Just a note one the fish eye thing... Think about what would happen if you but an ordinary 50mm lens of a camera very close to a small object (if you could get focus with it, which if you can adjust the back focus (macro focus) you should, but that's not usually allowed on most lenses, cause then there wouldn't be much profit in making macro lenses (for video cameras which uses lens attachments it's more common though)), you'd see distortion... A 50mm lens however, at ordinary distances (3m) usually give nice results, although 70mm is often considered the least distorting lens (distances aren't squashed like with a telephoto, and there's little edge distortion like on a wide angle or fish eye)... (If my minds simple logical calculator of visionizing the triangulationizifying of things, edge distortion should get worse the closer you are to a subject, while distance distortion (squashing/stretching) should get better, but depth of field gets worse (smaller focal depth) which in no way helps when using a long lens which focal depth is a magnificent tool in photography)... The thing in Carrara is that you usually work with SMALL objects and SHORT distances, objects are rarely much more than 50cm in size in any given axis... So you can imagine when you have a car that's 75cm x 50cm x 25cm (not very accurate, but easy numbers to work with), it's no wonder it ends up looking like a toy car when the camera is a 50mm placed 20cm in front of the car or something... Of course one can talk about how ILM manages to use their little Nikon cameras (I think it was a Nikon they used in "The Temple of Doom") with a film roll through it, to photograph stop motion miniature mine cart chases and make it look non-distorted...