타임머신 브이로그

@img1  defines the WOMAN's face, facial features, skin texture and body proportions. Her hair in
@img1 is a short black bob ending at the jaw with wispy front bangs — keep that exact length and
colour. Do not use the background, the grey t-shirt, the studio lighting or the frontal pose from
@img1.
@img2  defines THE CAPSULE, a single-seat retro-kitsch time-travel machine — a plump egg-shaped
one-seater in cream enamel with a pastel mint stripe and a thin candy-pink line, a riveted polished
chrome collar, an iridescent transparent bubble dome hinged at the back, a quilted candy-pink seat
with a ruffled edge and one round cushion, a row of oversized candy-coloured push buttons and a fat
pink rotary knob on the cream console, daisy and star and checkerboard decals, three curved chrome
legs on white rubber feet, a fold-down chrome step plate at the front, and a slim chrome antenna
topped with a pink ball and one small blank cream pennant. It is a rideable machine an adult climbs
into, about the height of a person. Use only its structure, colours, materials, proportions and
wear. Do not use its grey studio background, its studio lighting, its scale mannequin or its
multi-panel layout — the output must contain only ONE capsule, never a panel row, never a reference
sheet, never a collage.
[Core Setup]
A raw first-person travel vlog of one woman buying a time machine and hopping through ten eras in
it, eleven shots, handheld documentary feel: imperfect framing, small drifts and corrections,
gentle exposure breathing, autofocus half a beat late. Real skin texture with true micro pores,
fine film grain, shallow depth of field. Every era has completely different light, colour and
architecture, and each one is instantly readable from a single landmark in frame.
Only ONE named person: the WOMAN (@img1), a Korean woman travelling alone. She is the only person
who ever speaks. Background people exist in several shots but are never identified, never speak and
are never in close-up — faces stay out of frame, cropped or turned away. Background crowds have
visibly different clothing colours, hair and features from each other and move out of sync like a
real crowd. No background face resembles hers.
Never duplicate, split or mirror the subject. There is exactly one of her in every frame, including
inside every reflection.
[Period Costume Rule for background people — strict]
Every background person wears clothing correct for that shot's era, described per shot below.
Absolutely no modern clothing in any historical shot: no life vests, no buoyancy aids, no
high-visibility or fluorescent colours, no modern safety gear, no printed sportswear, no
contemporary jackets, no wristwatches, no sunglasses, no plastic. If a period garment is uncertain,
default to plain undyed or earth-toned woven cloth of that era rather than anything modern.
[Arm and Hand Rule — strict]
In the OBSERVATIONAL shots (1, 2, 4, 5, 8) the camera belongs to an unseen operator standing apart
from her: no arm, hand, finger or body part ever enters the frame from the camera's side, and no
first-person point-of-view limb appears. The only arms in frame are the two attached to her own
body. She never has three arms, never has a duplicated hand, and her pointing hand is clearly joined
to her own shoulder.
[Identity Anchors — these never change]
1. Her face, features and skin texture stay exactly as @img1 in all eleven shots.
2. Her hair stays the same short black bob ending at the jaw with wispy front bangs. Only the
   styling changes per era — pinned back, half-tied, small braids, tucked under a hat — the length
   and colour never change and it is never long, never a wig, never a different colour.
3. A pastel mint enamel band with a chrome bezel and one small candy-pink dial sits on her LEFT
   wrist in all eleven shots, worn over or under whatever she is wearing but always visible. It is
   identical in every shot and is never removed, never swapped, never on the right wrist.
Nothing else carries over between shots.
[Wardrobe Map]
Shot 0: modern clothes — a charcoal grey crew-neck short-sleeve t-shirt, black jogger trousers,
white sneakers. Hair loose as in @img1.
Shot 1: the SAME modern clothes as Shot 0, unchanged.
Shot 2: a white pleated linen wrap dress, a wide turquoise and gold beaded collar, flat leather
sandals. Hair pushed back behind a thin gold band.
Shot 3: a brick-red wool draped gown pinned at the left shoulder with a bronze brooch, leather
sandals. Hair half-tied at the back.
Shot 4: a brown leather waistcoat over a faded black-and-white check cotton shirt with the sleeves
rolled, a long dark denim skirt, worn leather riding boots, a wide-brimmed tan felt hat. Hair tied
low at the nape.
Shot 5: a thick grey-brown wool cloak over an unbleached linen underdress, a wide leather belt,
fur-lined boots. Two thin braids at the front.
Shot 6: a jade green short jacket with long white ribbon ties over a deep navy full-length wrap
skirt, white socks and black flat shoes. Hair combed neatly back.
Shot 7: an ivory high-neck lace blouse, a dark slate-blue ankle-length skirt, a narrow belt, a
straw boater hat. Hair tucked behind the ears.
Shot 8: a deep indigo small-patterned wrapped robe with a wide grey sash tied at the back, white
split-toe socks and raised wooden sandals. Hair pinned neatly at the nape.
Shot 9: a plum purple wide-shouldered jacket, stonewashed blue jeans, white sneakers. Hair
back-combed with volume.
Shot 10: a matte black technical jacket with thin pale blue light seams along the sleeves, black
trousers, black boots. Hair loose as in Shot 0.
Each outfit belongs to its shot only, except Shots 0 and 1 which share the same modern clothes. She
is never mid-change and never seen changing clothes.
[The Capsule — placement rule]
THE CAPSULE physically appears in Shot 0, Shot 1, Shot 5 and Shot 10 only, and there is exactly one
of it. In Shot 0 it stands whole in the yard behind her. In Shot 1 she is sitting inside it with the
bubble dome swung fully open above and behind her, so her face is never behind the acrylic. In Shot
5 it stands on the beach behind her at a distance. In Shot 10 it stands on the rooftop beside her
and its dome carries a reflection. Its cream, mint and pink body reads as an absurdly cute object
dropped into every era.
In Shots 2, 3, 4, 6, 7, 8 and 9 the capsule is nowhere in frame; only the mint wrist band remains.
The capsule never appears, disappears, floats or morphs inside a shot — it is already standing in
place from the first frame of the shots it appears in.
[Camera Approach — guiding, not rigid]
- SELFIE (Shots 0, 3, 7, 10): the camera IS the phone she holds at arm's length. Usually just above
  eye line and angled down, but the angle follows what she is showing — she tilts the phone up, back
  or past her shoulder so the thing she is reacting to actually lands in frame behind her. The
  phone, any screen, interface or recording indicator is NEVER visible. Exactly two arms, one
  extended toward the camera, nothing held in the other hand, never a third hand.
- OBSERVATIONAL (Shots 1, 2, 4, 5, 8): footage by an unseen operator; she holds no phone and no limb
  enters from the camera side. Framing moves between wide and close within the shot as needed.
- REFLECTION (Shots 6, 9): framed on a reflective surface, seeing her mainly as a reflection. The
  reflected face is the SAME woman as @img1 with the same features, the same bob and the same
  outfit as that shot. One real body and one reflection, never a third instance. The reflection
  shows enough of the surroundings to read the era; her face does not need to fill the frame.
[Dialogue Delivery — flexible]
Each line lands at the absolute timecode listed below. Around each line she settles enough that the
mouth reads clearly — settled, not frozen. Natural small movement continues through the line: a
breath, hair moving, weight shifting, a hand still raised from what she was doing.
What must hold during a line: the mouth is unobstructed and large enough in frame to read, nothing
covers it, and she is not chewing, walking or turned away.
What is free: exact framing size, whether she looks at the lens or at the thing she is reacting to,
whether a hand stays up. When a line is an exclamation about something in shot, she keeps her hand
or her gaze on that thing while speaking — the visible connection between the line and its subject
matters more than facing the camera.
All lines are on-camera synchronized speech from her own mouth in natural conversational Korean at
low volume, lips clearly visible, lip movement matching the Korean pronunciation exactly.
No voiceover, no narration, no off-screen speech, no dubbing.
[Dialogue Timing Map — absolute seconds]
1.4s  {타임머신 샀어요. 진짜 될까?}
4.3s  {브라키오사우루스!!}
7.1s  {이걸 진짜 사람이 쌓았구나.}
9.9s  {우와, 창 크기 봐!}
12.7s {증기기관차!}
15.5s {바이킹!!}
18.3s {여기는 알 것 같은데.}
21.1s {이거 아직 짓는 중이야?}
23.9s {진짜 칼을 차고 다니네.}
28.4s {다음엔 어디 가볼까?}
No speech at any other moment. 25.3-27.1s and 29.0-30s are fully silent.
[Performance Register]
Low-key and internal overall. Reactions are small — a pause, a shift of gaze, a slight posture
change, a breath. The exclamations are said out loud but still quietly, like someone startled who
does not want to be heard. No mugging, no theatrical gasping, no flailing hands, no shouting.
[Shot 0 | 0-2.9s] · SELFIE · SPEAKING · 2026, the front yard of a house, clear daylight
0-1.4s: THE CAPSULE stands whole on the grass of a small front yard beside a low hedge and a
concrete driveway, plain modern suburban houses behind it. She is already standing a couple of steps
back from it in her grey t-shirt and black joggers. She reaches out, raps the acrylic dome once with
a knuckle, then raises her other arm into a selfie angle so the whole capsule fits in frame behind
her head.
At 1.4s, settled, she tips her chin back toward the capsule and flicks her free hand at it once
while she speaks, in a half-doubting Korean with a small laugh under it:
{타임머신 샀어요. 진짜 될까?}
Camera: selfie angle just above eye line, her face in the lower frame, the whole capsule visible
behind her head. No phone or screen visible.
<a quiet residential street> <one distant lawnmower> <birds> <her knuckle on acrylic>
[Shot 1 | 2.9-5.7s] · OBSERVATIONAL · SPEAKING · prehistoric jungle, humid overcast daylight
2.9-4.3s: THE CAPSULE stands tilted on soft black soil in a dense fern jungle, its bubble dome swung
fully open above and behind her, the chrome step plate folded into the mud. She is sitting in the
quilted pink seat still in her grey t-shirt and black joggers. Behind and above her an ENORMOUS
long-necked plant-eating dinosaur walks slowly through the trees — only its towering neck, small
head and part of its grey-green flank cross the upper frame, the tree tops swaying as it passes. She
tips her head back to follow the neck upward and lifts one hand off the console, pointing up at it;
that arm is clearly attached to her own shoulder.
At 4.3s, still pointing up at the animal, her eyes flicking between it and the lens, in a stunned
half-whisper that still comes out loud: {브라키오사우루스!!}
Camera: from just outside the open dome, wide enough that her raised pointing hand and the animal's
neck are both in frame with her face, pushing closer through the line so her mouth reads clearly. No
limb enters from the camera side.
<dense insect drone> <slow ground-shaking footfalls> <treetops cracking and rustling> <one low call>
[Shot 2 | 5.7-8.5s] · OBSERVATIONAL · SPEAKING · ancient Egypt, a pyramid under construction
5.7-6.2s: she glances down at her own suddenly changed clothes for half a beat, white linen instead
of a t-shirt, and lets her hand fall.
6.2-7.1s: a half-built stepped stone pyramid rises across the whole background under hard desert
sun, its upper courses unfinished and stacked with rough blocks, long earth ramps running up its
side. In the near ground a line of workers drags an enormous stone block on a wooden sledge with
thick ropes, dust hanging in the light. The workers wear plain white linen kilts wrapped at the
waist, bare torsos and bare feet, skin and cloth grey with stone dust; they are seen from behind and
at a distance, faces never in frame. She tips her head back and tracks the pyramid all the way up to
its unfinished top, then lowers her gaze without moving her body.
At 7.1s, settled and still facing the pyramid with only her eyes coming toward the lens, in a slow
flattened Korean: {이걸 진짜 사람이 쌓았구나.}
Camera: starts wide on the pyramid and the sledge line, moves in to a three-quarter-front close-up
on her face by 7.0s, the stepped stone soft and bright behind her.
<rope creaking under load> <a work chant in the distance> <wooden sledge on sand> <dry wind>
[Shot 3 | 8.5-11.3s] · SELFIE · SPEAKING · ancient Rome, the front tier of a huge arena
8.5-9.9s: she stands at a low stone railing in the front tier of an enormous tiered elliptical stone
arena, packed seating curving away on both sides, the crowd in undyed and earth-toned wool tunics
and draped robes. Across the sand, a formation of Roman soldiers has come in from the far side and
is marching straight toward her end of the arena — bronze helmets with cheek guards, segmented or
mailed body armour over deep red tunics, leather sandals, each carrying a large round shield and a
VERY LONG spear far taller than a man, so the upright shafts read as a dense forest of poles
standing level across the whole background. She turns her back to them, raises one arm into a selfie
angle and tips the phone back over her shoulder until the marching spears fill the frame behind her
head.
At 9.9s, settled with her free hand thrown back over her shoulder toward the spear line and her eyes
going from the spears to the lens, in a delighted Korean: {우와, 창 크기 봐!}
Camera: selfie at arm's length tilted back, her face in the lower frame, the row of upright spears
running horizontally behind her head. No phone or screen visible. The soldiers only march and stand;
they never fight, never raise or throw a spear, never point one at anyone.
<hundreds of feet marching in unison> <spear butts knocking on sand> <a wide crowd murmur> <banners
snapping>
[Shot 4 | 11.3-14.1s] · OBSERVATIONAL · SPEAKING · 1880s American West, a frontier railway platform
11.3-12.7s: a wooden station platform beside a dusty main street of false-front timber buildings,
hard white midday sun and ochre dust in the air. A big black steam locomotive with a flared
smokestack and a cowcatcher rolls in and halts, venting a thick white cloud of steam sideways across
the platform. A few townspeople stand further down the platform in wide-brimmed felt hats,
waistcoats and braces, long skirts and aprons, worn leather boots — all seen from behind or in
silhouette, faces never in frame. The steam washes over her; she turns her face away from it and
fans it once with one hand, then the cloud thins and she lowers the hand and points it at the
locomotive.
At 12.7s, hand still pointing at the engine with steam curling past her, in an astonished low
Korean: {증기기관차!}
Camera: close on her at her own height, the halted locomotive and its steam soft and bright behind
her, the wooden platform boards under her feet. No limb enters from the camera side.
<a heavy steam vent hissing> <a deep train whistle> <iron couplings clanking> <boots on wooden
boards> <dry wind>
[Shot 5 | 14.1-16.9s] · OBSERVATIONAL · SPEAKING · northern viking coast, longship launch
14.1-15.5s: on a black pebble shore under flat grey overcast, a wooden longship with a high curved
carved prow, an overlapping clinker-planked hull and a row of round painted shields hung along its
gunwale is being pushed down the shingle into the water. The men pushing it wear coarse wool tunics
in rust, grey and mustard over linen, wide leather belts, leg wrappings bound with cord, fur-lined
cloaks and simple leather shoes; several have beards and braided hair. They are seen from behind,
hauling on rope and shoving the hull. THE CAPSULE stands small on the stones further back, its cream
and mint body the only bright colour in the grey. In the heavy wool cloak she watches the hull slide,
the wind pulling the cloak sideways, and lifts one hand from under the cloak to point at the men and
the ship; that arm is clearly attached to her own shoulder.
At 15.5s, hand still pointing at them and her face turning halfway to the lens, in an amazed Korean
said half under her breath: {바이킹!!}
Camera: starts wide behind her on the launch, moves in but stays wide enough to hold her pointing
hand, the men and the carved prow in the same frame, handheld drift in the wind. No limb enters from
the camera side and no first-person arm appears anywhere in this shot.
<hard cold wind> <hull grinding on pebbles> <men hauling and calling out> <waves> <gulls>
[Shot 6 | 16.9-19.7s] · REFLECTION · SPEAKING · Joseon dynasty, a palace courtyard pond
16.9-18.3s: the frame is on the still surface of a rectangular stone-edged pond in a palace
courtyard. Her reflection sits in the lower half, and reflected above her are the sweeping tiled
roof and painted green-and-red eaves of a large wooden hall, with a few figures in wide black
horsehair hats and pale full-length robes crossing at the edge of frame. In the jade green jacket
and navy skirt she is standing at the pond edge; in the reflection she looks slowly along the
roofline, then lets her gaze come down toward the lens.
At 18.3s, settled, a small recognising smile arriving before the words, in a quiet Korean:
{여기는 알 것 같은데.}
Camera: locked low on the water, her reflected face clear and readable in the lower half with the
hall's roof still visible above it — not a filled-frame head. Small ripples cross the image but
never her mouth. One woman and one reflection only.
<water lapping at stone> <wooden shoes on flagstones> <wind in pine> <a distant bell>
[Shot 7 | 19.7-22.5s] · SELFIE · SPEAKING · late 19th century Paris, an iron tower still being built
19.7-21.1s: an enormous open iron lattice tower stands UNFINISHED against a dusk sky. It is cut off
flat partway up — there is no spire, no summit, no top section at all, and open sky sits directly
above the blunt cut edge. On that unfinished top edge stand wooden scaffolding platforms, a steam
crane with its arm swung out, hoist cables hanging loose and small silhouettes of workers moving
along the girders. Riveted iron members cross everywhere below. Workers in flat caps and dark
overalls climb the lower structure; horse-drawn carriages and people in long coats and hats pass on
the street below. In the lace blouse and boater hat she raises one arm into a selfie angle, finds the
tower does not fit, and tips the phone back once so the blunt cut top and the crane come into frame.
At 21.1s, arm still stretched back at the awkward angle, her eyes going up to the unfinished top
and back to the lens, in a puzzled amused Korean: {이거 아직 짓는 중이야?}
Camera: selfie at arm's length tilted back, her face lower in frame with the cut-off lattice and the
crane rising behind her head. No phone or screen visible.
<riveting hammers ringing on iron> <a steam winch> <horse-drawn traffic below> <wind through girders>
[Shot 8 | 22.5-25.3s] · OBSERVATIONAL · SPEAKING · feudal Japan, a castle town street at sunset
22.5-23.9s: a street of dark wooden shopfronts with paper lanterns being lit, and beyond them a tall
multi-storey tiled castle keep standing black against a burnt orange sky. TWO ARMOURED WARRIORS walk
straight past her, close enough to almost brush her — black lacquered plate armour with wide shoulder
guards, cords lashing the plates, straw sandals, hair tied up in a topknot, and TWO SWORDS thrust
through the sash at the hip, the lacquered scabbards and wrapped hilts sharply in focus. As the first
one passes, his long scabbard sweeps across the foreground of the frame at her waist height, clearly
readable. Their faces stay above the top edge of frame or turned away and are never seen. She stops
and pulls half a pace back against a shopfront to let them by, her eyes dropping to the swords.
At 23.9s, with the second warrior's sword hilt still in frame beside her and her eyes coming from it
to the lens, in a low impressed Korean: {진짜 칼을 차고 다니네.}
Camera: from across the street at her own height, the warriors and she are in the SAME plane of
focus — the armour and the scabbards are as sharp as her face, not blurred background. The castle
keep behind is the only soft element. No limb enters from the camera side.
<straw sandals on packed earth> <armour plates knocking> <a scabbard swinging against armour> 
shop shutter sliding> <crows at dusk>
[Shot 9 | 25.3-27.1s] · REFLECTION · SILENT · 1980s Tokyo back alley, neon, rain
The frame is on a wet shop window at night, her reflection standing in it, dense stacked vertical
neon signs and a wet black street reflected around her, rain streaking down the glass. In the plum
purple wide-shouldered jacket and stonewashed jeans she stands with her hands in her pockets,
shoulders up against the rain, looking at the neon rather than at the glass. She does not speak and
her lips do not move. One woman and one reflection only.
Camera: locked on the window at a slight angle, medium framing, rain running down the glass in the
foreground.
<hard rain on metal awnings> <a distant train crossing bell> <water in a drain> <muffled music
behind glass>
[Shot 10 | 27.1-30s] · SELFIE · SPEAKING · near-future rooftop, cold blue pre-dawn
27.1-28.4s: standing at a low rooftop parapet in the matte black technical jacket, a dense skyline of
tall dark towers with thin cool blue light lines behind her, low cloud moving between them. THE
CAPSULE stands on the roof deck just behind her right shoulder, its bubble dome carrying a small cool
reflection of the skyline, the little cream pennant stirring in the wind. She raises one arm into a
selfie angle, the frame swinging and settling, and with her free hand she turns the small candy-pink
dial on her left wrist band one notch, thumb resting on it.
At 28.4s, settled with her thumb still on the dial, in a low tired Korean, almost to herself:
{다음엔 어디 가볼까?}
Camera: selfie at arm's length, her face against the blue skyline with the capsule in frame over her
shoulder and her wrist band low in the frame. No phone or screen visible.
29.0-30s: she lowers the arm, the frame swinging down toward the dark street far below and drifting
back up to the pale blue horizon. She does not speak again and her lips do not part.
<a very low wind at height> <a faint deep hum from the city> <one distant aircraft> <her own breath>
<one small click from the dial>
[Consistency]
Same woman, same face, same short black jaw-length bob, same pastel mint enamel band on her left
wrist in all eleven shots. Her outfit changes completely at every cut according to the wardrobe map
and never carries over, except Shots 0 and 1. Exactly one capsule exists, it looks identical every
time, and it appears only in Shots 0, 1, 5 and 10. Eleven locations are visibly different in
architecture, colour, crowd density and light: clear suburban daylight, humid green overcast, hard
desert sun, bright open arena daylight, hard white midday over ochre dust, flat grey coastal
overcast, clear afternoon on water, dusk over iron, burnt orange sunset, neon rain at night, cold
blue pre-dawn.
[Audio]
No music at all except sound physically present in a location. Only raw diegetic sound from each
location as listed per shot, changing completely at every cut. Every line lands with a beat of
relative quiet around it.
[Signage]
Background signage, banners and shop fronts exist as part of each real location but stay out of
focus, partially cropped or obscured, and must not show any readable real brand name, company name
or trademark in any script. No overlaid graphics of any kind.
[Negative Prompts]
No voiceover, narration, off-screen dialogue or dubbing. No speech outside the ten listed timecodes.
No speaking while chewing, with the head lowered, turned away, with the mouth covered, or while
walking. No dialogue in Shot 9. No exaggerated or theatrical acting, no mugging, no gasping, no
flailing hands, no shouting.
No modern clothing on any background person in any historical shot — specifically no life vests, no
buoyancy aids, no high-visibility or fluorescent colours, no modern safety gear, no printed
sportswear, no contemporary jackets, no sunglasses, no plastic. The longship is never a modern
rowing boat, racing shell or dinghy.
No third arm, no duplicated hand, no detached limb, and in Shots 1, 2, 4, 5 and 8 no arm, hand or
finger entering the frame from the camera side and no first-person point-of-view limb.
In selfie shots: no phone, screen, interface, recording indicator or third hand, and nothing held in
her free hand. She holds no phone in Shots 1, 2, 4, 5, 6, 8 or 9. In reflection shots: no second
person, no mismatched reflected face, no reflected outfit that differs from the shot, no duplicated
or split subject. Her hair is never long, never a different colour, never a wig. The mint wrist band
never disappears and never moves to the right wrist. No more than one capsule, and no capsule in
Shots 2, 3, 4, 6, 7, 8 or 9. The capsule is never brass, bronze or steampunk, never a different
colour, never a toy-sized object, never a vehicle that drives or flies. No letters, numbers or
symbols on any decal, button or dial. No more than one dinosaur, and no dinosaur outside Shot 1; it
never attacks, roars into camera or comes close. In Shot 3 the soldiers only march and stand at rest:
no fighting, no combat, no charging, no spear raised, thrown or pointed at anyone, no animals in the
arena, no blood. In Shot 7 the tower is never complete: no spire, no finished summit, no pointed top
— the structure is always cut off flat with open sky above it and construction equipment on the cut
edge. In Shot 8 no sword is ever drawn from its scabbard and the warriors' swords are never blurred
out of focus. No violence anywhere in the video, no religious ceremony, no deity figure, no real
historical named person, no named warrior character from any game, film or franchise. No object
appears, disappears, floats or morphs into another object. No visible face of any background person,
no face blending. No subtitles, captions, titles, on-screen text, watermark or logo. No background
music or score. Cuts between shots are plain straight cuts with no effect on them: no white or
coloured flash, no light burst, no glow, no dissolve, wipe, morph, portal, swirl, time-warp or
transition effect of any kind. No slow motion, speed ramp, drone, crane or aerial moves, no lens
flare, no glossy AI skin, no beauty retouching.