American Cinematographer - December 2014 - 83

overlapping environments served as a
bible for Jess Gonchor's production
design and the actors' performances.
Fraser notes that he, Gonchor and
costume designer Kasia WalickaMaimone rode a fine line between
authenticity and aesthetics in designing
the color palette. "Kasia was true to the
[blue, yellow and red] uniforms and the
clothes that are recorded, but we didn't
want to get too gaudy, either," he says.
"The colors of the Foxcatcher gym also
are primary, which normally I try to
avoid because they're so garish. Trying
to come up with a balance of what felt
true to the period, without seeming
garish, was the hardest part."
To further sell Foxcatcher's 1980s
timeframe, the filmmakers shot on 3perf 35mm, using three Kodak stocks:
500T 5230, and Vision3 50D 5203 and
250D 5207. They primarily shot with a
Panavision Millennium XL2 camera,
although an Arriflex 235 was called
upon for handheld, non-sync and
second-unit work.
Fraser had just come off shooting
Zero Dark Thirty (AC Feb. '13) on the
Arri Alexa; he believes different movies
are best suited to different formats. "A
period movie on film is a good thing,"
he says. "You have to help the audience
believe the story is occurring in the
Eighties, and doing anything to reduce
their suspension of disbelief - such as
shooting on digital or with lenses that
are too sharp or resolved - might tip
the audience over the edge [and cause
them] to not believe what they're
seeing."
The cinematographer was also
tasked with making Carell's transformation into du Pont convincing - a challenge partially aided by a prosthetic nose
and layers of makeup that gave the
performer paler skin. Camera tests
helped determine what size proboscis
would work best. "Shooting film and
[using] slightly older lenses helps to sell
the prosthetics," Fraser submits.
The crew used a combination of
Panavision Primo and Ultra Speed
prime lenses. The Ultra Speeds
provided an overall softness, not only to

Windows motivated the lighting for several scenes inside du Pont's mansion.

smooth Carell's facial enhancements,
but also to provide a warmer, more inviting look for scenes in which things seem
to be going well for protagonist Mark
Schultz. Fraser employed ND and
polarizing filters, but no color filters.
The crew usually shot with
40mm or 50mm lenses. "Something
slightly longer than a 35mm seemed
fitting on this project," Fraser says,
www.theasc.com

adding that he tried to maintain a stop
of T2.8. "The idea was to not have too
much depth of field, because we wanted
to focus the audience on the drama.
Sometimes if there's too much depth of
field, it's hard for the viewer to know
what to settle their gaze upon."
Fraser found a couple of ideal
angles to light Carell, such as positioning fixtures 45 degrees behind him and
December 2014

83


http://www.theasc.com

American Cinematographer - December 2014

Table of Contents for the Digital Edition of American Cinematographer - December 2014

Contents
American Cinematographer - December 2014 - Cover1
American Cinematographer - December 2014 - Cover2
American Cinematographer - December 2014 - 1
American Cinematographer - December 2014 - 2
American Cinematographer - December 2014 - Contents
American Cinematographer - December 2014 - 4
American Cinematographer - December 2014 - 5
American Cinematographer - December 2014 - 6
American Cinematographer - December 2014 - 7
American Cinematographer - December 2014 - 8
American Cinematographer - December 2014 - 9
American Cinematographer - December 2014 - 10
American Cinematographer - December 2014 - 11
American Cinematographer - December 2014 - 12
American Cinematographer - December 2014 - 13
American Cinematographer - December 2014 - 14
American Cinematographer - December 2014 - 15
American Cinematographer - December 2014 - 16
American Cinematographer - December 2014 - 17
American Cinematographer - December 2014 - 18
American Cinematographer - December 2014 - 19
American Cinematographer - December 2014 - 20
American Cinematographer - December 2014 - 21
American Cinematographer - December 2014 - 22
American Cinematographer - December 2014 - 23
American Cinematographer - December 2014 - 24
American Cinematographer - December 2014 - 25
American Cinematographer - December 2014 - 26
American Cinematographer - December 2014 - 27
American Cinematographer - December 2014 - 28
American Cinematographer - December 2014 - 29
American Cinematographer - December 2014 - 30
American Cinematographer - December 2014 - 31
American Cinematographer - December 2014 - 32
American Cinematographer - December 2014 - 33
American Cinematographer - December 2014 - 34
American Cinematographer - December 2014 - 35
American Cinematographer - December 2014 - 36
American Cinematographer - December 2014 - 37
American Cinematographer - December 2014 - 38
American Cinematographer - December 2014 - 39
American Cinematographer - December 2014 - 40
American Cinematographer - December 2014 - 41
American Cinematographer - December 2014 - 42
American Cinematographer - December 2014 - 43
American Cinematographer - December 2014 - 44
American Cinematographer - December 2014 - 45
American Cinematographer - December 2014 - 46
American Cinematographer - December 2014 - 47
American Cinematographer - December 2014 - 48
American Cinematographer - December 2014 - 49
American Cinematographer - December 2014 - 50
American Cinematographer - December 2014 - 51
American Cinematographer - December 2014 - 52
American Cinematographer - December 2014 - 53
American Cinematographer - December 2014 - 54
American Cinematographer - December 2014 - 55
American Cinematographer - December 2014 - 56
American Cinematographer - December 2014 - 57
American Cinematographer - December 2014 - 58
American Cinematographer - December 2014 - 59
American Cinematographer - December 2014 - 60
American Cinematographer - December 2014 - 61
American Cinematographer - December 2014 - 62
American Cinematographer - December 2014 - 63
American Cinematographer - December 2014 - 64
American Cinematographer - December 2014 - 65
American Cinematographer - December 2014 - 66
American Cinematographer - December 2014 - 67
American Cinematographer - December 2014 - 68
American Cinematographer - December 2014 - 69
American Cinematographer - December 2014 - 70
American Cinematographer - December 2014 - 71
American Cinematographer - December 2014 - 72
American Cinematographer - December 2014 - 73
American Cinematographer - December 2014 - 74
American Cinematographer - December 2014 - 75
American Cinematographer - December 2014 - 76
American Cinematographer - December 2014 - 77
American Cinematographer - December 2014 - 78
American Cinematographer - December 2014 - 79
American Cinematographer - December 2014 - 80
American Cinematographer - December 2014 - 81
American Cinematographer - December 2014 - 82
American Cinematographer - December 2014 - 83
American Cinematographer - December 2014 - 84
American Cinematographer - December 2014 - 85
American Cinematographer - December 2014 - 86
American Cinematographer - December 2014 - 87
American Cinematographer - December 2014 - 88
American Cinematographer - December 2014 - 89
American Cinematographer - December 2014 - 90
American Cinematographer - December 2014 - 91
American Cinematographer - December 2014 - 92
American Cinematographer - December 2014 - 93
American Cinematographer - December 2014 - 94
American Cinematographer - December 2014 - 95
American Cinematographer - December 2014 - 96
American Cinematographer - December 2014 - 97
American Cinematographer - December 2014 - 98
American Cinematographer - December 2014 - 99
American Cinematographer - December 2014 - 100
American Cinematographer - December 2014 - 101
American Cinematographer - December 2014 - 102
American Cinematographer - December 2014 - 103
American Cinematographer - December 2014 - 104
American Cinematographer - December 2014 - 105
American Cinematographer - December 2014 - 106
American Cinematographer - December 2014 - 107
American Cinematographer - December 2014 - 108
American Cinematographer - December 2014 - 109
American Cinematographer - December 2014 - 110
American Cinematographer - December 2014 - 111
American Cinematographer - December 2014 - 112
American Cinematographer - December 2014 - Cover3
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