Murder of God’s Banker was designed with a distinct visual style in mind, a tension between the dark shadows of expressionistic late 1940s noir and a more garish 80s neo-noir as the central murder took place in 1982. Because there is so little archival on the main players, a combination of motion comics and reenactment was used to illustrate key moments in the narrative. Colorist Phil Choe used chromatic primary and secondary colors to separate the various worlds in The Vatican, the Sicilian Mafia, the world of banking and the secret world of the neo-Fascists within Italian freemasonry. Nina Ham, director of photography, then matched the interviews and many of the reenactment scenes with her brilliant use of chromatic light. In the color correct, blue to purple, blue to red were occasionally changed when necessary to stay true to the aesthetic (even changing the color of a sweater!).