Generate a brand-new finished film. [V1] is a rough low-poly previz storyboard: follow its single co

Generate a brand-new finished film. [V1] is a rough low-poly previz storyboard: follow its single continuous camera path, its gentle drift and occasional jolts, its altitude, framing, car positions, lead changes, crash motion and beat timing second for second, and take NOTHING else from it: not its faceted boxy shapes, flat shading, blank beige ground or pale sky. The dark wedge car is the black muscle car in [CHARGER]: 1970 coupe, chrome supercharger bursting through the hood, chrome bumpers, slotted wheels. The orange wedge car is the orange sports coupe in [SUPRA]: green tribal side graphics, tall silver rear wing, five-spoke silver wheels. [LOOK] is the film look; its blurred patches are not part of the scene. The world is Terminal Island in the Port of Los Angeles, around 2001. Every shape in [V1] becomes this real place, and [P1] to [P7] are photographs of these exact streets: match their poles, wires, screens, fences, buildings, cranes, crossing hardware, train and road surface. [P1] is Terminal Way: the street and its screen-and-pole corridor. [P2] is the start by the old cannery. [P3] is the Vincent Thomas Bridge behind the container cranes. [P4] is the approach to the Earle Street crossing. [P5] is its warning lamps and crossbuck. [P6] is the freight train. [P7] is the green truck and the overhead conveyor at the crash site. The roads are long, flat, straight industrial streets of faded cracked asphalt with tar-snake patches, potholes and a worn double-yellow centre line, gravel and litter in the gutters. Both sides are lined with tall, weathered wooden utility poles, close together, with crossarms, transformers and heavy sagging bundles of wire, receding in rhythm to the vanishing point. The green blocks are olive-green corrugated sheet-metal fences and chain-link topped with barbed wire, with faded rust-brown and grey shipping containers stacked behind them. The white blocks are low, windowless tuna-cannery warehouses with sun-faded cream walls, peeling paint, loading docks and flat tar roofs crowded with vents. The trees are scraggly eucalyptus and a few tall thin palms. Red-and-white container gantry cranes stand on the skyline, and the towers and cables of the long green-grey Vincent Thomas suspension bridge rise in the haze beyond the rooftops. Hot late-afternoon sun, ochre air, dust hanging over the road. One unbroken take from a racing FPV drone carrying a small cinema camera: amber highlights, muted olive greens, deep warm shadows, hard shadows, fine grain, soft bloom. The cars are fighting, never gliding: body roll into every swerve, squat under throttle, noses dipping on shifts, rear ends twitching, suspension bouncing over patched asphalt, tyres chirping, exhaust heat and dust kicking out behind them. Real piloted flight, never floating CGI: banked turns carry momentum, a light constant float and prop-wash shiver, with a few hard jolts only at the big moments (the rails, the impact, the landing). Foreground constantly cuts through the frame: poles and wires whipping past the lens edge, fence posts and barbed wire smearing by, grit and dust thrown up by the tyres hitting the lens, a smudge on the glass catching the sun, flare streaking across. Fast vintage glass: razor-thin focus, focus missing for a beat then snapping to the cars, background smeared in directional motion blur, heat shimmer. 0-1.5s: high over the old cannery blocks near Tuna Street (P2), the frame breathing on the wind; the two cars small, side by side at the line. 1.5-3.5s: launch: the black car's front wheels lift in a wheelie and it jumps a car length ahead, tyre smoke behind both cars. 3.5-4.5s: a banked dive past a roof edge, horizon tilting, a power line flicking through the frame. 4.5-6.5s: flare out onto Terminal Way (P1) at road level through dust, skimming the orange car's rear quarter; the black car stretches its lead. 6.5-8.5s: low chase; the orange car surges on a burst of boost and pulls past the black car. 8.5-10.5s: slide along the black car's flank as the two cars squeeze door to door, inches apart, the chrome blower filling frame. 10.5-11.5s: punch past its nose and yaw around hard to fly backward ahead; the bridge towers (P3) swing through the haze; the black car back in front. 11.5-15s: low reverse tracking, both cars charging at the lens and trading the lead again, door to door; at 14s the Earle Street crossing (P4) comes up, its lamps (P5) flashing red on the left, gate arms down. 15-17.5s: both cars hit the rails side by side, all four wheels leave the road for a moment, slam down and bounce; the freight train (P6) thunders across behind them, horn blaring. The camera jolts over the crossing and climbs. 17.5-20s: higher, flying backward ahead; the black car noses half a car ahead; power-line shadows slide across them. 19.8-20.4s: under the overhead conveyor (P7), a green long-nose semi with a white trailer pulls out from a side street on the black car's right (screen left); the black car jinks away at the last moment. 20.4s: the black car's front right corner clips the truck's front bumper: the truck lurches, the black car launches. 20.5-21.4s: the black car flies up, rolling over sideways, and passes upside down directly over the orange car, which keeps driving underneath it; glass and trim glitter. The frame jolts and yaws, then fights back on target. 21.4-23.5s: the black car slams down on its side beside the orange car, bounces, and keeps barrel-rolling down the road, shedding debris, dust rolling toward the lens, while the orange car swerves away and brakes hard; focus hunts. 23.5-24.7s: the black car rolls back onto its wheels and slides sideways to rest at the roadside; the orange car stops further on. The aggressive flying stops. 24.7-29s: a slow high hover still breathing on the wind, smoke and dust drifting through the low sun past the poles. Hold. Audio: supercharged V8 whine against a turbo six, gear shifts, crossing bells, train horn and rail clatter, truck air horn, a heavy metal impact, glass, tyre screech, prop whine, wind buffet. No background music. Global supplement: one continuous shot, prohibit any cut. Keep the camera path, motion, car positions and crash motion of V1 at every second. Strictly maintain both cars from CHARGER and SUPRA: rigid metal, real curved bodywork. Drivers are dark shapes behind tinted glass, no faces visible. Prohibit gimbal smoothness, floating 3D camera movement and cars gliding on rails. Prohibit slow-motion or floating in the crash: real speed, real gravity. Prohibit bright, colourful, new-looking container walls; this place is old, sun-bleached and dusty. Prohibit low-poly, faceted or flat-shaded surfaces. Prohibit objects appearing out of thin air. No subtitles, no on-screen text, no watermark.