Larkin Seiple built a visual system where each universe has its own distinct color language. The IRS office — Evelyns mundane reality — is defined by sickly overhead fluorescents, desaturated greens, and flat institutional light. The Alphaverse shifts into saturated neons, purples and teals, with hard-edged dramatic lighting. The romantic alternate life is warm, soft, and intimate — window light, candles, golden tones. Seiple switches between these palettes mid-scene during universe jumps, making the color itself a narrative device. For Fujifilm, this film is a playground: each universe maps to a completely different recipe, and the contrast between them is the whole point.
The Everything Everywhere All at Once look, scene by scene
Everything Everywhere All at Once jumps between countless universes, each with its own look. Three stand out: the grey-green fluorescent IRS office, neon-soaked action worlds, and a soft, warm romantic life that could have been.
The IRS office
Grey-green fluorescent light, flat and dull. The everyday at its most boring.
The film works because every universe looks different. If you're shooting a series, deliberately switch between recipes — the contrast between dull and colourful is the point.
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Did you nail the look? What to look for
Clear contrast between dull and colourful scenes
Grey-green office light
Purple and teal neon in action scenes
Soft, warm romantic scenes
Playful, surprising compositions
Everything Everywhere All at Once recipes — FAQ
Which Fujifilm film simulation is best for an Everything Everywhere All at Once look?
Eterna for the dull office scenes, Velvia for neon action scenes and Astia for soft romantic scenes.
How do I recreate the neon fight scenes?
Use purple and teal LED lights in a dark space and the Alphaverse recipe.
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 Everything Everywhere All at Once?
Larkin Seiple. Daniel Kwan and Daniel Scheinert directed, and the film won Best Picture.
Got your own still from Everything Everywhere All at Once?