Every image on this site is a measured crop out of a frame Rockstar published, and most of those crops sit on a page about the thing inside them — a vehicle, a place, a weapon. Thirty-seven 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: twenty-four frames, in the order the material runs, with what each one carries.
Nothing here is a claim about the game. It is a claim about a picture. Where lettering reads, it is quoted; where it does not, the number of characters is given and the word is left alone. The source, the timecode and the crop are on every tile, 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 at 3,840 pixels, because the subject is the whole beach and not anything standing on it.
Trailer 1, 0:42 — the alligator at the pool
An alligator on the tiled lip of a swimming pool, shot close. The crop is small — 499 by 183 pixels — and marked as a placeholder, which is our word for an image we intend to replace with a better one when better material exists. The animal itself is unmistakable at this size.
Trailer 1, 0:48 — the doorway
Two measurements out of one frame, and they belong together. Two figures stand in a doorway in hard backlight, and POLICE reads across the back of the nearer one. 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 parked 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 in a dark mask and a white vest — and once for the shop itself. The wide crop is the more interesting of the two, because the left-hand rack carries bottles labelled PISSWASSER, 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 forearm. 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 that reads LEONIDA MARINE CENTER across the chest, in full. 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 low evening sun, 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 bottle, and the label is worth the enlargement. On her bottle the name reads AYHO with the first character wrapping around the glass and out of sight; on his, the same name reads AYH with the last letter behind a finger, and the line below it reads ERVEZA with its first character on the fold of the label. Put the two together and the second word is CERVEZA. The name above it is a word of five characters of which four read. The fifth looks like a D on her bottle. 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, two heavy gold chains and blackletter tattooing across the chest and neck. The record used to put a bandana on him and a workbench behind him. Neither is in this crop, and both came out.
Extended Look, 19:20 — the party, four faces
The Extended Look ends with a party, and these two frames carry more measured people than any other frame in the material. At 19:20 there are four: a woman in profile with her hair up and a hoop 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 chest and a phone in her hand; and, behind an iron railing, 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 at 614 by 345 pixels.
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. Two of the four from the previous frame are here again — the woman in the lilac dress, now with her hair in a bun, and the woman in the black playsuit — along with a man in a suit jacket over a dark T-shirt and 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 has a submachine gun on a man in a checked jacket, 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 trailer but studio images Rockstar published on its own media page, at 3,840 by 2,160, in the same run of files 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 bike shop 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’s own file name, which is a primary source but is not the same thing as reading a sign.
Render — the Stock 305 art van
A van covered end to end in paste-ups, stickers and paint, with two people sitting on it and leaning against it. STOCK 305 reads in full, boxed on the side panel, and the bodywork carries 1-999-ARTTOUR among much else. The name is in the picture. The 305 is a Miami area code, and it turns up again on a shirt four sections down.
Render — Goodtime Gear
Two people in Vice City merchandise — caps and shirts carrying a pink alligator and the words VICE CITY, with Leonida under it on his shirt — standing in front of a Vice City mural. What reads here is the merchandise, not the brand behind it. Goodtime Gear comes from the file name.
Render — the safehouse and its vehicles
A wooden house on stilts at the water’s edge, with a yellow muscle car, a motorcycle and kayaks under and beside it, and someone standing on the veranda. No lettering. The word safehouse comes from the file name; what the frame gives us is which vehicles are parked at it.
Why these are not pages
A page on this site promises something: a subject, a description written from the frame, and every measured crop we hold of it. Thirty-seven pages of one crop each would keep none of that promise, and would put thirty-seven 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 turns up in a second frame, it stops being a line on this page and becomes a page.
One hundred 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, every measured crop in the dataset is now visible somewhere on the site.