Brandon focused on visuals and Jason focused on the performances and story. Valmassy directed a driving scene featuring himself and Folley when the Trosts were briefly unavailable. Several planned filming locations were abandoned due to budget constraints. For thematic reasons, the film's penultimate fight scene between JTRO and L Dubba E was originally set at Dawn's Liquor Marta key location in the film. The store's owners refused permission for filming and the location was changed to a long-abandoned gas station. Bryan Goddard, who portrays Sugga Nigga, acquired permission for the crew to film on the property. The penultimate dance-off was filmed in three eight-minute long takes and edited down. Brandon Trost would "float around with the camera" while Valmassy and Jason Trost performed the dance-off sequence. While filming a tire training scene, Brandon asked Jason to increase the amount of spins he was performing. Jason broke his ankle and relied on his costume's snow boots as medical boots. Director of photography Brandon Trost shot The FP using digital cinematography with Canon XH-A1 cameras, which he had recently used while filming Crank: High Voltage. Using a single-camera setup, he filmed The FP using 35mm film to evoke the traditional look of films such as The Warriors and Total Recall. Trost ignored camera and lighting errors to make the film "feel genuine". Visual effects Visual effects artist Aaron Juntunen copied the visuals from the Beat-Beat Revelation dance tracks from Dance Dance Revolution by using computer graphics. The tracks were played live, allowing the actors to dance in unison. Visual effects were also used to cover the name of Dawn's Liquor Mart, as the actual location did not give the production permission to use its name and logo. Music George Holdcroft composed the score for The FP. He was invited to a screening of the film by producer Christian Agypt, and asked if he could compose the music for it. Holdcroft, who lived in Chicago at the time, spent 12 hours a day composing the score and e-mailed his compositions to the Trost brothers. To emulate the sound of a choir for one song, Holdcroft sang the same segment more than 200 times using different voices and melodies to achieve the desired result. For another song, he sang in falsetto and altered the pitch of his voice to make himself sound like a woman. Holdcroft had never played Dance Dance Revolution, though he