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  10. But making the film, he started to rethink. He saw the VP8 3D images. He learned there was no „directionality“ to the image, as one applied with a brush would have. He interviewed a forensic pathologist who said it was a „particularly accurate construction of a Roman crucifixion“ — not least the wounds in the wrists, rather than the palms, with „missing“ thumbs thought to be caused by nerve damage or a retracted thumb.
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  11. They had found no pigments, paints, dyes or stains on the fibers. The image had 3D coding within it. There was no evidence of oils, spices or biochemicals. It was „clear“ that the material had been in direct contact with a body — but there was no explanation for the seemingly perfect image of the face.
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  12. The VP8 pictures were, says Jackson, „the catalyst that triggered the scientific interest in the Shroud.“ Within two years, he’d put together a 30-strong team of scientists to study it — and, astonishingly, the authorities in Turin gave them access to it. He says they had „absolute academic freedom to do the science we wanted to do.“
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