The film’s color work was developed through close collaboration with producers Kele Ikeata and Chimezie Imo, using reference materials from DoP Ziad Abd Elbasit as a starting point for the visual language. From early on, the goal was to create a clear contrast between Kazakhstan and Nigeria, not just in terms of landscape, but in how each place reflects the emotional and psychological space of the characters.

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Each location had its own custom LUT. For Nigeria, the look was built around a modified version of my CM8543 LUT, based on Fuji Eterna 8543 Vivid 160T. The palette leans into stronger saturation and warmer skin tones to convey the visceral heat of Lagos. Green undertones were pushed slightly to bring out the richness of the city and surrounding jungle, helping the greens, cyans, and blues in the production design feel more present and immersive.

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For Kazakhstan, I created a variation of my CM5254 LUT, inspired by Eastman 5254 100T and the muted earth and cyan tones seen in Tarkovsky’s Mirror. Given Kazakhstan’s history as part of the former Soviet Union, that reference felt like a natural fit. Since the film has a comedic edge, the LUT was adjusted with a bit more saturation and contrast, while still keeping skin tones grounded and natural.

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