Director Takashi Yamazaki personally supervised the black-and-white regrade, describing it as more than a simple desaturation. The process involved adjusting contrast, grain structure, and brightness to give the film the feel of a classic 1954 Gojira aesthetic. Yamazaki has called it a “new old movie,” stripping away color to enhance the shadowy menace of the titular monster and the post-WWII desolation of Tokyo.