Jon O'Brien

I don't think it's as much of a concern in motion pictures, because the subject is often moving and this helps delineate or define what the subject is. Perhaps if you gave some stills from film that might help answer your question. I think one of the roles of the DP is to clearly and concisely reveal whatever is being depicted on screen - unless the goal is to keep things hiddden and mysterious and keep the audience guessing as to just exactly what they're looking at - a quick example: when the mature 'alien' is finally shown, in 'Alien' (1979), though only as a close-up glimpse. But usually the director doesn't want to confuse the audience with the images. Hmm. Anyway, that's my brief take on the subject, for what it's worth. The term foreshorteneing got me thinking of the funny scene in the original 'Willy Wonka and the Chocolate Factory' - when Gene Wilder leads the newly-arrived guests into a trick room that gets narrower and smaller as you walk into it. Well, I don't know if my musings help you in any way, but I enjoyed typing them.

Very nice machine indeed! I gather they're not as quiet as the ST? But made up for very much in the greater lightness and ease of handling. I think if I got to the feature stage I would rent - but still, it is nice to own. Cameraquip here in Australia has STs for rent.

What could you get an LT for, going back, say, 5 years or so, when they were at their lowest price?

Looks great James!

One fun thing about Nikon DX (similar dimensions to APS-C) is that it's pretty close to 35mm motion picture frame size. Could help with lens choice and so on.

Bit of a squeeze getting the tape in, front and back of Arri mag. But I guess just tape up as best you can.....and get filming man (advice to self)

I'm not in a position to advise, but if you get the Nikon please post some of your footage here as I'm really interested in a Nikon digital camera. I've got some Nikon lenses and my dad was a Nikon man so it runs in the family. I know they always had very high quality of build.

Aye...true. Good point. I've located a R.B. legs in Australia. Somewhat more in price, but that's filmmaking.

Och! 'tis a lonely walk upon yonder heathery heights .. and no man nor beasty canna advise a lowly independent filmmaker, aye.

you beat me to it, by about 60 seconds. Edit: that is, quoting auld Will

This is more the go: https://www.proaim.com/proaim-heavy-duty-mitchell-tripod-stand-with-spreader.html

Hi, I have a Ronford Baker fluid head, with Mitchell base. I need some legs for it. Does anyone have any experience with Proaim tripods? There are some used Ronford Baker and similar Mitchell base tripods for sale on Ebay but aveage price is quite high. Proaim make traditional heavy duty tripods, and this sort of model, too: https://www.proaim.com/proaim-gravity-professional-video-tripod-stand.html This is for a IIC film camera, and a one-man camera team, no crew to speak of. Any thoughts?

Les Bosher in the UK.

Wow!!!! This is the type of film I would like to make. I can't say enough to express my appreciation at seeing this touching film. Film (and music, etc) tries to give fleeting glimpses of what life is really all about. You know what? It's got to do with love. But it's sort of mystical. It's almost beyond us.

Could be, too, that while rehearsing the scene including framing the shot and getting the focus perfect, speaking with the actors, the sun had moved just enough. And as you say, just wasn't spotted. On a difficult and hot shoot no doubt.