Franz Lustig shot Perfect Days almost entirely with natural light in real Tokyo locations, following the rhythms of toilet cleaner Hirayama's daily routine. The palette is gentle and observational — warm but never saturated, with the greens of parks and trees given special attention. Wenders has always been drawn to the way light falls through leaves, and this film elevates komorebi — the Japanese word for sunlight filtering through foliage — into a visual motif. The mornings are soft and golden, midday is bright but never harsh, and the evenings settle into warm amber. Nothing is pushed or graded aggressively — it looks like the world as seen by someone who genuinely pays attention to it.
The Perfect Days look, scene by scene
Perfect Days moves between two kinds of light: the natural world Hirayama loves — trees, parks, sky — and the functional city he works in. Both are shot with the same gentle, observational approach, but the natural scenes lean warmer and softer while the urban scenes hold more contrast and cooler tones.
Parks and trees: komorebi and natural light
The film's heart. Sunlight filtering through leaves, soft shadows on paths, the greens of temple grounds and park benches. Hirayama photographs these moments with a film camera, and the movie's own look matches — warm, soft, slightly diffused. Highlights glow gently rather than clipping. Greens are true and natural, not pushed or overdriven.
Hirayama's drives, his apartment, the vending machines and public bathrooms he cleans. The palette is more muted here — concrete grey, fluorescent white, the occasional neon sign. The warmth is still present but restrained, coming from incandescent light or the last of the day's sun rather than from foliage.
Sunlight filtering through trees in Tokyo parks and temple grounds
Best light: Dappled light through foliage, soft morning or late afternoon sun. Works well on overcast days too. Harsh midday sun loses the gentleness.
Film SimulationAstia/Soft
GrainWeak/Small
Color ChromeWeak
CC FX BlueOff
White BalanceDaylight
WB ShiftR+2 / B-1
Dynamic RangeDR200
Highlight-1
Shadow+1
Color+0
Sharpness-1
Noise Reduction-2
Clarity-1
ISOISO 200-800
Why these settings
Astia/Soft
Astia renders colour faithfully but gently — greens stay natural, skin stays warm, and nothing is overdriven. It is the quietest colour simulation Fujifilm offers.
White Balance: Daylight, R+2 / B-1
Adds a subtle golden warmth to daylight without pushing into amber — the light in the film feels warm but never forced.
Clarity -1, Highlight -1
Softens micro-contrast and lets highlights breathe. Light through leaves should glow slightly, not clip hard.
Tokyo Routine
Hirayama's early morning drives and evening rituals through quiet city streets
Best light: Early morning or late evening ambient light, neon signs in the background, mixed street lighting. Full daylight is too bright for this recipe's mood.
Film SimulationClassic Chrome
GrainWeak/Small
Color ChromeWeak
CC FX BlueWeak
White BalanceAuto
WB ShiftR+1 / B+0
Dynamic RangeDR200
Highlight+0
Shadow+2
Color-1
Sharpness+0
Noise Reduction-2
Clarity+0
ISOISO 400-1600
Why these settings
Classic Chrome with Color Chrome Weak
Classic Chrome's slightly muted palette suits the quiet city scenes — it holds neon signs and vending machines without oversaturating them.
Shadow +2, Color -1
Opens shadows to keep detail in dark streets and doorways while pulling saturation down to match the film's restrained urban palette.
White Balance: Auto, R+1
Auto handles the mixed city lighting — fluorescent, neon, tungsten — while the slight warm shift keeps the overall tone from going cool.
Kit list
Perfect Days · 2023 · DP Franz Lustig
The recipe handles colour and tone. These handle what a recipe can't.
For this look
warm & nostalgic
NEEWER 43" reflector with grip
Bounce low sun back into faces. The gold side adds the honeyed fill these warm recipes are built around.
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Did you nail the look? What to look for
Light through leaves creates soft, dappled patterns — shadows are never harsh or dramatic
Greens are natural and alive, not pushed toward teal or neon
The overall palette is warm but gentle — golden, not amber or orange
Images feel calm and observed, not composed for visual impact
Urban scenes stay muted and quiet even when neon is present
Perfect Days recipes — FAQ
Which Fujifilm film simulation is best for a Perfect Days look?
Astia/Soft for the natural daylight scenes — it renders greens and skin with a quiet warmth that matches the film's gentle palette. Classic Chrome works better for the muted urban sequences.
What does komorebi mean?
Komorebi is a Japanese word for sunlight filtering through leaves. It is a central visual motif in Perfect Days — the main character photographs it daily. The recipe named for it is designed for exactly that kind of light.
Which Fujifilm cameras can use these recipes?
All settings work on X-Trans IV and V bodies such as the X-T5, X-S20, X100VI and X-T4. Astia/Soft has been available since the earliest X-Trans cameras, so even older bodies can use the Komorebi recipe.
Who was the cinematographer of Perfect Days?
Franz Lustig. The film was directed by Wim Wenders and was nominated for the Academy Award for Best International Feature Film. It was shot on location in Tokyo using almost entirely natural light.