Drew Daniels shot Anora with a split personality that mirrors the story. The strip club sequences are pure neon excess — magenta, purple, and blue LED practicals painting skin in electric color, handheld and intimate. Once the story pivots to Brighton Beach, the palette drains: grey winter daylight, dull interiors, flat overhead light of Russian family homes. Daniels keeps the camera just as close in both worlds but the light tells you everything about where the power lies. For Fujifilm, the strip club demands Velvia with heavy color push, while Brighton Beach is Eterna territory — muted, cold, unglamorous.
The Anora look, scene by scene
Anora has two worlds: the colourful, glowing strip club and nightlife of New York, and the grey, wintry everyday of Brighton Beach. The contrast between the glamour and the reality behind it is the film's visual story.
The club
Magenta, purple and pink lights on skin. Colour is intense and warm, shadows are deep and faces glow.
If every photo is neon, nothing feels special. Anora gets its impact by cutting from glowing club light to grey, cold daylight. If you're shooting a series, mix both looks.
Recipes
The Club
Magenta and purple LED practicals, skin glowing in neon, intimate chaos
Best light: Clubs, bars and parties with pink, purple or magenta light. Overdone in daylight.
Film SimulationVelvia/Vivid
GrainWeak/Small
Color ChromeStrong
CC FX BlueStrong
White BalanceFluorescent 2
WB ShiftR+3 / B+2
Dynamic RangeDR200
Highlight+0
Shadow+3
Color+3
Sharpness-1
Noise Reduction-3
Clarity-1
ISOISO 1600-3200
Why these settings
Velvia/Vivid, Color +3
Rich, intense colour for neon light on skin.
Fluorescent 2 WB, R+3 / B+2
Adding both red and blue pushes the image towards magenta.
Shadow +3
Deep shadows make the coloured light glow.
Brighton Beach
Grey winter Brooklyn, flat overhead light, the glamour stripped away
Best light: Overcast days, winter streets and beaches. Too dull for sunny scenes.
Film SimulationEterna/Cinema
GrainWeak/Large
Color ChromeOff
CC FX BlueWeak
White BalanceDaylight
WB ShiftR-1 / B+1
Dynamic RangeDR200
Highlight+0
Shadow+0
Color-2
Sharpness+0
Noise Reduction-1
Clarity+0
ISOISO 400-800
Why these settings
Eterna/Cinema, Color -2
Soft, muted colour for grey winter days.
R-1 / B+1
A slightly cool tint.
Grain Weak/Large
Subtle film texture for a documentary feel.
Kit list
Anora · 2024 · DP Drew Daniels
The recipe handles colour and tone. These handle what a recipe can't.
For this look
neon & saturated
Ulanzi VL120 RGB pocket light
No neon sign handy? A pocket RGB light becomes your coloured practical — wash a wall, a face or a mirror in magenta and the recipe does the rest.
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Did you nail the look? What to look for
Night scenes glow with pink and purple light
Daytime scenes are grey and muted
Skin takes on the colour of the light
Natural, documentary-style framing
A clear contrast between glamour and everyday life
Anora recipes — FAQ
Which Fujifilm film simulation is best for an Anora look?
Velvia for the club scenes with pink and purple light, and Eterna for the grey winter daytime scenes.
How do I photograph people in neon light?
Expose for the skin, not the light source, and let the background go dark. A high ISO is fine — the grain fits the look.
Which Fujifilm cameras can use these recipes?
All settings work on current X-Trans V bodies such as the X-T5, X-S20, X-T50 and X100VI. The X-T4, X-S10, X-Pro3 and X100V run them as well, and X-T3-era bodies can use them if you skip Clarity and Color Chrome FX Blue. Every body renders slightly differently, so take a few test shots and adjust.
Who was the cinematographer of Anora?
Drew Daniels, who shot the film on 35mm. Sean Baker directed, and the film won Best Picture.