◗ Prime Target Top: This diagram of the pool set was used to ensure continuity for back-to-back scenes in the film that were shot on different days. Bottom: Crewmembers film Woods as he runs from an explosion on the set. 38 July 2013 American Cinematographer nitely heavy contrast.” Complicating this agenda was the fact that most of the picture was shot onstage, and the filmmakers had to frequently simulate bright day exteriors and also shoot believable exterior light beaming into the White House. Courteau’s team typically built light for exterior setups by bouncing 18K ArriMaxes onto white ceilings, and then adding four or five 24Ks gelled with ¼ CTS to mimic sunbeams, with much smaller lights on the actors as needed. “Almost every setup was big, and creating big exteriors [onstage] is always difficult to do in a naturalistic way,” says Courteau. “There is a lot of ambience; shadows are filled in most of the time. So you need a lot of big lights and big ambience. We needed a lot of depth; we shot a lot of bright exterior scenes at