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dr. michael gervaisdirector of high-performance psychology program disc sports and spine centre jordan greerfounder, gtplanet.com yasukichi yamamotoowner, opera performance mr. oi takashi ran a race driving school thati used to go and hep out with once and a while. at the time when i was helping out,kaz was actually participating in that driving school and when i asked the students,"do you have any questions?" he raised his hand and started asking about the behavior of the car,which i think he was puzzling over while making the game, which, i could not answer at the time, and we started talking about why it isthat a car moves this way or that way and that's when we exchanged our business cards,
and this was the first time i ment kaz. last year actually, at the nã¼rburgring, everyone was getting ready to line up at the starting line and suiting up in their racing suits and i went to put on my racing suit and it wasn't there. i said "where's my racing suit?" and while i was looking around for it,i noticed kaz was wearing mine. i realized then that he must be pretty nervous before a race. his cigarette consumption goes up too!
frank saucedodirector, advanced design at gm design sam mitaniinternational automotive journalist i actually learned to drive on gran turismo,before ever driving a real racing car, so that feeling of being at one with the carwas something i gained from gran turismo first. i discovered later when racing real carsthat the feeling was actually correct. it was just something that confirmend what i had envisioned. clay deandesign director, gm global advanced design at general motors back in junior high my friends werea really stimulationg qroup of people who were always kind of competing withone another to try and out do each other
and all of them were intensely interesting. i think it was when i was 14 that we decided to make films and we didn't have very good equipment back then, we just started out with 8mm film. as a small child my parents used to put up theselarge sheets of paper on the walls of our house. they let me draw anything i wanted on them and once the pages were all full, they would take them down and put up blank pages on the walls, that's how it was in my house.
so i guess drawing and designing is something that i really just grew up with. shuhei yoshidapresident of sony worldwide studiossony computer entertainment i was totally surprised i thought me make video games? but when i actually put some thought into it based on my background, i realizedi did have the ability to make video games. i think that was when,
i understood that making video games is a major investment for the company and you can't just make what you want tomake, there is more of a process to it than that. i came up with the idea of makinga video game with a different appearnce and we hid gran turismo within the game while maintaining the look of videogames that were popular at that time. it had the title of motortoon grand prix. from the outside it looked like a populargame from nintendo which served as a shell but really we were making tests and trials inside the game
which led to the development of gran turismo. sony and everyone on the executive committee game me freedom and they told me, "why don't you just form your own company and do what you want to do?" and really, they released me to the world, and for that i'm very grateful. i didn't have to fight the system anymore. i could just go with the friends that i had made
and actually pursue what we really wanted to do. my father was a hiker and an adventurer and was a person who more thanjust treasured his relationship with nature but really lived at one with nature. so naturally i was raised that way. this one here is a sawtooth oak. it's a bit early in the season,
but if you kick it kick it like this, the vibration goes right up the tree. the rhinoceros beetle gets a scare and falls out of the tree. once you give it a good kick you just wait and you can hear the faint sound of something falling. and that is where the beetles have landed. so when you find these trees, you go around kicking them all, all the trees you find in the forest, and you end up with loads of rinoceros and stag beetles.
collecting insects is actually like hunting. the pleasure of hunting is also, for example, connected to driving, connected to racing. it's also connected to data capturing and filming these things before you create the game. i feel like all of it is related to the male hunting instinct. the way we make the course,
first the team comes to the site to get a feel for the environment and landscape and once you get a feel for the environment, we start shooting the individual materials. for example the road surface like this or the curbs like those. the california light makes it very easy to see the textures that we capture such as the textures of the road surface and these curbs, and the textures from outside of the curb, the outside of the course.
we shoot everything as an image, and the laser will be scanning the surface, the roughness and uneveness, like these cracks. the data from the laser scanner actually shows the unevenness. though photos and measurements are important, the most important thing is probably that the 20 production team members that come here, that they all grasp and bring home a feel for the course. this light, this air, this atmosphere
i think that may be the most important thing. shinobu sawamuralandscape designer, polyphony digital this is the inside of the colosseum,and actually the circuit runs around it, so usually there is no way that you can see inside it. however, since we don't know what's going to evolve from this, although it's not at the same level as the outside, the inside is still created in case it is ever seen. although it's an area that cannot be seen, when it progresses, it is a well built area that i know i can rely on.
so when i look at the data as a whole, i get excited about it. it is my favorite part. jan mardenboroughwinner of gt academy 2011 robert j. langphysicist / artist wayne okamotoowner, oak foils custom surf boards the physics engine defines the variety ofbehaviors a car needs for a car to be a car. all of the behaviors that a car would show are modelled in a group of equations that define these behaviors
which is the basis of the physics engine. akihiko tanphysics engineer, polyphony digital i have explored the theme of "what is a car" for the last 20 yearsand this learning process has continued from the making of the first gran turismo to the gt6 that we have now. we know by experience, that when you press downon the accelerator a car will go in a straight line and when you turn the steering wheel,the car will start to turn in that same direction. but we didn't start the calculation model that way. are you familiar of the concept of "drifting"? when you're drifting, the car will be turning to the left,
but your steering is actually facing to the right. so in terms of the calculation model instead of switching calculation according to the condition, we wanted to express this phenomenonin a seamless, continuous calculation model. we couldn't just monitor the patterns on the player controller. instead we had to actually approach each of the car's components the tires, the suspension, and the engine,
and make calculations for each of these components separately. it may seem single minded and foolish,but it was the only approach we could take. as a result of all of this, the caris able to drive straight and turn. it wasn't about reverse enginerring from what the result should be but it was really about calculationg what the process 'is' in itself. karen cusolitosculpter i think i can still remember the firstday i got my license and started driving. it was like i grew wings and suddenly,
a whole world opened up where i could move around in it, and you can go as far as you want. i still remember that emotion very well. and i think, the joy i still feel with when i get into a car hasn't changed much since that first time. it's a feeling you get, when your physical ability is extended far beyondwhat you can do with just your body. and that's in terms of speed, and the distance you can go.
to have the ability to do these things, i think that's one the most important aspect that draws me to cars. i do get lost like that, when i'm playing the game. there are moments when you feel really at one with the car. you can really sense the level of grip the rear tires has left. you can feel how much of that gripis being used for turning into the corner and how much is left for acceleration. you can really feel it in your hands and when you are in the zone and driving well
you can tellâ€¦i can turn smoothly into this corner. each part of the car feels like part of your body. your sense that it's actually there and connected. so yes, that does happen playing the game. mitchell dejongred bull athlete dave diamondowner, apex kart racing shelley dejongmitchell's mother brian cothamcole's father darren coxdirector, nissan â€“ global motorsports
simon fitchettmind performance coach, gt academy lucas ordonezwinner gt academy 2008 gavin goughalpha sport psychology, gt academy when i first created gran turismo, it was a dream of mine that if i ever got to make this type of game eventually, there would be real racing drivers that would be born from it. i always hoped for that from the start. so the intent was there, but it didn't really come true for a while,
or maybe we just didn't notice it was happening, but eventually through the gt academy project, these young game players that were coming up were the proof. and though i imagined it might happen one day, to actually watch these lives being changed, and watch them drive real races right in front of my eyes, the effect is unbelievable. i think that for lucas or jann, i don't really want to put expectaions on them to achieve,
because i think they are going to come to a point in their liveswhere they may experience some hardships, they may encounter obstacles, and i just want to make sure that i am thereto support them as they move forward. dai yoshiharaformula drift champion i think today when a designer for a carmanufacturer is working on a new design, they sort of fall back on, or lean on these jewels of the pastas a basis for their new designs, but determining what to fall back on can be a difficult call to make. i think it's a really natural process that they are able togo back to their history, and look at previous iconic cars
and use them as a reference, and then add maybe5% or 10% of something original to make them new. the fact that this is happening in car designall around the world is a natural process, and i think that's how car design should be. neil twymanowner, twyman racing originally in the past cars were hand made, where as now everything has become mechanized. cars have become somewhat lifeless, sort of like household appliances. and it's unfortunate becauseâ€¦ how can i put thisâ€¦ the art of making things by hand is rapidly disappearing.
so i think we need to recognize this and we need to take things we can't make by machine, things that have real character, that hand made feel, and then combine them with cars built by machines to create something even better. as we learn more and more about cars and the people who make them, and what they've accomplished over the last 100 or so odd years and we really feel that what they are doingtoday is fascinating and incredible.
what they go through, and what theyaccomplish is just fascinating and incredible. we would just be honored to be ableto help that process, and be a part of it. mark reusspresident, general motors north america kevin hunterpresident, calty design research we are in the process right now ofworking with automotive manufacturers, where each company renders a version of whatthey consider to be a gran turismo sports car. we want all these car companies to thinkabout what gran turismo is to them, and as a result, new car designs are created. these cars will be born into the world,and i think they will be great sports cars.
alex shenstudio chief, calty design research talking about making new cars,you know, they're just-- -ideas never stop.-oh, yeah. if we can help even in a small way, and contribute to the evolution of cars intosomething even better than what they are today, nothing would make me happier. this is where we start to questionthe essence of gran turismo. is gran turismo simply a video game? is that all it is?
gran turismo is a video game, but i feel that it is also a movement, and the gran turismo movement is a process that we share with the players and the fans. we affect the people we meet, they get on the same wavelength as us and those people then go out and affect or change the world. that is the process. that's what i mean when i say that gran turismo is a movement.
he drew-- he drewhimself like you. he says, "well, this isbetter than the real asano-san." -yeah.-yeah. he had-- he had some stubbleat the back of it. may i take a picture of the owner? you look nervousâ€¦ of course i'm nervous, i never get my picture taken. i actually went to 'yodobashi camera' or 'bic camera', the major video game retailers,
and i just watched the incredibly long lines. i just kind of watched in disbelief as people bought our game. i think at the time rather than accomplishment, there was no room left to feel accomplishment. we were happy but we just couldn't believe it. because we worked on the first gran turismo for a very long time, it really felt like the game belonged to the team. we held on to it, and held onto it, and nurtured until the last possible moment
when we released to the world. that's when the gran turismo that was our very own suddenly wasn't just ours anymore. i remember that moment very clearly. it was like we'd caught some fever that we coundn't get over, we were so focused. we didn't have any sense that we were missing outor losing out on anything while in that fever. making something good and achieving our goals, that was the only thing in our minds.
that's really all we thought about.