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Check your mailbox for the verification email from Amazon Kindle. Related Booklists. Post a Review To post a review, please sign in or sign up. You can write a book review and share your experiences. Scott Bakker. Unity 5. Web 2. Free Digital Modeling book by William Vaughan. Digital Modeling by William Vaughan Synopsis: Professional modeling is the foundation of every aspect of the 3D production pipeline and is essential to the success of any 3D computer graphics project.
Modelers, animators, texture artists, and technical directors can all benefit from the valuable information covered in this jam-packed guide containing years of industry knowledge. Simply put, if you work in 3D, you must have this book.
All of Peachpit's eBooks contain the same content as the print edition. A modeler can help the rigging department achieve good deformations in more ways than having a working polygon flow. Avoiding stars a point with five or more polygons connected to it in areas that have a wide range of motion is desirable for good deformations. Proper base pose: It is also extremely important that a modeler understands what makes a good base pose to send to the rigging department.
The model should be resting on the ground plane, centered on the origin, and facing forward. For characters, the base pose that is most often used for rigging is the T-pose, although a rigger might ask for the relaxed pose instead. It is important to have a discussion before committing to one setup or another. Having a good base pose also means the modeler must make sure that the scale of the model is accurate before handing it off to the rigger. If a base pose is out of place or scaled incorrectly, the rig may have a broken rotation axis or bad deformation and may be extremely difficult for the animators to pose as a result, thus slowing down the entire pipeline.
Anyone interested in modeling for animation should have a basic knowledge of the rigging process. Modelers with an understanding of rigging will be able to diagnose and avoid potential problems as soon as they begin a model, which saves time and effort, and speeds up any production pipeline they are a part of.
To be honest, I think every artist should have an understanding of the entire production pipeline, as it will only make them better at their craft.
Scene Setup As soon as models begin getting approved, either layout artists or set decorators will start populating the 3D animatic scenes with the final elements based on the concept art and animatics generated by the other departments.
This is more than just a paint-by-numbers process; these skilled artists use a keen eye 45 46 Digit a l M ode l i n g to generate densely populated environments. My goal is to populate the scenes with objects that help make the backgrounds more believable, but not too distracting from the main action of the shot.
This is done by either adding or adjusting details and props to help fill gaps in the scene or guide the eye to where you want the viewer to be looking. The addition or alteration of even one single rock could change the entire feeling of a shot in the sequence. Working with the modeling team, I populate the scene with all the necessary objects. This process goes through many phases during the progression of the project, including model adjustments or additions, taking into account any additional camera choreography changes that may show an alternate view of the set.
The environment gets pieced together while trying to be as economical as possible with poly-count the quantity of polygons that make up a 3D model. This is accomplished with the help of the modelers by supplying low-poly objects for some items in the far background along with models with multiple levels of detail determined by the distance from the camera that are able to be swapped out with the final meshes. While working on the cinematics for the game Saboteur, the team was able to start out with some of the video game assets that were then converted for our use in the scenes.
This helped by letting us start with all low-poly objects in the scene, and then after determining where the action would take place —including all the camera angles—the modelers were able to clean up the models and textures as needed to fit them into the environment.
This was also the time to up-res any models or even remodel them for higher resolution using the original models as scale reference. It has been my experience that layout artists tend to wear a lot of different hats throughout production, especially in smaller teams. This enables them to model, texture, and animate above and beyond the traditional set design responsibilities. Multitasking works well because the layout artist already has a vast knowledge of the sets and the props that occupy the area.
While working on scene layout during the Crackdown 2 trailer, I was also able to model and texture background assets to help fill the scenes, as well as create the camera choreography. The modelers supplied me with the main assets that were then propagated into the scenes. Before finishing the setup of the scene, the camera was positioned to show what areas of the environment needed more focus. It was very advantageous to be able to jump back and forth between roles, which made it more efficient for the fast turnaround of the trailer.
Communication between layout artists and modelers is a must. Texture artists enhance the surfaces of models by generating texture maps from photographs, creating shaders that mimic real-world materials as well as customized textures that can only come from a creative imagination. These highly skilled artists have mastered the art of observation. They have a keen eye for detail and the ability to reproduce materials based on the references they have been provided by the visual design department—or that they have gathered based on the direction they have been given by the director and art director.
I also check for stray vertices and polys. Both can cause problems when unwrapping and later problems for the rigging, animation, and rendering departments. If any of those errors are found, the model is sent back to modeling to be fixed before texturing gets started. Once a model is unwrapped and laid out, a texture artist begins the texture painting process: Diffuse, specular, reflection emissive, normal, and so forth are painted, and then a material is made out of every texture map.
Mechanical meshes like robots, helicopters, and tanks are good examples of where a modeler can assist the texture department. Those kinds of assets usually have parts that a modeler has to duplicate and place correctly on the model. It is more efficient for the modeler to unwrap one nut and bolt and then duplicate it as necessary than to have the texture artist unwrap each nut and bolt in the whole model, one at a time. I would say to anyone who wants to become a professional digital modeler that it is essential to have UV unwrapping skills.
It also helps with replicated geometry, which directly affects the job of the texture artist. It is fundamental that communication between a modeler and texture artist is open and frequent throughout production; working together to find solutions allows both artists to be more efficient with their workloads.
It saves time, money, and lots of unneeded headaches for every artist in the pipeline, and the resulting modeled assets will be at a higher level of quality.
Animation Without a doubt, animators are the rock stars of the animation industry. The animation department, working with the handiwork of the rigging department, takes the assets generated by the modeling department and give them motion to tell the story. Just like the other artists within the production, animators work from reference materials like stills, video, and real-life observation such as studying the movement of people or animals.
However, there are still some issues that present themselves in animation that are difficult to detect any earlier. As an animator, I often want the model to move in a way that the rigging team never imagined.
This stage usually uses temporary models, or stand-ins. This is usually done with low-resolution representations of the models that can be posed quickly, or specially created segmented models that are parented to the joints. The results of this check may identify some problems in the model or rig that need fixing. This is often where the first problems are seen. Usually by this stage, a few problems have already been caught, but a few more may be identified.
When problems appear during animation, the director or animation supervisor will decide whether to modify the animation to accommodate the limits of the model or rig, or to revise the model or rig.
Whether or not a modeler communicates directly with the animators can depend on the size of the production. If the model still needs revision, it will go back to the modeling team. In some productions, the animation team will only go to the rigging team when there are problems. Effects An effects artist creates all the non-model elements in an animation.
These include things like hair fibers; elemental effects like water, fire, and smoke; as well as fabric dynamics.
Effects work is usually based on a performance-driven motion or event. To have the most impact, effects need to be lit a specific way as well. For these reasons, constant communication with the lighting and animation department is a very important part of this process.
Effects artists are elite problem solvers that help transform a mundane visual into the unforgettably spectacular experience. Also included are effects that are added to the primary subject after the animation is finalized, like feathers or fur. When working as an effects artist on shows like Firefly, Battlestar Galactica, and Eureka, the best gift I could receive from a modeler was nice, clean geometry. Like every other stage in the production pipeline, effects artists deal with departments both upstream and downstream from them.
Cleanliness: Often, the effects department will be called upon to take an asset and smash it to digital bits. And even though a model may have gone through the rigging and animation processes without problems there, slicing and dicing it into a thousand pieces can very easily expose hidden flaws. A good, clean poly-flow and efficient geometry with no extra or hidden stray pieces are a major boon to the effects artist. The more geometry the computer has to push through the calculation, the longer the process takes.
Being able to make a low-polygon version of your master asset is another skill worth mastering. This means, among other things, that units matter. Explosions that are 5 inches across behave very differently than those that are 50 feet across, and it will show in the work.
The better a modeler understands how the mesh will be used by the effects department, the more efficient and clean the digital models will be, which makes for happy effects artists. Lighting In most pipelines, the lighting technical directors pull all of the elements from the pipeline to finish off the scene before they actually begin placing lights into the environment. Lighting plays a massive role in the final look of the production, setting the mood, color, and atmosphere of each shot. The lighting department also works closely with the rendering and compositing departments to ensure that their elements are properly prepared for the next stage of production.
In the lighting department, lighting artists will sometimes discover errors or glitches in geometry that may not have been obvious at the modeling stage, such as light leaks, flipped normals, or edges that need a microbevel a small beveled edge connecting two surfaces. Since the asset is public, it is not up to the lighting artists to make repairs; it must go back to modeling so they can make the fix and publish a new version to the studio.
After this comes the lighting TD. The lighting TD is in charge of breaking down a shot into render layers, ensuring that the shot renders properly and within production specifications, such as render times and RAM usage. The lighting TD may ask for a model to be split up in certain ways to accommodate different render passes, such as mattes and holdouts. The interaction between lighting and modeling is constant and fluid as we work together to create perfect shots.
They then generate the final renders of all the combined passes for each shot, taking advantage of multiple render nodes processors that make up a render farm. Without these forgotten soldiers, there would be no movie. Industry Insight Farrah L. Welch Render artist Farrah L. Welch provides an inside look at her time within the rendering pipeline on Battlestar Galactica: My core responsibility was to break out approved shots into individual passes and render them out for the compositors to reassemble.
This started with replacing proxy geometry, lighting, and effects with the correct and final versions, and optimizing the scene so it would render as 60 Digit a l M ode l i n g quickly as possible without monopolizing the render farm.
From there, I would break a shot into render layers, anticipating what the compositors needed in order to have maximum control over the final product. This included multiple diffuse, specular, reflection, refraction, effects, and matte passes for different lights and elements in the scene. Taking shot priority into account, I had to make sure that passes rendered correctly and in a timely manner, especially since a single shot could have 30 or more passes. I also maintained communication with the compositing department to facilitate corrections and make sure it had everything it needed to complete the shot as directed by the VFX supervisor.
I had to confer with the artists, compositors, coordinators, and supervisors to make sure that shots I was responsible for ran through the pipeline smoothly and on time.
It was important for geometry to be clean and ready for production without holes, polygons on polygons, and other problems that would cause render errors, slowing down production and costing valuable stack time. Mesh density was very important as well. If the geometry was unnecessarily dense, render time would be too high, slowing down the entire pipeline. This often resulted in having to spend time cutting up models and removing detail unseen by the camera.
If a model was faceted in-camera, lacking adequate detail, or had obvious UV seams, I would then either have to stop my work and take the time to fix it or send it back for repair. All of these situations put a bottleneck in the pipeline and slow down production. Ideally, to minimize this bottleneck, models that will be reused again and again should have low, medium, and high-resolution versions with nurnies small technical details added to break up the surface of an object to add visual interest that are easily removable.
Also, good naming convention is key! Continuity between these versions is very important as well. As a render artist, communication between different departments is essential. Stage 3: Post-production Post-production is the part of the process that may take the longest due to the refinement of all of the aspects of the final product.
Images get enhanced by compositing, the sound track and dialogue get tighter, and the edit gets tweaked for the most effective presentation of story and pacing. This is the point of the project that can make or break it and should not be taken lightly. It is what the production team loses the most sleep over. Compositing Compositors start work towards the end of the production process, combining the rendered elements created by the render artists into a finished sequence.
Most professional compositors have an understanding of color theory and an artistic eye. This allows them to enhance the lighting and color of the shots, maintaining the established look from the director and visual design artists, but refining it with a final layer of polish. Gone are the days of simply combining several elements to create the final image. More and more compositing is used to actually light and texture many of those CG images. Having a good eye for color is key.
A great example of how compositing can be used within an all-animated film or TV series is the workflow used on Star Wars: The Clone Wars. When a scene is lit, no real consideration is given to the color of the light and little to its intensity.
Only the position and direction of the light are adjusted. Instead, the scene is generally lit with three lights giving the key example: sun , fill opposite of the key , and bounce under fill , and then rendered with each light set to red, green, and blue respectively.
Once in the comp, these three lights can be quickly separated, and each light can be colored with its brightness adjusted almost in real time. Additional passes provide rim edge lighting in a similar way along with environmental lights. Not only can the lighting be adjusted and refined far quicker, but one render pass can provide three separate light passes. This same technique can also be used with live-action productions and was used on the new Battlestar Galactica series.
Advances in software are opening even more control for the compositing stage of production with the new use of normal maps generated at render time this shows us the direction each pixel is facing. Also, mattes can be generated to isolate just about any component, enabling the compositor to adjust all the properties from color to specular highlights or reflection.
With an accurate camera track also loaded, the compositor can not only move items around in a 3D space very handy for stereoscopic projects , but also project new textures or matte paintings onto that geometry.
Generally, these 3D objects are of lower detail than the ones used earlier in the pipeline. This technique is being used to great effect at Energia Productions on Iron Sky where landscapes that would require extensive modeling and texture painting can be built fairly quickly and then painted on, adding detail, once in the shot. Audio In most cases audio engineers work simultaneously with the rest of the crew by starting to develop the music and sound effects as early as the animatic has been locked.
These masters of sound open up a whole new level of awesome into an animation. Ladnier K. Ladnier is shown in Figure 2. Read K. Early models characters were simple and hand drawn—interesting but just pictures.
If the character artists were fortunate, they had access to sound recording and editing equipment. If the character artists were very fortunate 65 66 Digit a l M ode l i n g or good , they were able to add music. It was not uncommon to see a character artist lurking around with a sound recorder, searching for something to record that would transform the character into something more than just pictures. The ear is a terrible thing to waste.
The ear is connected to the brain from which the mind receives information that it processes and uses to make decisions about the world we live in. For eons humans have relied on this ability as a survival tool. Smart people tell me that the brain has many amazing abilities, including one where it combines multiple sound reflections like those that occur inside a cave or racquetball court.
Sounds that arrive at the ear and are within a certain time interval of each other are combined into a single sound. The single sound is sent to the mind. This gives humans much greater ability to determine the location of predators or prey and to communicate in an ambient environment. The result is a much greater chance of survival. The brain is constantly processing sound arrivals and sending information to the mind, even when you are asleep.
You are completely unaware of this yet it happens in every theater that has adequate atmosphere. My job as sound designer is to provide the brain with sound that makes sense and adds to the telling of the story.
I use sound and music to lead your mind and your emotions. This increases the likelihood that you will experience suspended disbelief in the theater. If I show you this animated character with good sound design, the information sent from your brain to your mind will be completely different from one presented with bad sound design.
With good sound design, the brain sees with your eyes that the chain is made of links and has motion. With your ears it knows the chain emits a metallic rattling sound. This information is passed on to the mind, and you think: check, one metal chain. Everything makes sense. The mind takes in all this information and might decide that this character is a duck. There is a quack sound, yes, must be a duck.
Without good sound design, the mind is not sure about anything. The chain emits no sound. Is it made of cotton? Is it in a vacuum? And that is the information that gets passed along from the brain to the mind, lowering the likelihood that you will experience suspended disbelief in the theater. This is the dynamic that flows through great productions. It flows between the group of artists that makes the pictures and the group of artists that makes them live.
The more thought and imagination that is put into a digital model when it is created, the more life can be given to it using sound design and music. Final Edit and Delivery With all of the elements in the edit, the director, working with the editor, fine tunes the movie before putting it to bed. Although much of the refinement in the edit of an animated piece happens during the creation of the animatic in the pre-production stage, the director and editor may still need to tweak the film for many reasons.
Sometimes shots that seemed necessary in the animatic may have to be cut out for reasons of either pacing or budget. Once all of these issues have been resolved or maybe time just runs out—it happens and the sound track is finalized and added to the edit, the film is finally complete and ready for mass consumption. They are also the final artists to work on a movie, giving it a final polish.
In most cases, pipelines evolve over multiple productions based on experience gained from past productions, keeping the components that work and removing or replacing the elements that were the weakest. Two perfect examples of this type of pipeline evolution are the virtual art department and the stereo department. This efficient workflow gives a director a real-time workspace, allowing for the flexibility to make important changes on the fly—something every director dreams of in movies that require heavy use of CG elements.
As live characters on the motion-capture stage are being shot, a director can see CG representations of characters and environments in real time and in-camera, and they can be used for composition and blocking. Artists working in the virtual art department are responsible for creating low-poly environments, props, and occasionally characters that serve as a foundation for final assets. These representations can vary widely, ranging from gray-shaded primitives for rough layout to modeled environments complete with detailed textures and matte paintings.
It allows everyone to work out all types of potential problems long before they become critical, and the VAD workflow can often change a production for the better through this collaborative discovery process. The impact of the VAD workflow on modelers and the area of asset creation in general is profound. To facilitate the required flexibility and interactivity required by the virtual production process, VAD modelers must think of many different challenges that might face a director on set and build in to the assets as many options as possible.
For example, where previously a pre-vis workflow may have just modeled a tree, the VAD modeler would break a hero tree down to its most basic components and design a hierarchy to allow maximum flexibility on the set. The tree trunk, branches, roots, and leaves would all be carefully considered and flexible enough to give the director the creative freedom on set to actually redesign the tree for a shot.
All of this would also have to be done within the constraints of a real-time display engine so it requires a fairly high level of creativity to maintain the integrity of the production design provided by the art department while keeping polygonal counts and overall data optimized.
Delivering an asset with n-gons polygons with more than four sides can often create shading errors and causes extra overhead for the render engine. This simple but important new approach has a huge impact on the final resulting assets. Of course, the key locations will often provide many angles, but more often than not, there are a significant number of sets or locations that have only a single-angled concept painting as the guide.
This can often prove to be quite a challenge, but also offers a very high level of creative freedom for those modelers who have a knack for design. The final result transforms a single-angle concept painting into a full degree virtual environment or set that is ready for the director to shoot on.
The virtual art department process and virtual production workflows are really like a merger of real-time gaming technology with film and television production. This new, innovative resulting workflow enhances overall team collaboration, facilitating the director-centric production process that has guided film and television production for over a century.
Stereo Department Stereoscopic 3D is a technique used in production that creates or enhances the illusion of depth in a 2D image. Two images of the same subject, each from a different position, are used, which when wearing special glasses, trick the brain into merging these into one.
Stereo artists convert 2D films into blockbuster 3D experiences, as well as 3D assets into stereoscopic 3D. Although both methods achieve mostly the same result, the processes behind creating these images are very different. This 3D space is calculated in Z-depth the third dimension toward and away from you when looking down at a flat X and Y axis and can be represented in a second eye by either using the Z-depth information to convert the film or by adding a second camera and rendering out that second eye.
In 2D to 3D conversions of live-action films that were not shot with two cameras, the Z-depth information has to be artificially created by an army of rotoscoping tracing over live-action film movement frame by frame , depth, and compositing artists. We have to make the stereoscopic viewing experience not only comfortable to the eyes, but also an enhancement to the movie-going experience. New methods of presentation are developed every day, and it helps when those who are developing these methods have a legion of cooperative artists behind them to help make these experiences possible.
There are specific challenges that the roto artists, depth artists, edge cleanup artists, and stereoscopic compositing artists face every day, and no one department is more important than another.
We all have to work as a cohesive unit to make sure that the film gets delivered on time, and that can only work if we remain in constant, respectful communication. Each shot was populated by several digital models with baked-in animations, preset lighting, and visual effects. Knowing the proper naming conventions and paying attention to studio protocol was just as important as setting up each shot, and an attribute you learn to value in your coworkers.
Although you may only have interest in modeling, I have found that the more I learn about the other aspects of production, the more efficient my models become. The more aware you are of your place in production and how you interact with everyone involved, the better chance you have of doing a good job and getting more work based on positive word of mouth.
As huge as this industry may seem to you now, in reality it is very small, and news travels fast within it. Keep that in mind with every project you lend your talents to. I love when new artists ask questions, because it gives me the opportunity to share any and all tips and tricks—many of which I wish I had known when I was learning how to model.
My answer to this question and its various forms is always the same, and it will completely blow your mind. Here it is: Use as much reference material as possible and hone your observational skills. But yes, that is the mind-blowingly simple trade secret of the pros. The biggest problem I see for new artists is a lack of reference and observation. It immediately shows up in their work. They think of the many options of the modeling tools in their chosen application—tools like Edge Bevel, Extrude, and Lathe.
Reference Good reference material coupled with attention to detail is the key to any successful project. Professional artists use any and all resources they can to attain the level of quality they produce in their work. Not using real-world reference for modeling is like washing your clothes without laundry detergent.
You get the idea. To put it simply: Using reference makes your job easier, period. Although eyewitness accounts can aid in the conviction of guilty parties, they can also lead to the conviction of the innocent. You cannot imagine all of the little details that go into making up the simplest of items, such as the screws shown in Figure 3. Take note of the Phillips head on these screws and the shapes that make up the inset area.
One of the first modeling projects I usually start off new modelers with is to work with real-world items, like a standard key. I used to give my students weekly practical modeling quizzes that required them to create a model in a certain amount of time using the reference material that I supplied.
It always amazed me how many students would leave the material unopened and proceed to model without ever using the reference! This would happen even after they listened to me go on and on about the importance of reference material. Professional artists use reference material for every project they work on. This includes everything from photo-real work to highly stylized work.
I displayed them on my reference monitor while I worked on the character to make sure I captured the qualities that make that insect look the way it does. The photo of the praying mantis left provided details for the stylized 3D model right.
Your job is not only to match the reference, but to also figure out what makes the reference look real. Observation is a continuous process of learning. It should never be skipped.
The reason there are so many inferior digital models in the 3D community is that the artist has solved the problem without ever truly understanding what the problem was. The finished model will only ever be the potential of a great one, doomed to be forever unfinished. Ask yourself questions about your subject so that you can formulate the problem and devise a solution. Is it that of a balloon or a boulder?
Some of those questions may not apply to observing a vehicle, but asking how the vehicle articulates, its mode of mobility, or its fuel source could be important. Learning to observe your subject matter can transform you into a better digital modeler and is a requirement for professionals.
Problem Solving Reference and observation are crucial in deciding exactly which tools and techniques to employ during the modeling process. Digital modeling is simply the process of solving visual problems and the art of devising a strategy that you will use to see the model from start through to completion. Visualization Want to model quicker and more efficiently? Simply see it modeled before it happens.
It simply works and is a powerful problem-solving technique. Find a quiet space, preferably away from the computer. Take some time leading up to the modeling session and visualize yourself constructing the mesh. When visualizing, be as specific and detailed as possible. Imagine yourself sitting at your workstation and launching the software. Imagine creating the first element all the way to the last. Spin the model around to take a good look at how true you stayed to your reference. Visualization is the process of creating a blueprint of how you go about modeling, and this preplanning will go a long way toward making efficient use of your time.
Another technique for increasing your problem-solving skills is something I call modeling pilates. Yes, you read that right—modeling pilates. All you need to do is look at the environment around you, select any object you see, use your observational skills, and work out how you might construct it in 3D. Practice, practice, practice Of course, there is the old advice for any art form: practice, practice, practice.
Always remember that the first step of any new production is to gather reference material. Then you need to study the reference and make mental and written observations so that you can develop modeling solutions and apply them to your work.
Gathering Reference Material Knowing that you need good reference material, the next step is gathering as much of it as possible. You can never have too much. So where do the professionals get their reference material? Physical Reference The best source for good reference is usually sitting right in front of you.
Now I know this one will be hard for some, but you may need to leave your workstation to gather reference material. There are a few other tools you can use to aid you in collecting reference, and every digital modeler should have them at their side as often as possible.
Digital cameras have come a long way over the years, and the best thing about their evolution is price. You may even have a perfectly good one in your phone. I do find it interesting 85 86 Digit a l M ode l i n g that most of the artists I know in the industry have a high-end camera and have taken up photography as a hobby.
This can be very valuable when it comes to rendering your work; knowing how a camera works should never be overlooked. Although a camera can help you obtain a great deal of information to work with, there are a few more tools that I would suggest as well.
Tape Measure A perhaps surprising must-have tool is a standard tape measure Figure 3. The information you can get with one can sometimes be even more useful than the photos you take with your camera. If you want to model something as accurately as possible, you should record its dimensions.
You can even include the tape measure in your photos for later reference, as the measurement of the antique chest in Figure 3. Some tape measures are quite small and even fit on keychains ; most usually have a convenient belt clip—so you have no excuse to be without one. The business card placed in front of it gives you an idea that this carburetor is about A smartphone can also give you the ability to take notes or dictation without needing to carry a pen and sketchpad and some apps even allow for full-color sketches.
Details to make note of 88 Digit a l M ode l i n g will differ from reference to reference, but get down as much information as you can. I do this every week on my commutes from Philadelphia to New York. Some of my favorite character designs have been based on sketches from my commute. The next best resources are reference images that others have made available to everyone. You have a ridiculous amount of resources at your fingertips thanks to the Internet.
You can find images of just about anything online if you know where to look. My biggest online resource for reference gathering is Google www. Within seconds, you get a large collection of reference images without ever leaving your seat. Another great tip I picked up from artist Jamie Clarke when I was visiting the crew at Zoic years ago is to use Ebay www. Sounds like a strange idea, right? It is actually a brilliant one that has proven to be invaluable.
When people try to sell something on Ebay, they usually take loads of large pictures of it from many different angles. I introduced Ebay to my searches a couple years ago, and it has made a massive impact on my ability to gather good reference of any given item.
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