Dion Beebe and Paul Cameron shot Collateral primarily on the Thomson Viper, one of the first HD cameras used for a major film, and the choice transformed Los Angeles into something no film had captured before. The digital sensor rendered LA night in a silvery, desaturated palette where city lights dont bloom and flare like on film — they sit precisely in the frame, sharp-edged and clinical. The famous coyote scene exists because the digital camera could see in near-darkness where film couldnt. Mann embraced the mediums coldness: skin tones are pushed slightly blue, the orange of sodium streetlights becomes almost grey, and the depth of field is unusually deep for night photography. For Fujifilm, Eterna with a blue shift captures that specific digital-silver quality — the opposite of film warmth.
These recipes run on Fujifilm's film-simulation engine — any current X-series body will do. A pairing to start from: