Every image on this site comes out of a frame Rockstar published, and most of the crops we have measured in those frames sit on a page about the thing inside them — a vehicle, a place, a weapon. Forty-six do not. Their subject has no page of its own, and no other page shows the frame they came from, so until now they existed only in the dataset. This is where they live: thirty-three frames, in the order the material runs, with what each one carries.
Corpus note, 5 November 2026. Rockstar has published the Launch Gallery. The measurements below come from the reviewed corpus; the Launch Trailer and the newer press screenshots are being added from 7 November 2026. The official-footage and gallery overview records the new source without treating it as already processed evidence.
Nothing here is a claim about the game. It is a claim about a picture. Where lettering reads, it is quoted; where only part of it reads, that part is quoted; where none of it does, the page says so and leaves the word alone. The source and the crop are on every tile, with the timecode where the source is video, and clicking one opens the full frame with the measured box drawn on it. If you want the method rather than the material, that is on how we work.
Trailer 1, 0:08 — the woman behind the desk
A woman with curly hair and glasses sits behind a desk with papers spread in front of her. The caption used to say she was interviewing someone in orange prison clothing; that person is not in this crop, and the crop is all we are prepared to describe.
Trailer 1, 0:21 — the packed beach
A full-width strip across the frame: parasols end to end, bathers between them, and a wall of hotels standing behind the sand. It runs the full width of the frame, because the subject is the whole beach and not anything standing on it.
Trailer 1, 0:48 — at the door
Two measurements out of one frame, and they belong together. Two figures in hard, hazy light: nearest the camera a man in a cap with POLI across his back, where the edge of the crop cuts the word off, and beyond him a bald man in glasses leaning in. Beside them, a long gun is held up against a bright window. That second crop is heavily blurred: barrel, stock and grip are followable as shapes and nothing else resolves — no sight, no magazine, no lettering — so the record says ‘a long gun’ and stops there. It was filed as a shotgun once. The frame does not carry that.
Trailer 1, 0:55 — the mud field
A crowd caked in mud, pickups behind them. Whether this is an event with a name, or a place that hosts one, the frame does not say.
Trailer 1, 1:00 — the billboard
A roadside hoarding with a cartoon pill that has a face, and a slogan that reads in full: IT CURES EMOTIONS! The record used to say only that there was a parody advert for medicine on it. There is, and now the words are on the page.
Trailer 1, 1:08 — inside the shop
A robbery in a convenience store, measured twice: once for the two masked people in the aisle — one with a red bandana over the face, the other with a grey one and a white T-shirt — and once for the shop itself. The wide crop is the more interesting of the two, because a banner hanging at the top left reads PIßWASSER over NEIN, legible letter by letter. That is a brand the series has used before, and this is the first frame of GTA 6 we have measured it in.
Trailer 2, 0:18 — the green shed
Weathered green boards across the full width of the frame, a yellow ladder leaning against them, and a window and a door at the right-hand end. A shirtless man in a cap and green mirrored sunglasses stands in front of it with a thin chain, a watch and a tattoo on his upper arm. Our working name for the shed calls it a shed at the water; there is no water in this crop, so the caption does not say so.
Trailer 2, 1:00 — the man at the fence
A man standing at a chain-link fence in a shirt with LEONIDA MARINE CENTER on the chest in three short lines. The last line runs into the bottom edge of the crop, and each of its letters is still recognisable from its top half. The business has a page of its own from a different frame. This crop is not linked to it: a name on someone’s shirt tells you what is printed on the shirt, not who the man is or where he works. Same reasoning that keeps a brand on a shipping container off the page of the ship carrying it.
Trailer 2, 1:19 — the bar at the water’s edge
A timber bar in warm golden light, two people at the counter, three crops. The wide one is the bar; the other two are the woman in the orange bikini top, aviator sunglasses pushed up into her hair, and the man in the dark floral shirt with a watch on his wrist.
Both are holding the same kind of bottle, and the label is worth the enlargement. On her bottle the name reads AYHO, with the character before it only half in sight where the label curves round the glass; on his, the same name reads AYH, with his finger over whatever comes before it and the rest of the label curving away. The half character on her bottle looks like a D. How long the name is we cannot say, because on neither bottle is its start in view, and the smaller line under it does not read in either crop, so it is left alone. That is a reading, not a name, so it stays here rather than on a page of its own.
Trailer 2, 1:58 — the Manatees jersey
Two crops of one shirt, and the reason both exist is that they answer different questions. The closer one has MANATEES in full across the chest, heavy capitals with a light outline, white on teal with pink trim. The wider one takes in the wearer: a black and teal cap, a heavy gold chain with a pendant, a gold watch, tattoos on the hand and forearm, and a second man in a grey T-shirt beside him.
The number underneath is the part we cannot finish. The first digit is a 1. The second is half behind his fist, and what shows of it — the lower half — carries a closed counter, the teal island with a pink outline that a digit only has when its stroke loops back on itself. That rules out 1, 2, 3, 4, 5 and 7. It does not separate 6, 8, 9 and 0, because the top half is behind his hand. An earlier version of this record said the number was 19. It is not; it is a number beginning with 1 that does not resolve.
Trailer 2, 2:19 — the airboats
Shot from inside an airboat, over its own rudder and propeller cage, with a second cage and its wake ahead and to the right. The camera position is the point of the crop: this is what a chase across the wetland looks like from the boat rather than from the bank.
Extended Look, 3:00 — the man with the chains
Dreadlocks under a paisley bandana, two heavy gold chains and blackletter tattooing across the chest and neck. The record used to put a workbench behind him as well. There is none in this crop, and it came out.
Extended Look, 19:20 — the party
Nineteen minutes into the Extended Look there is a party, and these two frames carry more measured people than any other frame in the material. At 19:20 there are four crops: a woman in profile with her hair up in a bun and a long gold earring, in a strapless dress that reads pale lilac in this light; a man in an olive-green suit; a woman in a black playsuit with a gold monogram buckle at the waist and a phone in her hand; and, behind a railing of dark spear-topped bars, two flags hanging against a pale blue wall. One of those flags is the Stars and Stripes. The other is red, white and yellow with a device on it that does not resolve in this crop.
Extended Look, 19:33 — the same party, thirteen seconds later
The camera has moved and the room is visible: glass walls, tall plants, three people standing at the window. All three people from the previous frame are here again — the woman in the lilac dress, her hair in the same bun; the woman in the black playsuit; and the man in the olive-green suit, a dark T-shirt under the jacket — along with a hand in a white sleeve carrying a tray of champagne glasses. The waiter is a fair inference from the sleeve and the tray, and the crop shows no more than that.
A note on the wide crop: it used to be described with green sofas in it. They are in the room but not in this box, and they came out of the caption rather than the box being redrawn, because the box is what the tile shows.
Extended Look, 23:15 — the submachine gun in the lift lobby
Two masked men in white coveralls hold up a lift lobby, one of them with a submachine gun raised across his body, and it is the weapon rather than the room that is worth keeping: a long ribbed rail runs the length of the receiver and there is a cylinder fitted at the back. What it is beyond that we do not say. The front half is behind a second man’s arm, the rear behind a shoulder, and the room is dark. Two things can be written down about it and the rule asks for three, so it stays here instead of taking a page.
The official renders — three that stayed here
These are different in kind from everything above. They are not frames lifted out of a video but studio images Rockstar published on its own media page, in the same download bundle as the Ultimate Edition vehicle renders. Until 21 September 2026 the only thing holding them was a list of links to Rockstar’s site. That is a weak place to keep evidence, so the images now sit in this repository and each one has a measured crop.
There were nine. Six of them have since become pages of their own, because the thing the name belongs to stands in the picture and can be described: the tattoo parlour, the salvage yard, the workshop, the salon, the PTT store and the revolver. The three below stayed here, and the reason differs for each. Read the naming line on each one: on the first the name is in the picture, on the other two it comes from Rockstar itself, in the file name and on the product page, which is a primary source but is not the same thing as reading a sign.
Render — Stock 305
A van wrapped end to end in a black and white pattern of eyes, with a woman in a leopard-print coat leaning on it and a man sitting on its roof. Behind it stands a building painted over with murals, and STOCK 305 reads in full on a boxed sign on that building; a grey sticker on the van’s flank reads 1.999.ART.TOUR in pink. The name is in the picture, on the sign rather than on the van, and Rockstar’s product page lists Stock 305 among the Ultimate Edition’s extras as a clothing store, Stockyard’s premier destination for elevated streetwear
. The 305 is a Miami area code.
Render — Goodtime Gear
Two people in Vice City merchandise in front of a mural with CITY across it in large white letters. She wears a cap with a pink peak and a pink alligator on the front, and a black crop top printed with VICE CITY across a set of cartoon panels, one of them the same pink alligator in sunglasses; he stands at the right-hand edge, half out of the crop, in a white T-shirt with a print of its own. What reads here is the merchandise, not the brand behind it. Goodtime Gear is Rockstar’s name for it, in the file name and on its product page, where the line reads A capsule collection of apparel and accessories inspired by the Goodtime State’s hit TV show character, Macca the Gator
.
Render — the safehouse and its vehicles
A wooden house on stilts at the water’s edge, with a yellow coupe utility, a motorcycle and one orange kayak in front of it, and someone standing on the veranda. The wordmarks on the kayak and on the motorcycle’s tank are too small to read. The word safehouse is Rockstar’s own: its site shows this render among the Ultimate Edition’s extras under the heading Jason’s Safehouse Vehicles, and the alt text names the Vapid Ganado, the Dinka Enduro and the Crest Kayak stationed outside. What the frame itself gives us is which vehicles stand at the house.
Launch Trailer, 0:08 — polishing the hull up close
A long-haired man in a backwards cap runs a blue buffer over a white boat hull, close enough to see the digital watch on his wrist. Nothing in the frame names him or the boat.
Launch Trailer, 0:09 — polishing the hull
The same man, a moment later and further back, polishes the white and teal hull of a boat with a blue power buffer. It is work at a boatyard, not a scene we can put a name to.
Launch Trailer, 0:11 — the boat in the shed
A white boat with a teal stripe stands on supports inside a boat shed, with a ladder against the hull and a man on deck. Shasa is lettered on the bow. That is the boat’s own name, not a model, so it has no page of its own.
Launch Trailer, 0:12 — a call at the boatyard
A man takes a phone call at a boatyard, and behind him a red personal watercraft sits on a trailer.
Launch Trailer, 0:13 — the call, closer
The same call from closer in: a bearded man in a backwards cap holds a phone to his ear, with boats stacked on racks behind him. Who is on the other end, the trailer does not show.
Launch Trailer, 0:14 — fins by the dock
Two fins break the turquoise water beside a man standing on a dock, with a floatplane moored nearby and a bridge and skyline beyond. The fins are too brief to say more about the animals than that.
Launch Trailer, 0:19 — the green lowrider
Three tattooed men ride in a green convertible lowrider with a spider-web airbrush along its side, and one of them holds a compact machine pistol. The car is not one we can name from this frame.
Launch Trailer, 0:20 — the machine pistol
Half a second later the passenger holds the compact machine pistol out over the door of the same green convertible. We describe the weapon by what it looks like; the frame does not name it.
Launch Trailer, 0:21 — the iguana under the overpass
A green iguana sits on sunlit asphalt under a highway overpass, and further along the road a dark car shows its red tail lights. The road sign in the background cannot be read, so we do not place the shot.
Launch Trailer, 0:28 — wading through the swamp
Three figures in tactical gear wade through swamp water under a low orange sky, with a small boat silhouetted behind them. No faces and no names.
Launch Trailer, 0:29 — the knuckle-duster
A long-haired man holds a metal knuckle-duster close to his face, lit by a red EXIT sign blurred in the background.
Launch Trailer, 0:36 — the opened vault
Two people walk into an opened vault, seen from behind, one of them carrying a yellow bag. The edge of a round vault door fills the left of the frame, the walls are lined with safe-deposit boxes, wire carts stand loaded at the back, and banknotes and embers hang in the smoke. Neither face is visible, so we do not say who they are.
Launch Trailer, 0:56 — the wing walker
A pink and black biplane flies low over a beach of umbrellas and loungers with a pilot in its open cockpit, and on its top wing stands a figure in a pink and black suit holding up a flare that trails pink smoke. DacityCoin is painted in pink along the fuselage, with AudaCity smaller beneath it. That is advertising on the plane, not a name for it, so the plane has no page of its own yet.
Press pack, Jason and Lucia — the hold-up at the counter
One of the screenshots Rockstar has added to its press pack since our September review. Jason and Lucia, both with a bandana over the mouth and a submachine gun, stand at a cashier counter; Jason has a stack of notes in his hand, a cashier behind the counter has her hands up and a man in a cap is down on his knees. Large white letters on the green wall behind them are mostly hidden, so the place has no name here.
Press pack, Jason and Lucia — the shootout by the armoured truck
Also one of the newer press screenshots. Lucia fires a weapon from the passenger seat of a dark convertible, the driver seen only from behind. Behind them stand an armoured truck with a green 6 on its side, a motorcyclist in a helmet, armed figures in the street and two police cars with their lights on.
Why these are not pages
A page on this site promises something: a subject, a description written from the frame, and the measured crops we hold of it. Forty-six pages of one crop each would keep none of that promise, and would put forty-six thin addresses into the sitemap. The alternative is not to lose the work. So the measurements sit here, in the order of the material, with the same source line and the same restraint as everywhere else — and the moment one of these subjects clears the bar for a page of its own, it stops being a line on this page and becomes a page.
A hundred and ten more crops without a page of their own do have a home already: they appear under the gallery of whichever page shows the same frame, in a block headed Also in these frames. Between that block and this page, almost every measured crop in the dataset is now visible somewhere on the site; the few that are not have been kept out of the galleries on purpose.