The film’s color work was developed in close collaboration with producers Kele Ikeata and Chimezie Imo, using DoP Ziad Abd Elbasit's reference materials to shape the visual language. Distinct palettes were designed for Kazakhstan and Nigeria to reflect not only their environmental differences but also the contrasting psychological worlds of the characters.

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Custom LUTs were created for each location. Nigeria’s look was built on a customized version of my CM8543 LUT, derived from Fuji Eterna 8543 Vivid 160T, emphasizing saturated colors and warm skin tones to convey the visceral heat of Lagos. Green undertones were accentuated to enhance immersion in the vibrant urban and jungle environments, highlighting key greens, cyans, and blues from the production design.

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For Kazakhstan, I developed a variation of my CM5254 LUT, inspired by Eastman 5254 100T and the atmospheric palette of muted earth and cyan tones in Tarkovsky’s Mirror. Given Kazakhstan’s history as part of the former Soviet Union, this cinematic nod felt especially fitting. To suit the film’s comedic tone, the LUT was adjusted with increased saturation and contrast while preserving natural skin tones.