Fast & Furious-style 3D car chase rebuilt from references

REFs + Prompt: + Video 1: Blender Previs Render + Contact Sheet 1: Car Refs + Contact Sheet 2: Env Plates + Cinemotagraphy Refs Generate a brand-new finished film. [V1] is a rough low-poly previz storyboard: follow its single continuous camera path, its gentle drift and occasional jolts, its altitude, framing, car positions, lead changes, crash motion and beat timing second for second, and take NOTHING else from it: not its faceted boxy shapes, flat shading, blank beige ground or pale sky. The dark wedge car is the black muscle car in [CHARGER]: 1970 coupe, chrome supercharger bursting through the hood, chrome bumpers, slotted wheels. The orange wedge car is the orange sports coupe in [SUPRA]: green tribal side graphics, tall silver rear wing, five-spoke silver wheels. [LOOK] is the film look; its blurred patches are not part of the scene. The world is Terminal Island in the Port of Los Angeles, around 2001. Every shape in [V1] becomes this real place, and [P1] to [P7] are photographs of these exact streets: match their poles, wires, screens, fences, buildings, cranes, crossing hardware, train and road surface. [P1] is Terminal Way: the street and its screen-and-pole corridor. [P2] is the start by the old cannery. [P3] is the Vincent Thomas Bridge behind the container cranes. [P4] is the approach to the Earle Street crossing. [P5] is its warning lamps and crossbuck. [P6] is the freight train. [P7] is the green truck and the overhead conveyor at the crash site. The roads are long, flat, straight industrial streets of faded cracked asphalt with tar-snake patches, potholes and a worn double-yellow centre line, gravel and litter in the gutters. Both sides are lined with tall, weathered wooden utility poles, close together, with crossarms, transformers and heavy sagging bundles of wire, receding in rhythm to the vanishing point. The green blocks are olive-green corrugated sheet-metal fences and chain-link topped with barbed wire, with faded rust-brown and grey shipping containers stacked behind them. The white blocks are low, windowless tuna-cannery warehouses with sun-faded cream walls, peeling paint, loading docks and flat tar roofs crowded with vents. The trees are scraggly eucalyptus and a few tall thin palms. Red-and-white container gantry cranes stand on the skyline, and the towers and cables of the long green-grey Vincent Thomas suspension bridge rise in the haze beyond the rooftops. Hot late-afternoon sun, ochre air, dust hanging over the road. One unbroken take from a racing FPV drone carrying a small cinema camera: amber highlights, muted olive greens, deep warm shadows, hard shadows, fine grain, soft bloom. The cars are fighting, never gliding: body roll into every swerve, squat under throttle, noses dipping on shifts, rear ends twitching, suspension bouncing over patched asphalt, tyres chirping, exhaust heat and dust kicking out behind them. Real piloted flight, never floating CGI: banked turns carry momentum, a light constant floa