◗ Prime Target Top: This continuity diagram shows the setup around Cale’s SUV for a traveling shot with bluescreen. Bottom left: Foxx leans out the window of the SUV with a rocket launcher. Bottom right: Crewmembers prepare to shoot the vehicle onstage. T11 and 800 ASA. Everything outside the White House was built up to a level of ambience, and then we brought in sun shafts to add to it.” However, the sets tended to be tight because of their scope, so finding room to set up “outside lights” was often a challenge. For many scenes, Courteau relied on LRX lights (from Dwight Crane of Toronto) rigged on a truss and controlled by a dimmer-board operator. 40 July 2013 “The LRX system was very useful,” he says. “We could put sun shafts from 18Ks all on trolleys up on a truss, and did not need to send a spark up on the gantry. All the light could move sideways and down on the truss, and we could also control the spot and flood position through the [GrandMa2] lighting board. That gave us a lot of freedom and the ability to operate quickly on tight sets. We used the American Cinematographer system on many of our stages for ‘sunlight’ on both exteriors and interiors.” Another visual challenge involved the extensive and varied types of gunfire that come into play inside the White House. This required extended muzzle flashes that had to be realistic, safe to use on a cramped set, and able to mix with the light in the rooms successfully. Courteau addressed part of this