GTA VI Launch Gallery: All 39 New Screenshots Analysed

Every new GTA VI launch gallery screenshot, sortable by colour and analysed with real scopes by a film studio: Vice City, Jason, Lucia, the Keys and more.

Niraj GiriCo-Founder & Technical Director, Ivy Studio

With two weeks to go until release, Rockstar's Grand Theft Auto VI site has a new launch gallery: 39 new screenshots, each served at 3840×2160. Most coverage will rank them or hunt for map clues. We make films and animation for a living, so we did what we do with any reference pack. We pulled every frame onto one sheet and read it the way a director of photography and a colourist would.

So this page is built like a grade suite. The wall above sorts itself by colour or brightness. Click any frame for a vectorscope, a waveform, false colour and a loupe into the full-size file, all calculated live in your browser from that image. We have made a GTA-style scene of our own in Blender and written about what a grade has to survive on a phone, so we came in with opinions. If you came here from the Cyberleek breakdown, this is the official material, finished and on purpose.

01 · Fifteen frames

Vice City, from the marina to the back room

Rockstar gives the city more frames than anyone in the cast. The chapter opens wide, on water and glass at midday, then keeps moving closer until you are in a back room with a stranger's hand in your face.

That order is how a location film is cut: establish, then enter, then get uncomfortable. Vice City is also the brightest chapter in the set, averaging 39% luma, and it holds the single brightest frame in the gallery.

Aerial view of a Vice City marina with yachts and jet skis on sunlit water, downtown towers behind them — Plate 01
The marina at midday
The brightest frame of the 39 at 62% luma. Hard noon sun with almost no shadow to hide in, which is the hardest light for any renderer to fake.

Vice City skyline at dusk under purple cloud, with lit towers, drawbridges and traffic on an elevated road — Plate 02
Downtown after dark
A violet sky holding up thousands of small warm practicals. Your eye gets colour contrast before it ever gets to the detail.

Police cars with lights on crossing a stone bridge at sunset above a canal, a helicopter searchlight cutting through the trees above a moored superyacht — Plate 03
Police on the bridge
One searchlight does the whole job of leading the eye across a very busy frame.

A neon-edged gas station canopy at dusk seen from above, with cars and figures on the forecourt and a tall GAS sign beside palms — Plate 04
The gas station
A red neon diagonal cuts the frame in half. Pure geometry, and it would make a good poster on its own.

Top-down aerial of a hotel pool shaped like a clover, surrounded by palms, umbrellas and sun loungers, with seagulls flying below the camera — Plate 05
Straight down on the pool
The only true overhead in the set. The gulls sit below the lens, and that is what sells the height.

A packed nightclub dressed with hanging plants, green and cyan light over a dancing crowd with a DJ on stage under a disco ball — Plate 06
The jungle club
The coolest frame in the city. Green is the colour most lighting crews avoid on skin, and here it fills the room anyway.

A man in a white T-shirt and a large medallion sits between two women in a pink-lit club booth while hands pass cash in the foreground — Plate 07
Bottle service
Magenta is clipping on purpose. Foreground hands push you into the booth like an extra who wandered into the shot.

A woman in a purple bikini and fishnet top reclines on a pile of dollar bills that float around her under pink and cyan light — Plate 08
Lying in the money
Shot like a music video cover: flat, graphic, overhead. Tied with the bottle-service booth for the highest saturation in the city, at 36%.

Extreme close-up of a man in a camouflage bucket hat covering his face with a ringed hand, eyes visible between his fingers, a car burning out of focus behind him — Plate 09
A hand across the lens
Skin pores, ring scratches, shallow focus on a fire behind him. It is a frame built to show off close-up detail, and it knows it.

Low-angle shot of a snarling pit bull in a spiked gold collar beside a man in white sunglasses and gold chains, chain-link fence behind them — Plate 10
The dog goes first
A low wide lens puts the dog closer than the man. Same trick as every action-film hero entrance.

A tattooed man sits shirtless in a chair having his hair styled while a large man checks a phone beside him and a woman packs a bag, blue light from a window — Plate 11
Getting his hair done
Blue window, warm lamp, four people doing four separate things. Blocking that busy normally costs a lot of rehearsal.

Four men with heavily tattooed faces and bodies pose under a concrete overpass, one seated in front with the others' hands on his shoulders — Plate 12
The tattooed crew
Nearly all colour is gone at 7% saturation. Skin and ink do the work, like a documentary portrait.

Two men sit in a car at night, one bearded in a pale linen jacket holding a revolver, the other turned away in a patterned shirt, a neon-lit street through the window — Plate 13
The back seat
Two faces, two eyelines, one gun in the bottom third. Nobody needs to say anything.

A group of dancers talk and do their make-up at a mirror lined with round bulbs in a warm dressing room — Plate 14
The dressing room
Warmest frame in the city by a distance. Bulb-lit tungsten falling onto every surface, with green tops as the one complementary kick.

A woman takes a selfie sitting on the bonnet of a pink wrapped muscle car parked on a paved waterfront, with more cars, people, palms and towers behind — Plate 15
The car meet
Daylight, tourist-photo framing, and a deliberately ordinary pose. It reads as a post on someone's phone.

02 · Seven frames

Jason and Lucia: the two-shots

A two-shot is the oldest test of a relationship on screen: who is in focus, who is looking at whom, who is in front. Rockstar uses seven of them to tell you what this couple is, and they are not all action.

The frame that sells it is the quietest one. A truck, a hill, two small figures and a city they are looking at from the outside. We used it as the opening of this page because it does the most with the least.

Lucia and Jason pressed close together in a nightclub under deep blue and purple beams of light — Plate 16
In the blue light
The most saturated frame in the entire gallery, at 42%. It is also the coolest: almost all blue, with skin pushed toward violet.

Jason and Lucia in bandanas hold up a bank branch with an assault rifle and a submachine gun as staff and customers raise their hands — Plate 17
The bank job
A wide lens tilted slightly, close to the action. It looks like a security camera that has somehow found good composition.

Jason in a Leonida vest leans into a car holding a pistol while Lucia stands behind him with sunglasses and a handbag, sun flaring over the roof — Plate 18
Over the windscreen
Shot from inside the car, sun flaring straight into the lens. Crews spend real money trying to get flare to behave like this.

Lucia fires a weapon from a convertible driven by Jason while police cars and motorcycles close in on a suburban road, muzzle flash lighting her face — Plate 19
The rolling firefight
The muzzle flash lights her face and nothing else. It is the only time the frame gets warm.

Lucia sits in the passenger seat of a convertible with Jason in sunglasses behind the wheel, neon reflections sliding across the windscreen — Plate 20
Parked in the convertible
All the story is in the reflections. She looks at camera, he looks away, and the glass does the rest.

Silhouette of a pickup truck and two people under a large tree on a grassy hill at sunset, deer in the foreground and the Vice City skyline in haze beyond — Plate 21
Above the city, at last light
The picture that opens this page, and the warmest two-shot in the set. The leads are barely two dark shapes on a truck.

A crowded roadside bar with older locals drinking in the foreground and couples dancing under purple and pink light at the back — Plate 22
The Rusty Anchor
Deep staging: faces up front, dancers behind, neon behind that. Rockstar files this one under Jason and Lucia, so go looking for them in the crowd.

03 · Nine frames

Jason Duval, and the darkest chapter

By our numbers, this is the dimmest and least saturated chapter: 29% average luma, 12% saturation. Jason's frames are the ones that get closest to the look of a modern crime film, and they include the two darkest pictures in the gallery.

Go through them the way you would scrub a timeline. The lighting changes a lot from frame to frame, but the attitude does not.

Jason leans a blue sports motorcycle into a sliding turn on wet ground, police lights flaring behind him — Plate 23
The bike getaway
Blue key, red and blue in the background. The most saturated of Jason's nine, at 25%.

Jason in a pale T-shirt points a revolver past a tattooed biker's arm in a smoky, sunlit room, a woman visible behind him — Plate 24
Through the doorway
Smoke turns hard window light into a single soft wall. The biker's arm stays dark so it frames the shot.

Three helmeted riders on dirt bikes drive through a mall with weapons raised as shoppers run, teal strip lights along the walls — Plate 25
Bikes through the mall
Teal strips light the whole frame and the riders stay as silhouettes. The crowd behind them is what tells you the scale.

Jason faces two armed men at the open door of a pickup in a sunset parking lot, a man crouched on the roof of the cab behind — Plate 26
The parking-lot deal
Golden hour rim light on every shoulder, with the back turned to camera to put you on his side of the deal.

Shirtless Jason lifts a barbell in a dark gym, photographed from a steep tilted angle with sweat on his skin — Plate 27
Under the bar
Tied for darkest in the gallery at 18% luma. One soft top light and a Dutch angle, with nothing else in the frame competing.

Jason in a reversed cap fires a rifle while sparks scatter across the frame in a dim building, a dog visible in the background — Plate 28
Sparks
Hundreds of orange points against a teal background: the oldest grade in Hollywood, but the sparks are in the scene and not in the grade.

Jason aims a rifle over a bullet-holed car door in bright daylight, two helicopters and palm trees behind him — Plate 29
Over the car door
The brightest of Jason's frames. Bright sky, nothing to hide behind, and the bullet holes are the only dark detail.

A battered Jason in a Leonida vest holds a gas pump at night beside a car with a broken windscreen while police watch from behind a searchlight — Plate 30
Filling up
The lit panel on the pump is the one soft source in a hard night, and it pulls just enough warmth into a very cold picture.

Jason drives at night with a passenger beside him, teal and pink city light moving over the windscreen and his watch in the foreground — Plate 31
Behind the wheel
The other darkest frame, at 18%. This one is pure car-interior photography, with the street doing all the lighting.

04 · Four frames

Lucia Caminos is framed closest

Lucia gets four frames, and in all of them her face takes up more of the picture than Jason's usually does. She is also the only character whose chapter measures cool on average.

Three of the four sit in blue. The exception is a hazy, sunlit close-up down the top of a pistol, and it is the warmest she gets.

Lucia holds a pistol behind a rain-beaded window in deep blue and purple light, silhouettes on a balcony beyond — Plate 32
Behind wet glass
Water drops are the out-of-focus layer here. Almost entirely blue, with her face lit by a violet edge.

Lucia aims a pistol out of the window of a blue car, Jason behind her in the seat, a house interior in the background — Plate 33
Out of the car window
The pistol is close to the lens and huge in the frame, so it is the first thing you read and her face is the second.

Close-up of Lucia sighting along a pistol held out toward the right edge of the frame, a hazy city skyline behind her — Plate 34
Down the sights
The warm one. Soft low sun and shallow focus: the sight, her eye, and nothing else matters.

Lucia with wet hair clutches a pistol to her chest at night as a police officer approaches behind her, bokeh of blue and red lights — Plate 35
Blue lights behind her
Blue and red police bokeh behind her and white light on her face. Classic night-exterior, done with a lot of restraint.

05 · Four frames

Beyond the city: Leonida's other places

Four frames leave Vice City, and they go in very different directions. A strip club in Port Gellhorn is the second most saturated frame in the set, a reef dive in the Leonida Keys is the coolest of the group, and the Grassrivers swamp goes warm and yellow, nearly sepia.

Together they are less about geography than range. Each of them has a colour identity you could pick out as a thumbnail from across the room.

A dancer on a pole in front of a large neon Delights Cabaret sign on a red wall, seen from behind in pink and orange light — Plate 36
Port Gellhorn
Second-highest saturation in the gallery, at 40%, and the warmest of the four. The neon is the only light in the room and it is doing all the work.

A diver silhouetted against bright turquoise water seen from inside an underwater cave, with a lionfish and yellow coral in the foreground — Plate 37
Leonida Keys
Foreground lionfish, background diver, the cave mouth as a natural frame. Water scatter does what haze does on land.

A man with a snake over his shoulder and a knife in his hand sits by a campfire with an alligator lying beside him at a swamp shack, others behind him — Plate 38
Grassrivers, by the fire
Firelight from the side and from below. Everything in the frame looks like it would bite you, which is the joke.

An alligator with a glowing red eye lies in dark water in front of an airboat with two figures, a spotlight in thick yellow-green mist under a crescent moon — Plate 39
Grassrivers, at night
One red point in a yellow-green fog. It could be a still from a monster film, and that is why we like it.

The whole set

The gallery, measured

22 of the 39 frames lean warm and 17 lean cool, with an average brightness of 34%. That is a dark, evenly split set for a game sold on Florida sunshine: Rockstar spends far more of its launch gallery at night and indoors than at midday.

Every number here was measured, not estimated. Each original was scaled to 96×54 pixels, then we took mean Rec.709 luma on the gamma-coded values, mean HSL chroma as saturation, and red minus blue as warm or cool. Palettes are five-colour k-means clusters. These describe the published files, not what the game will look like on your TV, and the Vice City numbers are only a picture of what Rockstar chose to show.

Point at a frame to read its numbers, click to open it.

← CoolerUp is brighterWarmer →

Averages by chapter
Chapter	Frames	Luma	Saturation	Balance
Vice City	15	39%	19%	+3
Jason and Lucia	7	35%	19%	+3
Jason Duval	9	28%	12%	+2
Lucia Caminos is framed closest	4	29%	19%	-9
Beyond the city	4	31%	24%	+11

Balance is mean red minus mean blue on a ±100 scale. Above zero is warm, below zero is cool.

Questions people ask

How many screenshots are in the GTA VI launch gallery?

We counted 39 unique frames on Rockstar's launch gallery page: 15 of Vice City, 9 of Jason Duval, 7 of Jason and Lucia together, 4 of Lucia Caminos, 2 of Grassrivers, and one each of Port Gellhorn and the Leonida Keys.

What resolution are the GTA VI launch gallery screenshots?

The original files on Rockstar's site are 3840×2160 JPEGs. The copies on this page are 2880 pixels wide to keep it fast. The full files are on Rockstar's own page.

What locations do the new GTA VI screenshots show?

Going by Rockstar's file names: Vice City, Port Gellhorn, the Leonida Keys and Grassrivers.

Where can I download the official GTA VI screenshots?

Rockstar has a Media & Artwork section on its GTA VI site for downloading official videos and screenshots. The launch gallery page links to it.

When does GTA VI come out?

Rockstar's launch gallery page gives the date as November 19. That is November 19, 2026.

Are these screenshots in-game footage?

Rockstar calls them screenshots. We can't say how each one was captured, or whether it reflects real-time gameplay on a console, so we have only judged them as images.

Planning a shoot? Tell us about it — or see what we've made.

All Grand Theft Auto VI images on this page are © Rockstar Games and are shown for editorial commentary. Ivy Studio is an independent film and animation studio in Kathmandu, Nepal, and has no affiliation with Rockstar Games or Take-Two Interactive.

GTA VI launch galleryAll 39 new screenshots, read by a film crew

The marina at midday

Downtown after dark

Police on the bridge

The gas station

Straight down on the pool

The jungle club

Bottle service

Lying in the money

A hand across the lens

The dog goes first

Getting his hair done

The tattooed crew

The back seat

The dressing room

The car meet

In the blue light

The bank job

Over the windscreen

The rolling firefight

Parked in the convertible

Above the city, at last light

The Rusty Anchor

The bike getaway

Through the doorway

Bikes through the mall

The parking-lot deal

Under the bar

Sparks

Over the car door

Filling up

Behind the wheel

Behind wet glass

Out of the car window

Down the sights

Blue lights behind her

Port Gellhorn

Leonida Keys

Grassrivers, by the fire

Grassrivers, at night