLETELY DARK / PITCH BLACK — leading into
unknown blackness, no visible space beyond
– The dark void inside the opening contrasts sharply with the warm-lit walls
around it
– The opening looks intentional but mysterious — like a hidden passage, secret
tunnel entrance, or anomalous void in the wall
– This is the ONLY feature in the otherwise empty room — the single unsettling
detail that breaks the perfect emptiness
– Creates a deeply uncanny Backrooms feeling — suggesting another space exists
beyond, hidden in shadow
═══════════════════════════════════════════
LIGHTING (CEILING LAMP — ONLY LIGHT SOURCE):
═══════════════════════════════════════════
– A SINGLE small DOME CEILING LAMP at the top-center of the frame, TURNED ON,
emitting a BRIGHT WARM YELLOW-AMBER GLOW
– The lamp creates a strong soft halo of light on the ceiling and the upper
portion of the walls around it
– This is the ONLY light source — no other lights anywhere
– NO sunlight, NO daylight
– Warm yellow light spreads across the room, brightest near the lamp and falling
off toward the corners
– The dark arched opening absorbs all light — appearing as a stark black void
– Sickly warm yellow cast tinting all surfaces — Backrooms signature lighting
═══════════════════════════════════════════
MOOD & STYLE:
═══════════════════════════════════════════
– STYLIZED 3D RENDERED look — slightly low-poly, like a horror video game
cinematic or animated short
– Warm monochromatic SEPIA/AMBER palette: pale cream walls, tan carpet
– Heavy yellow-amber cast across the entire image (Backrooms signature)
– Deep shadows at the edges, with the brightest area around the lamp
– Strong lens vignetting darkening the four corners
– Atmosphere: Backrooms anomaly — an empty featureless room with a single
mysterious dark passage in the corner. The eerie feeling comes from the
unknown void hidden in the corner, suggesting another reality beyond
– The arched opening invites and threatens at the same time
– 16:9 ultra-wide cinematic aspect ratio
– No people, no text, no logos
═══════════════════════════════════════════
TECHNICAL DETAILS:
═══════════════════════════════════════════
– Stylized 3D animation/game cinematic rendering, slightly painterly
– Reminiscent of Backrooms found-footage videos, indie horror game cinematics
– Subtle film grain
– Strong lens vignetting at corners
– The single dark passage in the corner creates intense liminal mystery
LAYER 8 — 오른쪽 벽에 큰 아치형 문
A cinematic CORNER SHOT (two-point perspective) wide-angle still of an empty
Backrooms liminal space basement room with a large mysterious arched doorway
in the RIGHT WALL near the corner. Stylized 3D rendered cinematic look with
warm sepia tones. The composition is shot from a LOW camera angle, slightly
off-center to the LEFT, looking diagonally toward the BACK-RIGHT INTERIOR
CORNER of the room.
═══════════════════════════════════════════
CRITICAL — CAMERA & COMPOSITION (CORNER SHOT — FIXED):
═══════════════════════════════════════════
– TWO-POINT PERSPECTIVE CORNER SHOT — NOT a flat front view
– Camera positioned in the FRONT-LEFT area of the room, LOW to the floor
(approximately 40-50cm above floor)
– Looking DIAGONALLY toward the BACK-RIGHT INTERIOR CORNER where the back wall
meets the right wall
– BACK WALL: occupies the left and center portion of the frame
– RIGHT WALL: extends from the back-right corner FORWARD toward the camera on
the right side — the arched doorway is cut into THIS WALL
– The INTERIOR CORNER where the two walls meet is visible just to the LEFT of
the arched doorway
– Wide-angle lens (18-22mm equivalent)
– 16:9 ultra-wide cinematic aspect ratio
– Floor occupies lower 55-60% of the frame
– Ceiling visible in upper 15-20% with the lamp positioned slightly LEFT of
center at the top
═══════════════════════════════════════════
ROOM (EMPTY — ONLY THE LARGE ARCHED DOORWAY):
═══════════════════════════════════════════
– Empty rectangular basement room with smooth warm cream/pale yellow painted walls
– NO furniture, NO chair, NO bookshelf, NO boxes, NO debris
– NO windows on any wall — completely blank uninterrupted walls
– The walls are smooth, flat, plain — no trim, no molding, no decorations
– Smooth pale ceiling tinted golden by the lamp light
– Uniform tan/brown low-pile carpet floor, clean and untouched
– The LEFT FOREGROUND has a thick vertical wall edge/column creating a dark
vertical border (part of the corner shot framing)
═══════════════════════════════════════════
LARGE ARCHED DOORWAY (★ CRITICAL — IN THE RIGHT WALL):
═══════════════════════════════════════════
– A LARGE FULL-HEIGHT ARCHED DOORWAY / OPENING cut directly into the RIGHT WALL
(NOT the back wall), positioned close to the BACK-RIGHT INTERIOR CORNER
– The doorway is in the RIGHT WALL — the wall that recedes from the back corner
forward toward the camera. The doorway faces INTO this wall, meaning anyone
walking through it would move PERPENDICULAR to the camera’s view (toward the
right side of the room beyond)
– SIZE: large enough for a person to walk through standing upright —
approximately 180-200cm tall and 90-100cm wide
– The doorway extends from the FLOOR up to about 70-75% of the wall height
– SHAPE: a CLASSIC SYMMETRIC ARCHED DOORWAY:
• PERFECT HALF-CIRCLE / ROUNDED ARCH at the top
• Two STRAIGHT VERTICAL SIDES going down from the arch curve to the floor
• The opening goes all the way down to the floor (NO threshold visible)
• Clean, symmetric, intentional-looking architecture
– POSITION: located in the RIGHT WALL, very close to where the back wall and
right wall meet at the interior corner. The doorway appears in the CENTER-RIGHT
area of the frame
– Because the right wall is angled toward the camera (Corner Shot perspective),
the arched doorway is also slightly angled, appearing in perspective
– The inside of the doorway is COMPLETELY PITCH BLACK — leading into total
darkness, no visible space, no walls, no floor inside, just an absolute void
– The dark interior of the arch is stark BLACK, completely absorbing all light
– The contrast between the bright warm-lit walls around the arch and the pitch
black void inside creates a deeply unsettling effect
– The doorway has NO door, NO frame, NO trim — just a clean arched cutout in
the right wall
═══════════════════════════════════════════
LIGHTING (CEILING LAMP — ONLY LIGHT SOURCE):
═══════════════════════════════════════════
– A SINGLE small DOME CEILING LAMP positioned at the TOP of the frame, slightly
LEFT of center, TURNED ON, emitting a BRIGHT WARM YELLOW-AMBER GLOW
– The lamp creates a strong bright halo of light on the ceiling and the upper-left
portion of the back wall directly beneath it
– This is the ONLY light source — no other lights anywhere
– NO sunlight, NO daylight
– The light is brightest on the LEFT side of the back wall (just below the lamp)
and falls off into shadow toward the right side and the arched doorway
– The dark arched opening absorbs all light — appearing as a stark black void
– Sickly warm yellow cast tinting all illuminated surfaces — Backrooms signature
═══════════════════════════════════════════
MOOD & STYLE:
═══════════════════════════════════════════
– STYLIZED 3D RENDERED look — slightly low-poly, like a horror video game
cinematic or animated short
– Warm monochromatic SEPIA/AMBER palette: pale cream walls, tan carpet
– Heavy yellow-amber cast across the entire image (Backrooms signature)
– Deep shadows at the edges, with the brightest area around the lamp
– Strong lens vignetting darkening the four corners of the frame
– Atmosphere: Backrooms anomaly — an empty featureless room with a single
mysterious arched passage in the right wall leading to absolute darkness.
The eerie feeling comes from the unknown void beyond the arch — an invitation
and a threat
– The dark archway dominates the composition as the singular focal point
– 16:9 ultra-wide cinematic aspect ratio
– No people, no text, no logos
═══════════════════════════════════════════
TECHNICAL DETAILS:
═══════════════════════════════════════════
– Stylized 3D animation/game cinematic rendering, slightly painterly
– Reminiscent of Backrooms found-footage videos, Kane Pixels Backrooms, indie
horror game cinematics
– Subtle film grain
– Strong lens vignetting at corners
– The single large dark arched passage in the right wall creates intense liminal
mystery
백룸 레벨 0 (무한 복도)
A cinematic CORNER SHOT (two-point perspective) wide-angle still of the iconic
BACKROOMS LEVEL 0 — the famous infinite yellow rooms / maze-like office space.
Stylized 3D rendered cinematic look with the signature Backrooms yellow color
palette. The composition is shot from a LOW camera angle, looking directly at
a central WALL CORNER / PARTITION facing the camera, with hallways extending
to both sides revealing the infinite labyrinth beyond.
═══════════════════════════════════════════
CRITICAL — CAMERA & COMPOSITION (CORNER SHOT — FIXED):
═══════════════════════════════════════════
– TWO-POINT PERSPECTIVE CORNER SHOT — looking at the EXTERIOR CORNER of a
central partition wall that protrudes toward the camera
– Camera positioned LOW to the floor (approximately 40-50cm above floor)
– The central WALL CORNER is positioned at the CENTER of the frame, with two
wall surfaces extending away from the camera on both sides
– LEFT SIDE: a wall extends to the LEFT, revealing an open hallway/room area
beyond
– RIGHT SIDE: another wall extends to the RIGHT, revealing another hallway/room
area beyond
– The room continues into infinite labyrinthine space on BOTH sides of the
central partition
– Wide-angle lens (16-20mm equivalent), creating expansive Backrooms perspective
– 16:9 ultra-wide cinematic aspect ratio
– Floor occupies lower 45-50% of the frame
– Ceiling visible in upper 30-35% with fluorescent light panels
– The composition creates a “fork in the path” feeling — which way to go?
═══════════════════════════════════════════
BACKROOMS LEVEL 0 ARCHITECTURE:
═══════════════════════════════════════════
– An ENDLESS, MAZE-LIKE OFFICE SPACE with no clear exit
– Multiple partition walls creating an irregular labyrinth of corridors and
open spaces
– WALLS: smooth MUSTARD YELLOW / WARM YELLOW painted drywall (the iconic
Backrooms color)
– WAINSCOTING: a horizontal wood panel band runs along the lower portion of
the walls at chair-rail height (about waist-level / 90cm from floor), in a
slightly darker yellow/tan wood tone, creating a subtle horizontal divide
– CEILING: classic SUSPENDED ACOUSTIC CEILING TILES in a regular grid pattern,
off-white/cream colored
– FLOOR: matted, slightly damp-looking BEIGE/OFF-WHITE LOW-PILE COMMERCIAL
CARPET stretching infinitely across the entire space
– The carpet has that uncomfortable “old office” texture and color
– Multiple openings/passages visible leading to MORE identical yellow rooms
beyond — suggesting infinite recursion
– The space has no windows, no doors, no clear exit
– Some walls have low half-walls or counter-height partitions visible in the
background
═══════════════════════════════════════════
LIGHTING — FLUORESCENT CEILING PANELS:
═══════════════════════════════════════════
– The ceiling is illuminated by EMBEDDED RECTANGULAR FLUORESCENT LIGHT PANELS
(the classic flat office ceiling lights — bright rectangular fixtures set
flush into the ceiling tile grid)
– Multiple fluorescent panels visible across the ceiling, illuminating the
entire space evenly
– The panels emit a BRIGHT WHITE-YELLOW BUZZING LIGHT, casting harsh even
illumination across all surfaces
– The combination of yellow walls and fluorescent light creates the iconic
SICKLY YELLOW BACKROOMS atmosphere
– Even, flat lighting with subtle shadows — no dramatic chiaroscuro, just the
oppressive sameness of fluorescent office light
– The light has a slight BUZZING / FLICKERING quality typical of old commercial
fluorescent fixtures
═══════════════════════════════════════════
COLOR PALETTE & MOOD:
═══════════════════════════════════════════
– THE ICONIC BACKROOMS YELLOW palette — saturated mustard yellow walls, cream
ceiling, beige carpet
– Everything tinted with the unsettling warm yellow cast
– Heavy YELLOW MONOCHROME aesthetic
– Mild lens vignetting at the corners
– Atmosphere: pure LIMINAL DREAD — the existential horror of being lost in an
infinite, uniform, fluorescent-lit office space with no way out
– Eerie silent emptiness, deceptively mundane yet deeply WRONG
– Feeling of being watched, of impending presence, of having “noclipped out
of reality”
– Profound CLAUSTROPHOBIA despite the open space — the labyrinth has no exit
═══════════════════════════════════════════
RENDERING STYLE:
═══════════════════════════════════════════
– STYLIZED 3D RENDERED look — slightly low-poly, like a horror video game
cinematic
– Mild barrel distortion from the wide-angle lens
– Soft volumetric haze in the distance (the air feels thick and humid)
– Subtle film grain texture
– Slight chromatic aberration at edges (camera artifact)
– Strong lens vignetting darkening the four corners
– Reminiscent of Kane Pixels Backrooms videos, the original Backrooms 4chan
photograph, indie horror Backrooms games
– 16:9 ultra-wide cinematic aspect ratio
– The classic FOUND-FOOTAGE / SECURITY CAMERA aesthetic
– No people visible, no text, no logos
LAYER 9 — 고양이 추가 (9P 이미지 편집 버전)
Add ONLY a specific cute cat character to this existing Backrooms Level 0 image.
The cat is COMPLETELY MELTED/DRAPED against the right wall, in an extremely
relaxed slouched pose with mouth slightly open. DO NOT change, modify, or alter
ANY other part of the image — keep the yellow walls, ceiling tiles, fluorescent
lights, wainscoting, carpet floor, and the entire Backrooms environment 100%
identical to the original. Only add the cat character on top of the existing
scene.
═══════════════════════════════════════════
★ CAT POSE — EXTREMELY RELAXED, MELTED, DRAPED AGAINST WALL:
═══════════════════════════════════════════
– The cat is sitting on the CARPET FLOOR on the RIGHT SIDE of the frame, with
its entire BACK and SHOULDERS sliding/slumping down against the RIGHT WALL
SURFACE — almost MELTING into the wall
– The cat’s body FACES THE CAMERA — full belly and chest exposed, back against
the wall behind it
– ★ EXTREMELY SLOUCHED POSTURE: the cat’s torso is leaning back HEAVILY against
the wall, almost sliding down — the shoulders are dropped, the spine curves
in a relaxed C-shape, the head tilts slightly to one side in lazy contentment
– ★ HIND LEGS: BOTH HIND LEGS ARE STRETCHED COMPLETELY STRAIGHT FORWARD on the
floor, fully extended, splayed apart in a wide V-shape — completely loose
and relaxed, like a tired person flopped down with legs out
– The hind paws (back feet) flop outward at the ends of the legs, pointing
slightly outward in a totally unbothered way
– ★ FRONT PAWS / ARMS: both front paws hang COMPLETELY LIMP and droopy beside
the body, dangling lazily on the carpet next to the cat’s hips — looking
totally weightless and surrendered, like a sleepy plushie
– The BELLY is clearly visible, soft and rounded, in the relaxed sitting
position (since the cat is slumped backward and legs are extended)
– The TAIL drapes lazily to ONE SIDE on the carpet, completely limp
– The HEAD tilts slightly, gently leaning to one side or resting against the
wall, in a peaceful drowsy expression
– The overall pose is the iconic “EXHAUSTED CAT MELTING INTO THE WALL” — like
a small weary traveler who has just collapsed into a perfect rest position
after wandering the eerie Backrooms maze
– The cat looks BLISSFULLY at ease, completely unbothered, almost asleep
– Like a deflated stuffed animal slowly sliding down a wall
– The cat appears as a SMALL FULL-BODY FIGURE, occupying about 25-30% of the
frame height
– Fully visible from head to extended hind paws
═══════════════════════════════════════════
CAT APPEARANCE (UNCHANGED):
═══════════════════════════════════════════
– A TUXEDO CAT — black fur on top of head, ears, and upper face; white fur on
muzzle, chin, chest, and paws; small pink nose; long white whiskers
– LARGE EXPRESSIVE GREEN EYES — bright vivid emerald/jade green
– ROUND VINTAGE GLASSES with thin black metal frames, perfectly circular lenses
CLOTHING — FULL BODY OLIVE-YELLOW JUMPSUIT (UNCHANGED):
– FULL-BODY ONE-PIECE JUMPSUIT covering the entire body from head to feet
– COLOR: OLIVE-YELLOW / MUSTARD CHARTREUSE — muted dusty yellowish-green-yellow
– FABRIC: quilted/textured fabric with subtle puffy padding
– DETAILS: vertical front zipper line, small dark button, elasticated cuffs at
wrists, integrated hood pulled UP over the head framing the face
═══════════════════════════════════════════
FACIAL EXPRESSION:
═══════════════════════════════════════════
– Mouth is SLIGHTLY OPEN in a small cute “o” shape — peaceful, drowsy, content
expression
– Tiny pink tongue may be barely visible
– Eyes are half-relaxed, looking softly forward or gently drifting — serene
and sleepy
– A gentle, peaceful, deeply contented cuteness — totally at peace
═══════════════════════════════════════════
INTEGRATION:
═══════════════════════════════════════════
– Yellow fluorescent ceiling light from the Backrooms illuminates the cat from
above naturally
– Subtle soft shadow under the cat where it sits on the carpet
– Subtle contact shadow on the wall where the cat’s slumped back meets it
– Subtle shadow under the splayed hind legs on the carpet
– The yellow ambient light tints the white fur slightly yellow, blending with
the Backrooms environment
– The cat fits within the existing CORNER SHOT composition on the RIGHT side
of the frame
═══════════════════════════════════════════
STRICT CONSTRAINTS:
═══════════════════════════════════════════
– DO NOT modify the Backrooms walls, ceiling, floor, lights, wainscoting, or
layout
– DO NOT change the camera composition or perspective (CORNER SHOT maintained)
– DO NOT add any other characters, people, or animals
– DO NOT add text, logos, or UI elements
– The clothing must remain a full body olive-yellow jumpsuit (unchanged)
– ONLY add the cat character in the new extremely relaxed melted pose —
nothing else changes
영상 프롬프트 모음
영상 1 — Act I: 현실에서 백룸으로 (하강 시작)
A cinematic vertical-descent teaser sequence in the style of Kane Pixels
Backrooms videos and A24 horror format. The camera performs ONE CONTINUOUS
VERTICAL DESCENT through 4 successive layers of a basement-style room — a
side cross-section view like cutting through a dollhouse, passing through
dark structural gaps between each floor. This is ACT I of the descent —
starting from natural daylight reality and gradually corrupting into darker
liminal space.
═══════════════════════════════════════════
CRITICAL — CAMERA & COMPOSITION (CONTINUOUS DESCENT):
═══════════════════════════════════════════
– ONE CONTINUOUS VERTICAL CRANE-DOWN MOVEMENT — smooth, steady, no cuts
– SIDE CROSS-SECTION view — like a dollhouse with one wall removed, revealing
stacked room interiors from a parallel side angle
– As the camera descends: upper frame shows BOTTOM of current room (floor,
baseboards), middle frame is the DARK STRUCTURAL GAP between floors, lower
frame reveals TOP of next room (ceiling, light fixture, upper walls)
– Wide-angle lens (24mm equivalent), slight letterbox black bars at top and
bottom during gap transitions
– 16:9 cinematic aspect ratio
– Steady descent speed: approximately one full room revealed every 1.25 seconds
═══════════════════════════════════════════
LAYER PROGRESSION (4 LAYERS REVEALED IN ORDER):
═══════════════════════════════════════════
– @image_1 LAYER 1 (0.0–1.25s): Sun-lit suburban basement room — peeling wallpaper,
warm golden afternoon sunlight streaming through small high windows, dust
motes drifting in the beams, a single floral wingback armchair facing
forward, old wooden bookcase to the left, crumpled blanket on the right
– @image_2 LAYER 1.5 (1.25–2.5s): The SAME room — pale yellow letters “B24” begin to
materialize directly above the armchair, opacity rising smoothly from 0%
to 100%, the typeface a clean serif glowing softly as if light bleeds
through unseen stencils
– @image_3 LAYER 2 (2.5–3.75s): Same room geometry but now darker — fading evening
light, the windows narrower, prismatic rainbow refractions scattering
across the right wall from somewhere unseen, the armchair still present
but in deeper shadow
– @image_4 LAYER 3 (3.75–5.0s): Same room, deep night — windows now blacked-out
rectangles, a single sickly yellow ceiling bulb providing dim warm pool
of light, the armchair smaller and more isolated, debris scattered on
the carpet
═══════════════════════════════════════════
INTER-LAYER STRUCTURAL GAPS:
═══════════════════════════════════════════
– Between each layer, the camera passes through a THICK BLACK STRUCTURAL GAP
approximately 30-40% of frame height
– Subtle texture in the gaps — faint hints of wood joists, dust, insulation
– Not pure black — soft amber bleed from rooms above and below
═══════════════════════════════════════════
LIGHTING ARC:
═══════════════════════════════════════════
– @image_1 Layer 1: Natural warm golden afternoon sunlight, visible dust beams
– @image_2 Layer 1.5: Same daylight + self-illuminated B24 letters glow
– @image_3 Layer 2: Cool desaturated dusk, prismatic rainbow shadows on walls
– @image_4 Layer 3: Single dim ceiling bulb, deep night, soft warm pool
═══════════════════════════════════════════
COLOR PALETTE & MOOD:
═══════════════════════════════════════════
– Progressive shift: warm gold → cool dusk → dim night
– Mild lens vignetting at corners
– Atmosphere: gradual disquiet — what begins as ordinary domestic comfort
slowly reveals something WRONG underneath
– Eerie silent emptiness, deceptively mundane
═══════════════════════════════════════════
RENDERING STYLE:
═══════════════════════════════════════════
– Heavy 35mm film grain throughout
– Slight chromatic aberration at edges
– ARRI ALEXA aesthetic, photorealistic grounded realism
– Mild barrel distortion from wide-angle lens
– Strong lens vignetting darkening four corners
– Found-footage / architectural cross-section cinematic quality
═══════════════════════════════════════════
AUDIO:
═══════════════════════════════════════════
– Deep sub-bass hum throughout
– @image_1 Layer 1: Natural daytime ambience (faint birds, distant traffic)
– @image_2 Layer 1.5: Faint whispered choral swell rising and fading as B24 appears
– @image_3 Layer 2: Prismatic ringing tone, like a wine glass humming
– @image_4 Layer 3: Dead silence with distant low rumble
– Each structural gap: low rumble of passing through concrete and wood
– NO MUSIC — only raw atmospheric SFX
═══════════════════════════════════════════
END FRAME (for editing handoff):
═══════════════════════════════════════════
– Final frame at 5.0s should rest on @image_4 Layer 3 — the dim night room with the
yellow ceiling bulb and isolated armchair — to allow seamless match into
Act II video
Total: 5s / continuous vertical descent / 16:9
영상 2 — Act II: 백룸 깊숙이 (하강 계속)
A cinematic vertical-descent teaser sequence in the style of Kane Pixels
Backrooms videos and indie liminal-horror teaser films. Direct continuation
of the previous act. The camera resumes its UNBROKEN VERTICAL DESCENT from
the night room and continues down through 4 DISTINCT SEPARATE rooms of the
same basement-style room — each layer deeper into sickly yellow liminal decay.
═══════════════════════════════════════════
SEQUENCE ENFORCEMENT (CRITICAL — DO NOT VIOLATE):
═══════════════════════════════════════════
– There are EXACTLY 4 DISTINCT SEPARATE ROOMS shown in strict order:
@image_1 Layer 3 → @image_2 Layer 4 → @image_3 Layer 5 → @image_4 Layer 6
– Every one of the 4 rooms MUST be shown separately and held for its full
1.25 seconds — DO NOT skip, merge, blend, or shorten any room
– IMPORTANT: @image_3 Layer 5 and @image_4 Layer 6 are TWO SEPARATE DIFFERENT
ROOMS and must BOTH appear distinctly. @image_3 Layer 5 is an EMPTY room with
a clean floor. @image_4 Layer 6 is a room with a bold floor outline. Both
rooms are clearly visible and well-lit enough to read all surfaces
═══════════════════════════════════════════
GLOBAL EXCLUSIONS (STRICTLY ENFORCE — APPLIES TO EVERY LAYER):
═══════════════════════════════════════════
– The frame is pure clean cinematic camera footage — completely unmarked and
uninterrupted, with nothing overlaid on the image
– EVERY ROOM HAS A FLAT, SMOOTH, PLAIN CEILING with only a single simple
flush ceiling light fixture — ABSOLUTELY NO exposed wooden beams, NO joists,
NO rafters, NO wood-plank ceiling, NO visible structural framing inside any
room. All ceilings are flat painted drywall
– NO element from one layer may appear in any other layer — each room’s
contents are strictly isolated
– Only the elements explicitly described for each specific layer may appear;
nothing else
═══════════════════════════════════════════
CRITICAL — CAMERA & COMPOSITION (CONTINUOUS DESCENT):
═══════════════════════════════════════════
– ONE CONTINUOUS VERTICAL CRANE-DOWN MOVEMENT — smooth, steady, no cuts
– SIDE CROSS-SECTION view — dollhouse cutaway, stacked room interiors
– Upper frame: bottom of current room. Middle: dark structural gap. Lower:
top of next room being revealed
– Wide-angle lens (24mm equivalent), letterbox black bars at top/bottom
during transitions
– 16:9 cinematic aspect ratio
– Steady descent: one full room every 1.25 seconds, pausing briefly on each
═══════════════════════════════════════════
LAYER PROGRESSION (4 DISTINCT ROOMS, @image_1 3 → @image_2 4 → @image_3 5 → @image_4 6):
═══════════════════════════════════════════
– @image_1 LAYER 3 (0.0–1.25s): A dim night room with a FLAT SMOOTH CEILING and a
single sickly yellow flush ceiling light. Blacked-out windows, a small
floral wingback armchair isolated on the carpet, scattered debris on the
floor. Nothing else is present in this layer
– @image_2 LAYER 4 (1.25–2.5s): Yellow-stained walls, FLAT SMOOTH CEILING with a
single yellow flush ceiling light. Removed window panes leaning sideways
against the wall, a pile of floral fabric crumpled in the corner, no
armchair. Clean carpet, NO floor markings. Nothing else is present in
this layer
– @image_3 LAYER 5 (2.5–3.75s): THE EMPTIEST ROOM — four solid blank
mustard-yellow walls, a FLAT SMOOTH PLAIN CEILING (painted drywall), NO
windows, NO openings, NO holes, and a completely CLEAN UNMARKED floor. A
single yellow flush ceiling light glows steadily and the whole room is
CLEARLY VISIBLE and fully readable — walls, floor, and corners all visible,
just a touch softer and calmer than the brighter room below it. A quiet,
muted, empty stillness. Nothing else is present in this layer
– @image_4 LAYER 6 (3.75–5.0s): A clearly BRIGHTER room — four solid blank
mustard-yellow walls, a FLAT SMOOTH CEILING with a strong yellow flush
ceiling light, NO windows, NO holes. The clear FOCAL POINT is a bold black
rectangular outline painted flat on the brightly lit CARPET FLOOR (like a
stark chalk outline), tracing where an armchair once stood. Slightly
brighter than the calm @image_3 Layer 5 above it. Nothing else is present in
this layer
═══════════════════════════════════════════
INTER-LAYER STRUCTURAL GAPS:
═══════════════════════════════════════════
– Between each layer, a THICK FEATURELESS BLACK GAP approximately 30-40% of
frame height — pure dark void, smooth and empty, only a soft faint amber
bleed from the rooms above and below
– The gap between @image_3 Layer 5 and @image_4 Layer 6 is clearly defined,
marking an unmistakable transition between the empty room and the
marked-floor room
═══════════════════════════════════════════
LIGHTING:
═══════════════════════════════════════════
– @image_1 Layer 3: dim warm bulb pool, deep night
– @image_2 Layer 4: flat sickly yellow fixture
– @image_3 Layer 5: soft, calm, slightly dimmer even light — but the whole
room stays CLEARLY VISIBLE, never black
– @image_4 Layer 6: bright even yellow light, the brightest, floor clearly lit
– All four rooms are well-lit enough to read every surface; the difference
between Layer 5 and Layer 6 is mainly the floor outline, not darkness
═══════════════════════════════════════════
COLOR PALETTE & MOOD:
═══════════════════════════════════════════
– Mustard yellow monochrome throughout, mild lens vignetting at corners
– Atmosphere: liminal decay — the room emptied @image_3(Layer 5), then
marked like a grave @image_4(Layer 6)
– Eerie silent emptiness, the existential horror of recursion
═══════════════════════════════════════════
RENDERING STYLE:
═══════════════════════════════════════════
– Heavy 35mm film grain, stylized 3D rendered quality, slightly low-poly
horror video game cinematic look
– Slight chromatic aberration at edges, mild barrel distortion, strong
lens vignetting
═══════════════════════════════════════════
AUDIO:
═══════════════════════════════════════════
– Deep sub-bass hum throughout
– @image_1 Layer 3: distant low rumble, dead night silence
– @image_2 Layer 4: faint creaking wood, fabric rustling
– @image_3 Layer 5: complete dead silence, deepest void, only the faintest hum
– @image_4 Layer 6: subtle ringing tone returns, like memory tinnitus
– Each structural gap: low rumble of passing through floors
– NO MUSIC — only raw atmospheric SFX
═══════════════════════════════════════════
START FRAME (continuity from previous act):
═══════════════════════════════════════════
– The very first frame matches the final resting frame of the previous act
exactly — the dim night room @image_1(Layer 3)
═══════════════════════════════════════════
END FRAME (for editing handoff):
═══════════════════════════════════════════
– Final frame at 5.0s rests on @image_4 Layer 6 — the brightly lit blank yellow
room with the bold black rectangular outline on the floor
Total: 5s / continuous vertical descent / 4 distinct rooms / 16:9
영상 3 — Act III: 백룸 도착 + 매터냥 등장 (피날레)
💡 마지막 영상 프롬프트의 고양이 부분만 원하는 캐릭터로 바꿔 쓰시면 됩니다.
A cinematic vertical-descent teaser sequence finale in the style of Kane
Pixels Backrooms videos and indie liminal-horror teaser films. Direct
continuation of the previous act. The camera resumes its UNBROKEN VERTICAL
DESCENT and continues down through 4 DISTINCT SEPARATE rooms of the same
basement-style room, then comes to a complete stop on the final Backrooms
scene with a small chibi cat.
═══════════════════════════════════════════
SEQUENCE ENFORCEMENT (CRITICAL — DO NOT VIOLATE):
═══════════════════════════════════════════
– There are EXACTLY 4 DISTINCT SEPARATE ROOMS, stacked one below the next,
shown in strict order, each separated by a black ceiling/floor gap:
@image_1 Layer 6 → [black ceiling/floor gap] → @image_2 Layer 7 →
[black ceiling/floor gap] → @image_3 Layer 8 → [black ceiling/floor gap] →
@image_4 Layer 9
– Between each room the camera descends straight down THROUGH the solid black
structure between floors — the ceiling of the room below plus the floor of
the room above — a thick black gap. This forces a real downward descent,
never an in-place change
– Every one of the 4 rooms MUST be shown separately and held for its full
1.25 seconds — DO NOT skip, merge, blend, or shorten any room
– Each new room is reached by physically DESCENDING down past a black gap into
a separate room below — never by changing or morphing the previous room in
place
– IMPORTANT: @image_2 Layer 7 and @image_3 Layer 8 are TWO SEPARATE DIFFERENT
ROOMS and must BOTH appear distinctly. Both rooms look the SAME in style —
clean mustard-yellow walls, warm even yellow light — they differ ONLY by the
size of the wall opening: @image_2 Layer 7 has just a TINY small mousehole low
near the floor, while @image_3 Layer 8 has a HUGE tall full-height arched
doorway. The camera DESCENDS from @image_2 Layer 7 down through a black
ceiling/floor gap into the separate @image_3 Layer 8 below — it must NEVER
grow or morph the small hole into the big doorway in place
– The camera stops on @image_4 Layer 9 from 3.75s to 7.0s
═══════════════════════════════════════════
GLOBAL EXCLUSIONS (STRICTLY ENFORCE — APPLIES TO EVERY LAYER):
═══════════════════════════════════════════
– The frame is pure clean cinematic camera footage — completely unmarked and
uninterrupted, with nothing overlaid on the image
– EVERY ROOM HAS A FLAT, SMOOTH, PLAIN CEILING with only a single simple
flush ceiling light fixture — ABSOLUTELY NO exposed wooden beams, NO joists,
NO rafters, NO wood-plank ceiling, NO visible structural framing inside any
room. All ceilings are flat painted drywall (the Backrooms corridor uses
its classic suspended fluorescent panel ceiling)
– NO element from one layer may appear in any other layer — each room’s
contents are strictly isolated
– Only the elements explicitly described for each specific layer may appear;
nothing else
═══════════════════════════════════════════
CRITICAL — CAMERA & COMPOSITION (CONTINUOUS DESCENT):
═══════════════════════════════════════════
– ONE CONTINUOUS VERTICAL CRANE-DOWN MOVEMENT — smooth, steady, no cuts,
perfectly level, NO rotation, NO tilt, NO panning, NO swinging
– SIDE CROSS-SECTION view — dollhouse cutaway, stacked room interiors
– Upper frame: bottom of current room. Middle: dark structural gap (ceiling of
the room below + floor of the room above). Lower: top of next room being
revealed
– Wide-angle lens (24mm equivalent), letterbox black bars at top/bottom
during transitions
– 16:9 cinematic aspect ratio
– Steady descent: one full room every 1.25 seconds, slowing slightly on each;
when it reaches @image_4 Layer 9 the descent decelerates and comes to a
COMPLETE STOP, holding still until the end
═══════════════════════════════════════════
LAYER PROGRESSION (4 DISTINCT ROOMS, @image_1 6 → gap → @image_2 7 → gap → @image_3 8 → gap → @image_4 9):
═══════════════════════════════════════════
– @image_1 LAYER 6 (0.0–1.25s): four solid blank mustard-yellow walls, FLAT
SMOOTH CEILING with a single yellow flush light, NO windows, NO holes. A
bold black rectangular outline painted flat on the brightly lit CARPET
FLOOR. Clearly visible. Then the camera descends DOWN through the black
ceiling/floor gap. Nothing else is present in this layer
– @image_2 LAYER 7 (1.25–2.5s): a SEPARATE room below — clean mustard-yellow
walls, FLAT SMOOTH CEILING, warm even yellow light, clean unmarked floor
(NO outline). The ONLY feature is a TINY small dark mousehole LOW near the
floor on the far wall. A normal, clean, warmly-lit room. Then the camera
descends DOWN through the black ceiling/floor gap. Nothing else is present
in this layer
– @image_3 LAYER 8 (2.5–3.75s): a DIFFERENT SEPARATE room below @image_2 Layer 7,
reached by descending through the gap — the SAME clean mustard-yellow walls,
FLAT SMOOTH CEILING, and warm even yellow light as @image_2 Layer 7 (do NOT
distort or darken the room). The ONLY difference is the opening: a HUGE TALL
full-height ARCHED DOORWAY on the far wall opening into pure black void. This
is its own distinct room reached by descending, NOT @image_2 Layer 7 with a
bigger hole. Then the camera descends DOWN through the final black
ceiling/floor gap. Nothing else is present in this layer
═══════════════════════════════════════════
INTER-LAYER STRUCTURAL GAPS:
═══════════════════════════════════════════
– Between each layer, a THICK FEATURELESS BLACK GAP approximately 30-40% of
frame height — the solid structure between floors (the ceiling of the room
below + the floor of the room above), pure dark void, smooth and empty, only
a soft faint amber bleed from the rooms above and below, so that two rooms
are partially visible at once (one above the gap, one below) just like a
cross-section
═══════════════════════════════════════════
@image_4 LAYER 9 (FINAL ROOM, 3.75–7.0s):
═══════════════════════════════════════════
– @image_4 LAYER 9: the camera descends into the BACKROOMS proper — endless
wood-paneled mustard-yellow corridors with humming fluorescent ceiling
panels, mono-yellow carpet extending into infinity, classic Backrooms Level
0 look, brightly and evenly lit. The camera arrives, decelerates, and STOPS,
holding still. Sitting against the wall is a small TUXEDO CAT (black-and-
white face) in an oversized YELLOW ZIP-UP HOODIE ONESIE with round black-
framed glasses, hood up, paws splayed forward, legs straight out, eyes wide
and droopy/sleepy. At about 6.5s the cat’s mouth opens lazily and it speaks
one soft, slow, drawn-out sleepy syllable
═══════════════════════════════════════════
CAT DESIGN DETAIL:
═══════════════════════════════════════════
– Small tuxedo cat (black face mask, white muzzle, black ears), oversized
yellow zip-up hoodie onesie, hood up, round black-framed glasses, sitting
upright against the wall, legs straight out, paws splayed, droopy sleepy eyes
– A chibi-style 2D-illustrated character integrated into the live-action
Backrooms, crisp clean lines on the cat, film grain on the environment
– Small, about 30% of frame height
═══════════════════════════════════════════
LIGHTING:
═══════════════════════════════════════════
– @image_1 Layer 6: warm even yellow flush light, floor clearly lit
– @image_2 Layer 7: warm even yellow light, the small hole emits no light
– @image_3 Layer 8: the SAME warm even yellow light as Layer 7, the big
doorway void is pure black
– @image_4 Layer 9: classic Backrooms fluorescent ceiling panels, bright
white-yellow buzzing light, subtle flicker
– All rooms clearly visible and warmly lit; the difference between Layer 7 and
@image_3 Layer 8 is the size of the opening, NOT lighting or wall shape
═══════════════════════════════════════════
COLOR PALETTE, MOOD & STYLE:
═══════════════════════════════════════════
– Mustard yellow monochrome deepening into full Backrooms yellow
– Mood arc: dread → arrival → unexpected absurd cuteness
– Heavy 35mm film grain, slight chromatic aberration, mild barrel distortion,
strong lens vignetting, Kane Pixels Backrooms aesthetic
═══════════════════════════════════════════
AUDIO & DIALOGUE (per layer):
═══════════════════════════════════════════
– Throughout: a constant deep sub-bass hum underlies everything. NO MUSIC
– 0.0–1.25s @image_1 (Layer 6): quiet dead-air room tone, a faint high ringing
tone like memory tinnitus, a soft low rumble as the descent begins
– 1.25–2.5s @image_2 (Layer 7): a thin cold draft whistling faintly from the
tiny mousehole, a hollow low rumble as the camera passes down through the
black ceiling/floor gap
– 2.5–3.75s @image_3 (Layer 8): a deeper, wider cold-air sound drawing from the
huge arched doorway, a low ominous void resonance, the rumble dropping lower
as the camera descends through the final gap
– 3.75–7.0s @image_4 (Layer 9): the unmistakable BUZZING FLUORESCENT HUM of the
Backrooms emerges and fills the space, faint distant corridor echo. At about
6.5s the cat opens its mouth lazily and speaks one soft, slow, drawn-out
sleepy syllable — “Nyaong…” — half-yawning, slightly bored, trailing off
into the fluorescent hum. The cat’s mouth movement is simple chibi-style,
timed to “Nyaong”, not precise lip-sync
═══════════════════════════════════════════
END FRAME:
═══════════════════════════════════════════
– Final frame at 7.0s rests still on @image_4 Layer 9 — the cat in the
Backrooms corridor, mouth closed, eyes droopy
Total: 7s / continuous vertical descent through 4 rooms, stopping on the final scene / 16:9
영상 스크립트
여러분, 어느 순간 현실에서 ‘뚝’ 하고 떨어져서 똑같은 노란 공간만 끝도 없이 이어지는 곳에 갇힌다면 어떨까요? 분명 아무도 없는데, 자꾸 등 뒤에 뭔가 서 있는 것 같은 느낌. 안녕하세요 AI매터스, 매터냥입니다!
백룸은 현실로 빠져나갈 출구가 좀처럼 보이지 않고 똑같은 공간만 끝없이 반복되는 곳이죠. 그 묘한 불안감과 탄탄한 세계관으로 유명한데요. 그런 백룸이 이번에 영화로 개봉을 앞두고 있습니다. 그런데 때마침 GPT image 2.0이 업데이트되면서, 이런 실제같은 공간을 묘사하는 능력이 한단계 더 좋아졌고, 여기에 Higgsfield에서 Seedance 2.0을 더하니, 퀄리티 높은 영상까지 뽑을 수 있더라고요. 그래서 오늘은 영화 백룸 티저를 AI로 직접 만들어보겠습니다.
그럼 어떻게 만들었는지 흐름만 살짝 보여드릴게요. 백룸 티저 프롬프트는 딱 5가지만 기억하시면 됩니다. 공간, 카메라 구도, 조명, 분위기, 그리고 디테일. 저는 이 5가지를 바탕으로 프롬프트를 짜서 총 9개 장면의 이미지 프롬프트를 만들었어요. 이 프롬프트는 모두 아래 설명란에 무료로 공유해 드릴게요.
이렇게 챗GPT에 프롬프트를 넣고 생성버튼을 누르면, GPT image 2.0이 실제 같은 백룸 티저 장면을 만들어줍니다. 이제 티저에 들어갈 장면 이미지들을 하나씩 뽑아주세요. 참고로 1.5번 이미지는 1번 이미지에서 편집을 누른 다음, 1.5 프롬프트를 넣어 생성하시면 됩니다. 저는 지금 만든 1.5번 이미지를 가상의 로고 (B24)로 대체하여 생성하겠습니다. 그리고 저는 마지막 9번 장면에 반전으로 저 매터냥이 등장하도록 만들어봤어요.
한가지 꿀팁을 드리면, 장면 이미지들을 하나의 채팅방에서 생성하면, 톤이 일관된 이미지를 얻을 수 있으니 참고해 주세요.
자, 이제 이 이미지들로 영상을 만들어볼게요. 먼저 이미지들을 다운받고, Higgsfield 사이트에서 비디오를 누른 뒤 Seedance 2.0으로 들어갑니다. 업로드 미디어를 선택하고, 앞에서 생성한 이미지들을 넣어주세요. 이때 이미지 상태도 한번 확인해 주세요. 엘리지블(Eligible)로 나오면 사용 가능한 이미지, 낫 엘리지블(Not Eligible)로 나오면 사용할 수 없는 이미지라는 뜻입니다. 혹시 체크 엘리지빌리티(Check Eligibility)라고 뜬다면, 글자 부분을 눌러서 엘리지블(Eligible) 상태로 바꿔주시면 됩니다.
여기서 잠깐, 영상이 길어질때는 장면을 나눠서 만든다음 이어붙이는 편이 완성도가 훨씬 높습니다. 한번에 길게 뽑으면 크레딧도 많이 들고 엉뚱하게 생성해 주거든요. 그래서 저는 영상을 3개로 나눠 생성한 뒤 이어붙이려고 합니다.
카메라 구도, 레이어 진행, 조명, 분위기, 그리고 디테일. 저는 이 5가지를 바탕으로 프롬프트를 짜서 총 3개 클립의 영상 프롬프트를 만들었어요. 영상 프롬프트 역시 아래 설명란에 모두 무료로 공유해 드릴 테니, 마지막 영상 프롬프트의 고양이 부분만 원하시는대로 바꿔서 쓰시면 됩니다.
이제 영상으로 만들 이미지들을 고르고, 영상 프롬프트를 넣어주세요. 이미지를 명시하는 단어에 골뱅이(@)를 입력하여 원하는 이미지를 선택하면 더 좋은 결과물을 생성할 수 있으니 참고해 주세요. 이렇게 프롬프트를 넣고 생성 시간과 화면 비율, 화질을 설정한 다음, 생성 버튼을 누르면, 이렇게 AI 백룸 티저 클립 영상이 완성됩니다.
마지막으로 만든 세 개의 클립을 쭉 이어 붙이고 BGM을 넣어주면, 한편의 AI 백룸 티저가 완성됩니다. 보세요, 이 잔잔한 긴장감. AI로 만들었다고는 쉽게 믿기 어려운 분위기죠.
여기서 사용한 프롬프트는 전부 AI매터스 기사로 깔끔하게 정리해서, 아래 설명란 링크에 무료로 올려드릴게요. 지금까지 AI로 백룸티저를 만들어봤습니다. 구독과 알림 눌러주시고 좋아요까지 눌러주시면 더 감사하겠습니다.
이미지 출처: 챗GPT (GPT image 2.0) 생성
영상 출처: Higgsfield.ai에서 Seedance 2.0 생성
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