Cinematographer John Matysiak and gaffer Jason Velez combined Astera LED tubes with visual effects to create the period neon look of Motor City. The production photographed primarily on ALEXA 35 with ARRI Master Anamorphic lenses, often using slow motion and strong colour contrast.
For a diner sequence, green and orange Hyperion tubes lit performers, windows, streets and reflections from a strip above the set. Post-production then replaced the visible source with a period-appropriate neon sign, preserving interactive light captured during principal photography.
Titan tubes replaced an overhead fluorescent bank in an interrogation room, while more Hyperion fixtures lit an elevator fight designed to be damaged and covered in blood. The controlled LEDs were deliberately adjusted to imitate the colour and inconsistency of older practical sources.
The case is a creative production account rather than a controlled equipment test. Fixture quantities, wireless-control design, colour measurements, VFX tracking and post-production time are not published, so the economic advantage of the practical-light and replacement-sign method remains project-specific.
