AI 视频生成器

Port Gellhorn Assault

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15-SECOND NEXT-GENERATION GTA VI PORT GELLHORN ASSAULT — RAPID MULTI-SHOT CUT

Generate exactly 15.0 seconds of a fast, coherent eleven-shot in-engine action sequence from Rockstar Games’ GTA VI, set inside a crowded active Port Gellhorn container terminal.
The uploaded person is the playable protagonist during one continuous four-star port operation. The protagonist runs under incoming fire, advances through three successive hard-cover positions, returns precise controlled carbine fire, throws exactly one fragmentation grenade beside an industrial propane-cylinder cage, remains protected during one localized explosion, passes through the damaged service gate and continues deeper into the next container zone.

This must be a professional rapid-cut hybrid of premium in-engine cinematic presentation and unmistakable player-controlled third-person gameplay. Use exactly eleven short shots and ten instantaneous HARD CUTS at the specified timestamps. Every cut moves the operation into its next physical stage. No shot repeats an action merely from another angle.

The action must feel intense, spectacular and highly polished while remaining physically grounded. Maintain continuous narrative and spatial forward progression. Brief tactical pauses behind Covers A, B and C are permitted, but the protagonist never retreats or revisits cleared ground. No circular movement, teleportation, impossible stunt, graphic injury, gore, fantasy weapon, bullet-sponge enemy, infinite ammunition or port-destroying explosion.

The visual target is uncompromised next-generation, near-photoreal GTA VI-style real-time rendering with exceptional identity preservation, facial acting, reference-accurate clothing, smooth animation, gun handling, ballistics, explosion physics, crowds, industrial detail, lighting, shadows and materials. It must never resemble GTA V-era graphics, an older remastered game, generic cyberpunk, live-action footage or a fan-made shooting animation.

REFERENCE-LOCKED IDENTITY AND COMPLETE WARDROBE

The single uploaded image controls the protagonist’s exact identity and complete visible wearable appearance. Preserve the same facial anatomy, skin tone, age, body, proportions, hair, facial hair, tattoos and gender presentation in all eleven shots.

Reproduce the visible wardrobe and accessories exactly: garment types, silhouette, fit, length, layering, neckline, sleeves, collars, closures, materials, colors, patterns, prints, logos, text, stitching, jewelry, eyewear, headwear, bag and footwear. Do not classify gender to redesign clothing; do not import the turquoise palm outfit from earlier prompts; do not beautify, restyle, recolor, simplify, masculinize, feminize, add or remove visible items.

The reference controls identity and wardrobe only. Replace its pose, expression, background, action, framing and lighting. If clothing is cropped, extend only the same visible garment conservatively; if the whole lower body is absent, infer one understated non-branded lower outfit once before frame one and never change it.

Maintain identical face, body, hair, garment construction, layers, colors, print/logo placement, fit and accessories across every hard cut. Fabric follows sprinting, crouching, recoil, throwing, wind and blast pressure with realistic weight, folds, compression and inertia; prints remain anchored. No identity drift, outfit switching, added armor, clipping, fused layers, crawling pattern, mirrored text or flicker.

ACTION EQUIPMENT

Add only one original GTA-universe compact short-barreled carbine with fixed stock, short handguard, compact optic, dark graphite finish, one 30-round magazine and narrow black two-point sling, plus exactly one compact fictional grenade in a low-profile waist clip. Do not add new armor, helmet, vest, backpack, gloves or alternate equipment unless already visible in the reference wardrobe; any reference-visible item must remain unchanged. Never add an alternate firearm or second grenade. Keep mission equipment geometrically identical across cuts.

NATURAL FACE, EYES AND PERFORMANCE

Keep the protagonist’s recognizable face clearly readable in Shots 1, 3, 5, 9 and 11, with additional partial visibility whenever physically natural. In those designated views, the face occupies approximately 7–12 percent of frame height and is not hidden by the weapon, smoke, hair, glare, foreground objects, motion blur or NPCs.

The performance is controlled and task-driven. Eyes identify the next cover, hostile lane, throwing corridor and breach before the head and body follow. Both pupils track one target with coordinated direction, natural convergence, stable irises, moist catchlights and restrained micro-expressions. The protagonist looks past the camera toward the route or threat, never into the lens. No theatrical posing, dead stare, crossed or wandering eyes, rapid blinking, exaggerated grimace or emotional reset after cuts.

PORT GELLHORN — REALISTIC, DENSE AND ALIVE

Use one coherent active cargo terminal at humid late blue hour after tropical rain: varied weathered containers, service lanes, concrete barriers, reach stackers, cable reels, forklifts, cranes, gantries, tracks, cargo ships, floodlit warehouses, customs sheds, drains, puddles and dark harbor water. Render salt, rust, faded paint, dents, oil, grime, tire marks, wet steel and windblown paper.

Mix amber work lamps, cool-white/pale-cyan crane light, red aviation beacons, headlights, police flashes and restrained coral horizon light into a realistic coastal Leonida palette. This is a contemporary working American port—not cyberpunk, science fiction, a battlefield, an empty container maze or GTA V-era Los Santos.

Keep the terminal crowded but the combat route readable. Unique dockworkers retreat into marked shelters, security personnel use cover, crane cabins are occupied, drivers stay inside trucks and distant workers evacuate along protected walkways; civilians are outside all fire and blast paths. Use varied container trucks, terminal tractors, trailers, reach stackers, forklifts, pickups, security SUVs, port vans, police cruisers and one distant response truck, each with a distinct appearance and logical trajectory.

Operations slow progressively instead of freezing together. No cloned NPCs, identical vehicles, synchronized reactions, overlapping machinery, impossible congestion, random spawning, disappearance, teleportation or clipping.

FORWARD-ONLY OPERATION GEOGRAPHY

The entire sequence follows one continuous eastbound world-space route:

STARTING LANE → COVER A → COVER B → COVER C → LOCKED SERVICE GATE → BREACHED CORRIDOR → NEXT CONTAINER ZONE.

Cover A is a waist-high reinforced-concrete barrier approximately four meters ahead of the starting position.

Cover B is the solid engine housing of an unmanned reach stacker approximately six meters beyond Cover A and slightly to the right. This heavy housing provides real ballistic cover.

Cover C is a reinforced-concrete equipment plinth three meters forward-right of Cover B and outside the grenade’s direct path. It provides solid blast cover while preserving forward progress. The lightweight locked open-mesh steel service gate is four meters beyond Cover C. Its mesh preserves a clear firing sightline without providing false solid cover. A weathered steel cage of secured upright industrial propane cylinders stands beside the gate but outside the protagonist’s travel line.

Two armed hostile port-security contractors occupy positions beyond the gate: one behind the wheel housing of a terminal tractor and another behind a steel equipment barricade near the inner container corridor. They use cover, react to suppression and withdraw logically. They never stand exposed like static targets.

The next operation zone begins beyond the gate between two tall container stacks. Harbor water and cranes remain consistently on the left side of the eastbound route; warehouses and loading bays remain consistently on the right.

The protagonist never returns to a previous cover or reverses world direction. Respect the 180-degree axis rule so forward progress never appears reversed after a hard cut. Front-facing cameras travel backward along the same eastbound route; they do not change geography.

The first frame already contains the protagonist running, Cover A ahead, the gate deeper in the same sightline, dense port activity, the fixed minimap and four wanted stars. No empty establishing shot or delayed character reveal.

NON-NEGOTIABLE HUD — EVERY FRAME OF EVERY SHOT

The HUD is already present in frame one and remains visible in every frame of all eleven cinematic and gameplay shots, on both sides of every hard cut and throughout recoil, smoke, fire, explosion and camera impulse.

MINIMAP: exactly one compact semi-transparent GTA VI Vice City-style gameplay minimap is permanently fixed exclusively in the VIEWER’S bottom-left. In normalized 16:9 screen coordinates, its complete bounding box remains inside x=0.035–0.185 and y=0.755–0.945, centered near (0.110, 0.850). It shows the local container lanes, service roads, one protagonist marker, hostile-search indicators and thin turquoise and coral status bars.

WANTED LEVEL: exactly four clean white wanted stars remain in one horizontal row exclusively in the VIEWER’S top-right, with the entire group inside x=0.820–0.955 and y=0.045–0.095.

Composite these HUD elements as flat 2D screen-space graphics after rendering the 3D world. They receive no perspective, parallax, depth of field, environmental light, reflection, occlusion, recoil, camera shake or motion blur.

The minimap and stars never disappear, fade, move, mirror, swap sides, rotate, bounce, resize, crop, blur, distort, become covered, regenerate or leave their specified boxes. No letterbox bars. Camera language never changes HUD placement.

A restrained center-screen aiming reticle appears only while actively aiming during Shots 2, 4 and 10. It disappears while running, fully protected, preparing or throwing the grenade and during the blast.

RAPID ELEVEN-SHOT ACTION STRUCTURE

Use exactly eleven shots and exactly ten instantaneous HARD CUTS at 0:01.25, 0:02.55, 0:03.80, 0:05.10, 0:06.30, 0:07.65, 0:08.75, 0:10.25, 0:11.70 and 0:13.35.

Alternate visual language strictly:

SHOT 1 CINEMATIC → SHOT 2 GAMEPLAY → SHOT 3 CINEMATIC → SHOT 4 GAMEPLAY → SHOT 5 CINEMATIC → SHOT 6 GAMEPLAY → SHOT 7 CINEMATIC → SHOT 8 GAMEPLAY → SHOT 9 CINEMATIC → SHOT 10 GAMEPLAY → SHOT 11 CINEMATIC-TO-GAMEPLAY HANDOFF.

Every cinematic view remains premium real-time in-engine GTA VI rendering of the same live operation, not a separate cutscene or pre-rendered movie. The unchanged HUD remains visible.

Each new shot begins at the exact physical instant after the preceding shot ends. No omitted time, action replay, reset or alternative-take repetition. Every shot has one primary readable action.

No dissolve, crossfade, fade, morph, whip transition, flash transition, speed ramp, slow motion, freeze-frame or replay camera. Every listed boundary is a clean instantaneous HARD CUT — NO DISSOLVE, NO MORPH, NO WHIP TRANSITION.

0:00–0:01.25 — SHOT 1: CINEMATIC FORWARD ESTABLISHMENT

Use a low front-left three-quarter in-engine tracking camera approximately 2.8 meters ahead of the protagonist, moving backward at matching speed with a natural 58-degree field of view.

The protagonist runs east through the wet container lane, reaches Cover A and finishes the shot planted in a protected crouch. Keep the recognizable face and complete reference outfit clearly readable. The eyes look past the camera toward Cover A, never into the lens. Controlled breathing, grounded footfalls and restrained facial tension communicate urgency.

Incoming rounds strike wet pavement and a container wall behind the protagonist—not in the forward route—producing causally delayed narrow water kicks, concrete dust and small paint fragments.

HARD CUT AT 0:01.25 — NO DISSOLVE, NO MORPH, NO WHIP TRANSITION.

0:01.25–0:02.55 — SHOT 2: GAMEPLAY FIRST CONTROLLED BURST FROM COVER A

Cut to an over-the-right-shoulder third-person gameplay camera approximately 3.4 meters behind and 1.7 meters above the protagonist.

Begin from the exact protected crouch established at the end of Shot 1. The protagonist shoulders the carbine, leans out only enough to see the first hostile position and fires exactly one controlled three-round burst.

Magazine continuity changes from 30 to 27 rounds. Each round synchronizes trigger motion, bolt cycle, recoil, brief irregular muzzle flash, localized smoke, one casing ejected from the correct port and one causally corresponding impact. The hostile withdraws behind the terminal-tractor wheel housing without graphic injury. The protagonist returns fully behind cover.

HARD CUT AT 0:02.55 — NO DISSOLVE, NO MORPH, NO WHIP TRANSITION.

0:02.55–0:03.80 — SHOT 3: CINEMATIC RELOCATION TO COVER B

Cut to a tight side-profile tracking camera on the protected side of Cover A.

Continue from the exact protected pose. During a brief interruption in hostile fire, the protagonist leaves Cover A, advances six meters and finishes firmly braced behind Cover B. The carbine remains at a safe low-ready angle; the trigger finger is indexed outside the trigger guard.

Show a fast grounded relocation with forward torso angle, strong foot planting, natural arm carriage, equipment inertia and fabric response. The face remains readable in profile and brief three-quarter view. The eyes identify Cover B before the head and shoulders follow. A forklift crosses a distant perpendicular lane safely without entering the route.

HARD CUT AT 0:03.80 — NO DISSOLVE, NO MORPH, NO WHIP TRANSITION.

0:03.80–0:05.10 — SHOT 4: GAMEPLAY PRECISE FIRE FROM COVER B

Cut to a responsive rear-left gameplay camera with the protagonist already in the exact braced pose established at Cover B.

The protagonist acquires the second hostile position through a narrow protected angle without changing cover.

Fire exactly two controlled two-round bursts with one brief sight correction: four rounds total. Magazine continuity changes from 27 to 23 rounds. The first burst strikes the steel barricade edge and forces the hostile lower. The second strikes a nearby corrugated container corner, producing localized sparks, paint flakes and shallow dents without fire or explosion. The protagonist withdraws behind Cover B.

HARD CUT AT 0:05.10 — NO DISSOLVE, NO MORPH, NO WHIP TRANSITION.

0:05.10–0:06.30 — SHOT 5: CINEMATIC GRENADE PREPARATION

Cut to a close front-right three-quarter view from the fully protected side of Cover B. Keep the face, coordinated eyes, hands, carbine sling and reference clothing clearly visible.

The protagonist takes one controlled breath and uses a narrow protected sightline to verify the gate, cylinder cage, unoccupied landing area, absence of civilians and forward passage. The eyes reach each point before the head follows.

The carbine remains safely supported by its sling. The protagonist removes the single grenade from the waist clip and arms it with one compact physically plausible hand action. Its continuous fuse begins at approximately 0:05.95 and never resets. No extra grenade appears.

HARD CUT AT 0:06.30 — NO DISSOLVE, NO MORPH, NO WHIP TRANSITION.

0:06.30–0:07.65 — SHOT 6: GAMEPLAY GRENADE THROW

Cut to a standard over-the-shoulder third-person gameplay view behind Cover B.

Continue the same grenade state. The protagonist rises only enough to perform one compact overhand throw toward open concrete beside the cylinder cage. The grenade leaves the hand at approximately 0:07.05. Motion travels naturally from planted feet through hips, torso, shoulder, elbow and wrist.

The grenade follows one uninterrupted gravity-driven ballistic arc. It never homes toward the target, changes direction, floats, duplicates or teleports. Immediately after release, the protagonist returns the carbine to controlled low-ready and begins a low forward-right relocation from Cover B toward Cover C.

HARD CUT AT 0:07.65 — NO DISSOLVE, NO MORPH, NO WHIP TRANSITION.

0:07.65–0:08.75 — SHOT 7: CINEMATIC GRENADE LANDING AND FORWARD RELOCATION

Cut to a low side-wide camera looking east along the same axis. Keep the airborne grenade in the forward depth and the protagonist continuing the established low run from Cover B to Cover C in the nearer plane.

The same grenade contacts wet concrete at approximately 0:08.05, makes one smaller bounce, rolls half a meter and stops beside the cage. Its velocity decreases through impact and friction; grit and droplets respond only at contact points. Simultaneously, the protagonist covers the three-meter forward-right distance and finishes fully braced behind Cover C by 0:08.70, face turned from the expected blast and head protected. The fuse continues; neither subject teleports or repeats movement.

HARD CUT AT 0:08.75 — NO DISSOLVE, NO MORPH, NO WHIP TRANSITION.

0:08.75–0:10.25 — SHOT 8: GAMEPLAY EXPLOSION AND BREACH

Cut to a wider rear gameplay camera behind the crouched protagonist at Cover C. Frame Cover C, the fixed grenade source, cylinder cage, gate and next corridor together.

At exactly 0:09.00, the grenade detonates once at its established ground position. The explosion occurs only once in the entire video and is never replayed from another angle.

First show one compact fast ground-level pressure burst: brief orange-white core, radial dust, displaced puddle water and small grounded fragments. Approximately 0.18 seconds later, only one nearby propane connection ruptures. Escaping fuel creates one localized turbulent secondary ignition around the rack, followed by sustained fire at the damaged connection and dark-gray smoke.

The expanding pressure bends the lightweight gate at its hinges and forces one panel inward, opening a physically usable passage. The other panel remains partially attached. Light debris and an empty small yard cart shift outward. Heavy containers, cranes, concrete structures and the reach stacker do not fly, collapse or move. Intact cylinders remain secured; none launches like a rocket.

The pressure front reaches Cover C after the visible detonation. The protagonist compresses naturally toward the concrete plinth; hair and clothing respond a fraction later to the moving air. Use one brief damped gameplay-camera impulse. The 3D world reacts, but the HUD remains perfectly pixel-locked.

HARD CUT AT 0:10.25 — NO DISSOLVE, NO MORPH, NO WHIP TRANSITION.

0:10.25–0:11.70 — SHOT 9: CINEMATIC SMOKE ADVANCE

Cut to a low front-left tracking camera approximately three meters ahead of the protagonist on the route beyond Cover C.

Only after the principal pressure front passes, the protagonist rises, advances four meters east and reaches the breached gate. This is not a slow-motion hero walk. Use controlled forward movement, flexed knees, stable head position and precise foot adaptation around debris.

The face is clearly readable. The eyes look past the camera toward the opening, then briefly check the base of the damaged gate and threat lane. Smoke drifts laterally with harbor wind without hiding the face or route. Small flames remain attached to the ruptured connection. Embers, debris and puddle ripples persist.

HARD CUT AT 0:11.70 — NO DISSOLVE, NO MORPH, NO WHIP TRANSITION.

0:11.70–0:13.35 — SHOT 10: GAMEPLAY MOVING FIRE THROUGH THE BREACH

Cut to a tight rear over-the-right-shoulder gameplay camera. Continue the exact forward step from Shot 9.

The protagonist uses the torn gate frame as momentary partial cover but never retreats. The same second contractor suppressed in Shot 4 has relocated logically along the protected inner barricade and briefly reappears at the established container corner. The protagonist plants one foot, stabilizes the weapon and fires exactly one controlled three-round burst.

Magazine continuity changes from 23 to 20 rounds. The burst strikes the container corner beside the pursuer, producing compact steel sparks and paint flakes and forcing the pursuer to withdraw without graphic injury. The protagonist releases the trigger, indexes the trigger finger and immediately continues through the breach. Recoil never reverses forward momentum.

HARD CUT AT 0:13.35 — NO DISSOLVE, NO MORPH, NO WHIP TRANSITION.

0:13.35–0:15.00 — SHOT 11: CINEMATIC-TO-GAMEPLAY ENTRY INTO THE NEXT ZONE

Cut to a low front-right three-quarter camera traveling backward inside the next container zone.

The protagonist passes completely through the damaged gate and moves deeper into the operation. Keep the face, exact reference wardrobe, carbine and forward-focused eyes clearly visible. Behind the character, preserve the exact damaged gate geometry, burning connection, smoke direction, debris positions, Covers B and C and moving emergency lights.

Beginning immediately at 0:13.35, the camera performs one controlled 100–120-degree arc along the protagonist’s right side without cutting, settles into a stable rear third-person gameplay position by 0:14.45 and holds it through 0:15.00. The motion never becomes a whip and the HUD never changes.

End at exactly 0:15.00 while the protagonist continues advancing toward the next cover with 20 rounds remaining. No stopping, victory pose, mission completion, new objective, reward, final explosion, freeze-frame, title card or fade.

FIREARM HANDLING, COVER AND BALLISTICS

Use disciplined handling: stock seated in the shoulder, firing hand on grip, support hand on fore-end, responsive elbows and muzzle aligned with the eyes. The trigger finger stays indexed while moving, scanning, throwing or protected and enters the guard only during firing. Never fire while sprinting or blindly; plant at least one foot before each burst.

Every round synchronizes trigger, bolt, receiver motion, fraction-of-a-frame irregular muzzle flash, localized smoke, progressive recoil and controlled recovery. Eject exactly one rotating brass casing per round from the correct port; it follows gravity, bounces and persists briefly.

Impacts occur only after a corresponding shot and match material: concrete produces compact dust/chips, painted steel brief sparks/paint flakes/dents, corrugated steel restrained punctures, glass local fractures and puddles narrow water kicks. No random sparks, invalid ricochets or excessive destruction.

Magazine state is exact: 30 rounds initially, 27 after Shot 2, 23 after Shot 4 and 20 after Shot 10. No reload, refill, duplicate weapon or impossible cadence. Hostiles use cover and react logically; no bullet-sponge behavior, unrealistic launch, gore or graphic injury.

GRENADE, EXPLOSION, FIRE AND DEBRIS PHYSICS

Use one grenade, one continuous fuse and one gravity-driven trajectory that loses energy on each bounce and detonates only at the established position. No magnetic sticking, teleportation, duplication or midair steering.

The blast expands from one fixed source at finite speed. Dust, water, paper and fragments respond to pressure, mass, drag, distance and attachment; light objects move more than heavy ones, then fall and persist. Only the lightweight gate deforms enough to open. Containers, columns, cranes, trucks and Covers B and C stay grounded. No port-wide chain reaction, vehicle explosion, endless detonation, nuclear fireball, fantasy shockwave or weightless debris.

Fire remains attached to the ruptured connection, casting localized orange light, shadows and heat shimmer. Smoke rises and bends with harbor wind; it never reverses, resets, vanishes, crosses solids or changes source. Preserve scorch, cage/gate damage, displaced cart, impacts, debris, flames and smoke after every cut.

NEXT-GENERATION CHARACTER ANIMATION AND RENDERING

Render stable high-density anatomy and realistic body volume beneath the exact reference clothing. Show pores, fine facial hair, subtle translucency, natural moisture, stable lashes/brows, living eyes, detailed lips and restrained facial-muscle movement; never waxy, rubbery, plastic or airbrushed. Hair uses stable strands, natural density, humidity response and inertia while preserving the reference hairstyle.

Use extremely smooth motion matching, inertial blending, full-body IK, precise foot planting, grounded crouching, natural spine/hip/shoulder motion, balance correction, breathing, finger articulation, recoil absorption, accurate contact, fabric response and soft-tissue follow-through. All transitions continue naturally across cuts. No animation snapping, foot sliding, frozen torso, floating weapon, rubber limbs, gait reset, clipping, intersection or teleportation.

NEXT-GENERATION ENVIRONMENT, LIGHT AND MATERIALS

Use uncompromised near-photoreal next-generation GTA VI-style real-time rendering, clearly beyond GTA V-era limitations. Do not merely upscale an older-looking game.

Use dense geometry, layered industrial interiors, occupied cabins, realistic vehicle interiors, wet surfaces and long-distance harbor detail. Give skin, hair, reference garments, weapon metal, brass, painted steel, rust, concrete, glass, rubber, fluid, asphalt, puddles, smoke, fire and water distinct calibrated roughness, reflection and micro-detail.

Use multi-bounce global illumination, cool humid skylight, amber work-light bounce, localized police spill, ambient occlusion, grounded contact shadows, stable penumbrae and accurate moving shadows. Puddle reflections vary with depth, texture, roughness and view angle—not one mirror. Humidity adds subtle depth without neon fog.

Keep geography, cover and threat lanes readable. Cinematic shots may use gentle optical separation, never extreme bokeh, letterbox bars, crushed blacks, oversaturated magenta/cyan wash or cyberpunk grading.

SHOT-TO-SHOT TEMPORAL STABILITY

Maintain across all eleven shots:

• One unchanged identity, body, face, hairstyle, reference outfit and accessories.

• One unchanged carbine, sling, optic and continuous magazine state.

• Exactly one grenade and one continuous fuse.

• One irreversible eastbound route through Covers A, B and C, the gate and next zone.

• Persistent casing locations, bullet impacts, NPC positions and withdrawals.

• Continuous vehicle and machinery trajectories.

• Persistent gate damage, fire, smoke, debris, puddle disturbance, reflections and lighting.

• One fixed bottom-left minimap and four fixed top-right stars.

No texture flicker, boiling detail, crawling logo, morphing hand, unstable eye, warped weapon, duplicated limb, floating shadow, reflection lag, geometry regeneration, background reconstruction, NPC cloning, outfit change, ammunition reset, grenade reset, gate repair, smoke reset, object pop-in or exposure discontinuity.

AUDIO

Use synchronized in-game audio only: finite carbine reports, bolt cycles, casing impacts, material-specific bullet strikes, incoming rounds, controlled footsteps, breathing, fabric and sling movement, grenade handling, one ground-level blast, one localized gas ignition, pressure-wave arrival, falling debris, sustained fire, port machinery, truck engines, crane motors, harbor wind, ship horns, police sirens and distant emergency radio.

Continuous ambience, echoes and sirens bridge every hard cut. Sound perspective changes with camera distance while the event timeline remains uninterrupted. Explosion sound reaches each camera after the visible pressure event according to distance.

No protagonist dialogue, narration, subtitles, cinematic score, trailer music, artificial transition whoosh, endless gunfire, repeated explosion or victory sting.

FINAL OUTPUT LOCK

Exactly 15.0 seconds. Exactly eleven short, forward-progressing shots with ten instantaneous hard cuts. A deliberate alternation of premium in-engine cinematic framing and unmistakable third-person GTA VI gameplay.

Preserve the uploaded person’s exact identity and exact reference-derived wardrobe. Preserve natural eyes, readable face, physically coherent tactical acting, finite ammunition, one grenade, one explosion, persistent damage, dense living Port Gellhorn and permanently fixed HUD.

Every shot advances the operation into a new spatial stage. End during active player-controlled forward movement inside the next container zone. No repeated action, reverse movement, mission completion, new objective, reward, victory pose, final title, logo, watermark or fade.

28342 / 50000

参考图片（可选）

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生成音频2 倍积分Basic+

所需积分50

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