Civic Center in San Rafael designed by Frank Lloyd Wright, the Lawrence Hall of Science in Berkeley, the San Francisco International Airport, and at a remote manipulator for a hot cell. Several scenes show a large IBM System/360 multi-computer installation. Studio sequences were shot at stages in Los Angeles, including a white stage for the "white limbo" sequences. Lucas used entirely natural light. The chase scene featured two Lola T70 Mk III race cars being chased by Yamaha TA125/250cc two-stroke, race-replica motorcycles through two San Francisco Bay Area automotive tunnels: the Caldecott Tunnel between Oakland and Orinda; and the underwater Posey Tube between Oakland and Alameda. According to Caleb Deschanel, cars drove at speeds of while filming the chase. Other cars appearing in several scenes of the movie include the custom-built Ferrari Thomassima cars; one of them is on display in the Ferrari museum in Modena, Italy. The chase featured a motorcycle stunt. Stuntman Ronald "Duffy" Hambleton (credited as Duffy Hamilton) rode his police motorcycle full speed into a fallen scaffold, with a ramp built to Hambleton's specification. He flew over the handlebars, was hit by the airborne motorcycle, landed in the street on his back, and slammed into the crashed car in which Duvall's character had escaped. According to Lucas, it turned out Hambleton was perfectly fine, apart from being angry with the people who had run into the shot to check on him. He was worried that they might have ruined the amazing stunt he had just performed by walking into frame. THX's final climb out to the daylight was filmed (with the camera rotated 90°) in the incomplete (and decidedly horizontal) Bay Area Rapid Transit Transbay Tube before installation of the track supports, with the actors using exposed reinforcing bars on the floor of the tunnel as a "ladder". The end scene, of THX standing before the sunset, was shot at Port Hueneme, California, by a second unit of (additional uncredited photographer) Caleb Deschanel and Matthew Robbins, who played THX in this long shot. After completion of photography, Coppola scheduled a year for Lucas to complete postproduction. Lucas edited the film on a German-made K-E-M flatbed editor in his Mill Valley house by day, with Walter Murch editing sound at night; the two compared notes when they changed over. Murch compiled and synchronized the sound montage, which includes all the "overhead" voices heard throughout the film, radio