Create a 30-second, 16:9 video that looks like a direct recording of GTA VI third-person gameplay: L

Create a 30-second, 16:9 video that looks like a direct recording of GTA VI third-person gameplay: Lucia escapes through Vice City in the exact flying Tesla Roadster shown in the references. Follow the twelve actions in @image5 in order. Render one full-screen COLOR game view with continuous action, responsive controls, convincing vehicle weight and a persistent game HUD. REFERENCE ROLES @image1 = EXACT OPENING FRAME. Match its rear third-person view of Lucia beside the LEFT DRIVER DOOR, character appearance, outfit, car, daylight and surroundings. Begin animating this scene immediately. @image2 = BEFORE THE DRAWBRIDGE. Match this location, the police blockade, bridge geometry and Roadster appearance. This is the approach/takeoff section, not a separate location to teleport into. @image3 = HELICOPTER ENCOUNTER. Match its REAR THIRD-PERSON VEHICLE CAMERA, complete car in frame, helicopter ahead-left and Lucia's position at the left driver opening. This controls the shooting composition. @image4 = YACHT APPROACH. Match the same car seen from behind, the yacht, its stern helipad and the approach direction. This scene happens AFTER the helicopter encounter. Any intact helicopter visible in this reference is background reference material and must not reappear after destruction. @image5 = ACTION STRUCTURE ONLY. Read the numbered panels 01–12 left to right, then down. Use their action order and timing. Convert the sketches into moving, fully rendered gameplay matching the COLOR references. Never show the storyboard itself, its borders, numbers, captions or pencil texture. Each panel represents a moment within an action, not a still image to hold. The color references define appearance. The storyboard defines sequence. Preserve Lucia's identity and outfit from @image1 throughout. CHARACTER, CAR AND LOCATION One adult Lucia with the same face, athletic proportions, brown ponytail, jewelry and outfit throughout: lime thin-strap crop top with violet hem, tight violet ankle-length athletic leggings with thin lime side piping, white sneakers. The leggings remain smooth stretch fabric, not jeans or flared trousers. Use the EXACT new white angular Tesla Roadster from the attached images. Preserve its proportions, copper-tinted canopy, dark lower body, thin full-width red rear light, four circular rear nozzles, wheels and butterfly doors. Keep the left-hand driver position. No substitute sports car, old rounded Roadster, Cybertruck, extra occupants or vehicle transformation. Sunny daytime Vice City waterfront: palm-lined road, pastel buildings, dense skyline, bright turquoise bay and moving boats. Exactly ONE drawbridge with TWO raised leaves. The geography stays connected: waterfront road -> blockade and bridge -> open bay -> boats -> yacht. The passed bridge stays behind the car. CAMERA — THE MOST IMPORTANT RULE Start on foot in the rear third-person composition of @image1. As Lucia enters the car, the camera smoothly settles into the normal vehicle-follow view. From that point until the end, maintain the SAME THIRD-PERSON CHASE CAMERA directly BEHIND and slightly ABOVE the car, centered on its longitudinal axis at a normal gameplay following distance. Keep the complete vehicle in frame, including the rear bumper, roof, wheels and any open driver door. The car occupies roughly 35–45 percent of frame width in the lower-middle area; the route and threats remain visible ahead. The camera follows the CAR during weapon selection, aiming, shooting and helicopter impact. It never moves beside Lucia, enters the cabin, switches to first person, cuts to the helicopter or zooms over her shoulder. During shooting, Lucia remains a small visible character at the car's LEFT side, with the entire car still visible. Use restrained game-camera damping and slight follow lag during acceleration and turns. Maintain a readable, nearly level horizon. Camera distance stays stable. No cinematic coverage, orbit shots, portrait close-ups, slow motion or dramatic lens changes. GAMEPLAY APPEARANCE Match contemporary GTA VI-style real-time game rendering: detailed game-character shading, believable materials, clear environment geometry, consistent shadows, water reflections and natural daylight. Maintain the recognizable look of an interactive open-world game. Keep the route, car, projectile and helicopter readable; use only moderate motion blur during fast travel. A small minimap remains at bottom-left, four wanted stars at top-right. The map tracks movement. During the weapon-selection beat, show a brief radial weapon wheel with the RPG wedge highlighted and the label "RPG". During aiming, a small reticle tracks the helicopter. A small ammo indicator changes from 1 to 0 after the single shot. HUD elements stay anchored to the screen and do not become objects in the world. No subtitles, title cards or additional promotional text. FLYING ROADSTER — MOTION AND THRUST The car behaves like a heavy, controllable game vehicle powered by the thrusters already present in the references. Takeoff begins WHILE MOVING FORWARD. The tires first grip the road and accelerate the car. Then compact underbody jets push DOWNWARD, the suspension unloads and all four tires visibly leave the surface. Preserve forward momentum through this transition; do not stop on the road before rising. Render the thrust as short, forceful, translucent WHITE cold-gas plumes. Underbody nozzles provide lift and small stabilizing corrections; rear nozzles give short backward-directed bursts during forward boost. The plumes come from fixed nozzle positions, vary with the maneuver and do not obscure the car. No orange rocket flames, magical glow, added aircraft wings or folding wheels. During forward flight, use a mostly level body with small pitch adjustments. Turns have a modest bank, roughly 10–15 degrees, followed by a short settling correction. The car moves into the turn with visible inertia; it does not instantly snap sideways or rotate like a weightless toy. Wheels and bodywork retain their shape. Make speed visible through rapid road/water parallax, the changing size of nearby objects, passing boat wakes, wind and the camera's restrained follow lag. Flight must cover real distance through the scene. Only the helicopter encounter uses a brief controlled hover. Small thruster pulses hold altitude while Lucia aims. The car is stable but still makes subtle physical corrections. For the escape, pitch gently down, descend while gaining forward speed, then increase lift to level out above the water. Near the surface, downward jets create localized spray and ripples. Do not plunge into the bay or skim without clearance. For landing, match the yacht's forward speed first, brake relative to the deck, then lower onto the helipad. Tire contact, suspension compression and settling must be visible. Jets shut off at contact. No prolonged floating above the pad, bounce, sliding through the deck or sudden teleport onto it. TIMELINE — FOLLOW @image5 0.00–1.20 | PANEL 01 — ENTER Start exactly in the rear on-foot composition of @image1, already beside the open LEFT driver door. Lucia immediately lowers into the driver's seat, brings her legs inside and closes the door. At the same time, the police helicopter sweeps low overhead and police lights flash ahead, giving the opening immediate movement and urgency. No posing or leisurely walk. The camera starts settling behind the car as she gets in. 1.20–3.50 | PANEL 02 — ACCELERATE The Roadster launches forward on its tires toward the blockade and single raised bridge from @image2. The rear chase camera is now established. Strong acceleration, fast-moving lane markings and roadside parallax. Both doors closed. 3.50–7.00 | PANEL 03 — LIFT OFF Before reaching the blockade, underbody jets engage and lift the accelerating car off the road. Continue forward, clear the police vehicles and climb ABOVE the highest tips of both raised bridge leaves with obvious clearance. Pass the entire bridge and continue over the bay. This is powered flight, not a jump off a ramp or an unexplained ballistic arc. 7.00–10.00 | PANEL 04 — INTERCEPT Over open water, the same helicopter moves across the route ahead-left. The Roadster makes one controlled bank and decelerates into a level hover with the helicopter clearly visible in front-left. The yacht is still distant ahead. Keep the rear chase camera and both doors closed. 10.00–11.00 | PANEL 05 — SELECT RPG While hovering, show the radial weapon wheel for approximately 0.4 seconds, highlight RPG, then remove the wheel. Keep the car and helicopter in their established positions. Maintain the same rear chase framing; selection does not trigger a new camera angle. 11.00–14.00 | PANEL 06 — OPEN AND AIM The LEFT butterfly door lifts above the driver opening. Lucia keeps her hips and legs inside the LEFT driver seat and leans only her upper body outward, raising one RPG toward the helicopter ahead-left. Her body stays supported by the seat; she does not stand on the roof or change seats. Use @image3's whole-car REAR THIRD-PERSON composition. The camera does not approach her. The raised door clears her head and weapon. The muzzle projects into open air beyond the doorway, with an unobstructed line to the target. Arms and weapon never pass through glass, roof or door. Use this interval for the actual door-opening and aiming movement, not a three-second static pose. The reticle settles on the helicopter. 14.00–16.00 | PANEL 07 — FIRE Fire ONE rocket early in this interval. From the SAME rear chase camera, show it visibly separate from the handheld launcher at the LEFT side of the car and travel diagonally forward-left toward the intact helicopter. Its short smoke trail clearly connects the shot to the target. The projectile does not originate from the car's thrusters. Keep the whole Roadster in frame. 16.00–20.00 | PANEL 08 — HIT AND RECOVER At the beginning of the interval, the rocket hits the helicopter. Show one compact explosion at the target, followed by the damaged helicopter falling toward empty open water, well away from the intact Roadster. Maintain the rear vehicle camera through the impact; no cutaway. Lucia promptly lowers and stows the empty launcher, turns back to the controls and closes the left door. Begin banking into the escape by the end of the interval. Do not linger on the explosion or show the destroyed helicopter flying again. 20.00–22.00 | PANEL 09 — DIVE With both doors closed, the Roadster descends rapidly toward the bay under controlled thrust. Show a clear change in altitude and increasing forward speed. Keep the car stable and the camera following behind it. 22.00–25.00 | PANEL 10 — SKIM BETWEEN BOATS Level out just above the water and fly through the open gap BETWEEN two moving speedboats, one on each side. Pass them at speed without contact. Nearby wakes, spray beneath the jets and fast water parallax make the low flight energetic and readable. 25.00–28.00 | PANEL 11 — ALIGN WITH THE YACHT Continue toward the yacht from @image4, already visible ahead. Approach its stern, rise to the helipad and match the yacht's forward motion. Brake smoothly relative to the moving deck and align with the center of the broad H marking. Keep the same rear third-person camera. 28.00–30.00 | PANEL 12 — TOUCHDOWN Lower the Roadster onto the helipad. Show the tires contact the deck, the suspension compress once and the body settle. Shut off the downward jets. End with all four wheels supported on the moving yacht, both doors closed and Lucia still at the controls. The yacht continues moving beneath the stable gameplay camera. AUDIO AND CONTINUITY Synchronize helicopter rotors, distant police sirens, electric acceleration, forceful cold-gas bursts, rushing wind, the brief weapon-menu click, one rocket launch, one helicopter impact, water spray and final tire/suspension contact. No voiceover or imposed music. Maintain one Lucia, one consistent Roadster, one helicopter until its destruction, one two-leaf drawbridge and one target yacht. Keep the outfit, vehicle scale, daylight and direction of travel coherent. Preserve the exact action order: enter -> accelerate -> powered takeoff -> intercept -> select -> aim -> fire -> impact -> close door -> descend -> pass boats -> align -> land.