◗ Tragedy on the Mat Day interior scenes in Mark's apartment were lit with Arrimax 18/12 and Arri M40 fixtures illuminating bounces that were elevated to the second-story location. 92 ing about exposure and this and that," the cinematographer says. "Until you get the dailies back, you're naturally concerned." Processing began out of New York but was sidetracked by Hurricane Sandy and moved to Deluxe Laboratories in Los Angeles. Dailies were graded by Company 3's Shane Harris, a longtime collaborator of Fraser's whom the cinematographer credits for his influential contributions to Foxcatcher's overall color scheme. Fraser would grade stills and then email them to Harris, aiming more or less for the middle ground in terms of contrast and saturation as he and Miller refined the look throughout the shoot and dailies process. Harris, who graded the movie with DaVinci Resolve 9 software, describes the general direction as "moody, down in the mid-tones with the blacks a bit up - not crushing the blacks, but keeping them inky and at the