Kodachrome Slides – South Weber, UT – Fujifilm X-T30 – “Kodachrome 64”
Kodachrome 64 is probably the most requested film that people have asked me to create a recipe for. Kodachrome has a long history, with the first successful version debuting in 1935 (film simulation recipe here). In the early 1960’s Kodak replaced that version of the film with Kodachrome II and Kodachrome X (film simulation recipe here). In 1974 Kodak made the final version of Kodachrome, available in ISO 25 and ISO 64 (and later ISO 200) versions. This Kodachrome was discontinued 10 years ago. Kodak also discontinued the chemicals to process Kodachrome, and nine years ago the last roll was developed. This film simulation recipe is meant to mimic the aesthetics of Kodachrome 64.
In the early 1970’s there was a movement to end Kodachrome. The process to develop the film was toxic and complex. Kodachrome is actually a black-and-white film with color added during development, which you can imagine isn’t a simple procedure. Instead of discontinuing their most popular color film, Kodak made a new version that required a less-toxic (but still toxic) and less complicated (but still complicated) development process. This appeased those who wanted the film gone, but the new version of Kodachrome was not initially well received by photographers, many of whom liked the old version better. William Eggleston, for example, who used Kodachrome extensively in his early career, wasn’t a fan of the new version, and began to use other films instead.
The photography community did come around to Kodachrome 25 and Kodachrome 64. Due to Kodachrome’s sharpness, grain, color, contrast and archival characteristics, this film was a great all-around option that worked well in almost any circumstance. The film became incredibly popular, and was found on the pages of many magazines, including National Geographic, which practically made its use a requirement. Steve McCurry was perhaps the best known photographer to extensively use this era of Kodachrome. He said of the film, “It has almost a poetic look with beautiful colors that were vibrant and true to what you were shooting.”
Onaqui Wild Horses – Dugway, UT – Fujifilm X-T30 – “Kodachrome 64”
I shot many rolls of Kodachrome 64, and a few rolls of Kodachrome 25. My favorite was Kodachrome 64 because it had a little more contrast and was slightly more saturated. It was a sad day for me when Kodak discontinued it. I was just getting into digital photography at that time, and in retrospect I wish that I had paused on digital and shot a few more rolls of Kodachrome. Kodak has hinted that they might resurrect it, but I would be surprised if they actually did because of the complex development process.
When I decided to attempt a Kodachrome 64 film simulation recipe for my Fujifilm X-T30, I did some experiments, and after a few tries I thought that I had it figured out. Excitingly, I snapped many frames with these settings, but then I figured that I should consult some actual Kodachrome 64 slides to make sure that it matched. It didn’t. Kodachrome 64 looked different than how I remembered it. I was close, but not close enough, so I went back to the drawing board. A handful of experiments later I got it right, which is the recipe that you see here.
Of course, the issue with all of these film simulation recipes that mimic actual film is that one film can have many different looks, depending on how it was shot, under what conditions, how it was developed, and how it’s viewed, whether through a projector or light table, a print (and how it was printed), or a scan (and how it was scanned and perhaps digitally altered, and the monitor). There are a ton of variables! Kodachrome looks best when viewed by projector, no doubt about it, but that’s not how Kodachrome is seen today, unless you own a projector and have some slides. While I don’t think that this recipe will ever match the magic of projected Kodachrome, I do think it’s a close approximation of the film and it deserves to share the famed name.
Mayhem – Tooele, UT – Fujifilm X-T30 – “Kodachrome 64”
I have Grain set to Weak, but I feel that when using this recipe at higher ISOs Grain should be set to Off. While I chose DR400, in low-contrast situations DR200 is a good Dynamic Range option. For X-Trans III cameras, which obviously don’t have Color Chrome Effect, this recipe will still work and will appear nearly identical, but it will produce a slightly different look. To modify this recipe for Kodachrome 25, I suggest setting Shadow to +1, Color to -1, Grain to Off, and Sharpness to +3.
Classic Chrome
Dynamic Range: DR400
Highlight: +1
Shadow: +2
Color: 0
Noise Reduction: -4
Sharpening: +2
Grain Effect: Weak
Color Chrome Effect: Weak
White Balance: Daylight, +2 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Kodachrome 64 film simulation recipe on my Fujifilm X-T30:
Shopping Cart Car – Riverdale, UT – Fujifilm X-T30
Traffic Lamp – Bountiful, UT – Fujifilm X-T30
Red Tricycle – South Weber, UT – Fujifilm X-T30
Hay Stack – Layton, UT – Fujifilm X-T30
Pony Express Trail – Faust, UT – Fujifilm X-T30
Wild Horse Country – Dugway, UT – Fujifilm X-T30
Wild Horse Grazing – Dugway, UT – Fujifilm X-T30
Lonely Horse – Dugway, UT – Fujifilm X-T30
Wild & Free – Dugway, UT – Fujifilm X-T30
Onaqui Horses – Dugway, UT – Fujifilm X-T30
Spotted Green – Dugway, UT – Fujifilm X-T30
Grassland – Dugway, UT – Fujifilm X-T30
In The Dust – Faust, UT – Fujifilm X-T30
Roar Forever – South Weber, UT – Fujifilm X-T30
Jon In The Backyard – South Weber, UT – Fujifilm X-T30
Big Wheel – South Weber, UT – Fujifilm X-T30
Evening Tree – South Weber, UT – Fujifilm X-T30
Look Up To The Sky – South Weber, UT – Fujifilm X-T30
Lavender Bee – South Weber, UT – Fujifilm X-T30
Lavender Sunset – South Weber, UT – Fujifilm X-T30
Sunset Leaves – South Weber, UT – Fujifilm X-T30
Sun Kissed Leaf – South Weber, UT – Fujifilm X-T30
Summer Tree Leaves – South Weber, UT – Fujifilm X-T30
Jar of Coffee Beans – South Weber, UT – Fujifilm X-T30
Beans To Grind – South Weber, UT – Fujifilm X-T30
Sugar Dish – South Weber, UT – Fujifilm X-T30
Morning Coffee – South Weber, UT – Fujifilm X-T30
Processed by Kodak – South Weber, UT – Fujifilm X-T30
See also: Kodachrome 64 for X-Trans II
Help Fuji X Weekly
Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
$5.00
You are my hero! Am running out to shoot with this over the weekend. Thanks!
I hope you like it!
These look great, I think once I can get back out doing Street Photography I’ll give some of these a try, that is, if they are ok for my XT-3?
Yes, completely compatible with the X-T3! I appreciate the comment!
Good sir, you are amazing! Your recipes have inspired me to shoot more. Looking forward to more great content.
Thank you for your kind words!
I’ll have a go with this one too!
I hope you enjoy it!
Hi!
so this is meant for daylight only (fixed WB with reddish greenish) ????
I found that all Kodachrome work “less than spectacular” in low light (not bad , but not as good as in daylight)
maybe is it the way the contrast work when low light , and this is that you recommend even +1 exposure compensation ?
Well, Kodachrome film was in fact daylight balanced. Back in the film days, you would use warming and cooling filters to adjust the “white balance” for the scene you were shooting. AWB makes those filters unnecessary, which is why I like to use AWB in my recipes. In the case of this Kodachrome 64 recipe, I found that selecting Daylight instead of AWB produced a more accurate look, but AWB would still work if you preferred that.
As far as night photography, I actually have some night (long exposure) Kodachrome slides, and the blacks were definitely deep black. If you don’t like how the recipe works after dark, I would suggest playing with Shadow and Highlight and see if it doesn’t work better for you with an adjustment. I hope this helps!
THANK YOU!!! <3
You are welcome!
Hi! Which settings do you suggest for a Fuji xt20?
Thanks and greetings from Italy
The same exact settings, except obviously you ignore Color Chrome Effect because the X-T20 doesn’t have it.
Thanks for producing these recipes. So these can be programmed into custom settings under the Q button, except for some of the modified white balances called for, or is there a way to do that also?
You are welcome! You are correct, everything can be programmed into the Q menu except for the white balance shift, which will have to be adjusted manually.
First I wanted to thank you for your recipes, they’re so inspirational and such a precious help !
About WB Shifts, I discovered today, switching between two recipes I stored in the quick menu of my X-T3, that white balance shifts are actually stored for each type of white balance. For example in your Kodachrome 64, White Balance is set to Daylight with a shift of +2 Red & -5 Blue, if you switch to another stored recipe with a 3200K White Balance (Fujicolor 100 Industrial) and a shift of +8 Red & -8 Blue, that shift is automatically applied.
So for each type of White Balance preset you can store one (and only one) shift. As AWB is usually the most commonly used setting, this feature doesn’t seem to be a big help, but now I’m probably going to take advantage of this as I organize my Q menu recipes before shooting sessions.
You are welcome, and I much appreciate the feedback!
Yes, I figured this out a few months back, but (like you said) most recipes use AWB. But that’s also partially why I have tried creating recipes with other white balance settings, with one benefit that it makes things easier when switching between them. Thanks for the comment!
Hi Ritchie, given that most of the Fuji X cameras have a base ISO of ISO 200, would you be willing to make Kodachrome 200 recipe?
I used Kodachrome 200 once. I remember not being impressed because it was so much more grainy than Kodachrome 64. It has a similar look, probably a bit more contrast, smaller dynamic range, and perhaps slightly warmer, but the strong grain wasn’t pretty. At least that’s what I thought at the time, my opinion might be different now. I would think that ISO 12800 might be a good starting point.
From the time Kodachrome 200 came out in 1986 until it was discontinued it was all I used. The colors were vibrant and saturated. The grain was artistic. I cried when, on the evening news it was announced Kodachrome was being discontinued, right here on the sofa. My wife thought I was nuts. I would love to replicate it in the Trans II through IV sensors.
I think that would be interesting to try. Thank you for the suggestion!
I tried using the with my Xe-1 but its just not the same. 🙁
Unfortunately, this isn’t compatible with X-Trans I and II, and not completely compatible with X-Trans III. But feel free to play around with the settings on your camera to see how close you can get.
Love this! Is there a way to apply this recipe to a RAF file in post processing? Would I need to download Fuji X Raw Studio?
Thanks
Fuji X RAW Studio is the only way I know to directly do it.
Not sure if you’ll see this but I have really good news! The Xpro 3 does indeed allow you to save separate white balance shifts per custom setting!
That’s awesome news! Thank you for the confirmation!
No problem. Now I just need to figure out this Chrome Color Effect Blue thing.
I have no idea, but if you do figure it out be sure to let me know!
The fact that white balance can be saved in the XPRO is indeed great news.
Any recipes possible with the new classic negative sim?
I’m sure that there are a bunch of recipes possible. I can’t wait to try it someday and make some recipes with it.
Hi Ritchie,
I hope everything’s fine on your side as far as health is concerned.
In the simulation, the DR400 setting is used.
Is it simply for its effect on the dynamic range or is it also to bring a little bit of grain?
I ask this question because some people point out that ISO800 brings a little bit of noise compared to ISO200 and that this could be a reason for the DR400 setting.
More generally, have you noticed an increase in noise for DR400?
Henri-Pierre
The DR settings have to do with preventing clipped highlights and maximizing dynamic range. I don’t find a significant difference in digital noise between ISO 200 and ISO 800. In the “old” days, the difference between these two ISOs was huge. Nowadays, you can’t even notice without very closely studying massive crops. Take care!
thanks
Hi Ritchie! First of all, thanks for your amazing work, it’s great! I’m trying to set up my XT30 with this Kodachrome 64 recipe, but how do I set the Film Simulation point? Thanks
I appreciate the feedback! I’m not sure I understand the question, though.
Hi Ritchie and thanks for the great work you are doing with these recipes!
I just got the new Fuji X-T4 and I am trying to put the recipe for Kodachrome 64 in. I noticed the XT-4 no longer has a NR (noise reduction) setting, or perhaps I can’t seem to find it in the menus, including the Q menu.
Therefore, I haven’t been able to put the -4 NR setting in. Do you know anything about why NR is no longer available and whether not having the NR will drastically change the recipe? Thanks.
I’m not sure. My X100V has NR. I wonder why it’s different on the X-T4. I don’t think it will make a huge difference either way.
I recommend staying away from this version of the recipe on the XT-20. It produces very prominent blacks that dominate the image.
The older Kodachrome II recipe works much better. 🙂
That’s interesting. I’ve used it on my wife’s X-T20 and didn’t notice a difference from my X-T30.
Hey Ritchie,
Do you know if this recipe also works for the x100f? Will the image be processed the same?
Thanks:)
Because for the recipe you have for the x100f, the fotos you uploaded looked way different to the ones here.
It’s not exactly the same, as it’s not fully compatible with X-Trans III.
Hello, Ritchie.
A huge THANK YOU for the quality of your work as well as the quality of your sharing. Your blog is a gold mine for Fujifilm users and we are very grateful.
Duncan
I appreciate your kind words of encouragement!
This is amazing, I have just bought the X-t30 and during my research before buying a new camera I was reading about the fact that with Fuji you can get nice Jpgs OOC that would also not require additional post-production.
Now I fully understand the reason!!! 🙂
Amazing work youd did!!
Just a couple of questions…looks like there is not so much in the web about the creation and management of the Custom profiles…
I was able to create my first custom profile following your Kodachrome 64 recipe.
But I see there is “White Balance: Daylight, +2 Red & -5 Blue” and “Exposure Compensation: +1/3 to +1 (typically)”.
I do not see a way to change them in the editing page of a custom profile (regarding the WB, I can choose which one but I cannot set also +2 Red and -5 Blue).
Are these two settings (WB colors and EC) supposed to be set on the fly, meaning that they cannot be saved with the custom profile?
How do you recall easily these Custom Profiles?
Once a custom profile is selected, how do I go back to the “standard” settings, “resetting” the camera to the point just before applying a Custom profile?
I have set the touch screen to trigger the Custom profile selection when I swipe up. I select the Kodachrome I created…but then, if I want to switch back to the Eterna profile I was using before for example, how can I go back easily?
I see that if I select the custom profile, and then I select the default Eterna profile, it keeps some settings of the custom profile (Kodachrome in this case)…
I am a little confused…
I would really appreciate if someone could help me 🙂
Thanks!!
Hey there, the only cameras that can save individual WB shifts are the newest ones right now. I would recommend you add the shift to the name, e.g. Kodachrome Daylight, +2R, -5B. That’s what I did with my X-T3. My advice would be to set one of the functions to WB shift, so that you can change it more quickly. As for default settings, my understanding is that there aren’t any. Your best bet is to leave on of the profiles as the default, with Provia. Then you can select that and change it to a film sim like Eterna.
Hi Jimmy,
thanks for your reply!
if I insert the values that are not allowed to be saved in the name of the Custom profile, I cannot see them because unfortunately only a part of the name is visible. I should then call the custom profiles by the values I guess.
About the “default/reset” setting, I think the same as you, there is not one. That’s a kind of shame, because it leaves me with “only” 6 custom settings because the seventh one has to be used as a flat profile to reset the settings.
What I do not well understand, is why they treat Custom profiles and Film simulation scenes in a different way.
If I select a Custom profile, then a Film simulation, the last one just overlay on the settings of the Custom profile.
But I think it would have made more sense if there were treated the same way. Because I guess every Film simulation scene has its settings (even if checking the parameters they are set to 0 or Off). The same way, a Custom profile has its settings.
The fact that a Film simulation is layered on a Custom profile make it confusing I think.
But maybe, it’s just me not understanding the sense of that 🙂
What do you think about it?
Cheers
I appreciate the kind words of encouragement!
You can set up to 7 custom profiles (look for “Edit/Save Custom Settings” in the shooting menu), which can be accessed through the Q-Menu. Unfortunately, you cannot save the white balance shift (only the X100V, X-Pro3 and X-T4 can, although there is the possibility that Fujifilm might include this on the X-T30 via firmware, but I’m not sure if that will happen). You access white balance shift through the white balance menu by “arrowing over” to the right when on the white balance of choice. You can set a WB shift for each WB type (for example, Auto, Daylight, Kelvin, etc), so if each custom profile uses a different WB type, then you don’t have to change the shift once set. But if two or more share the same WB type, then you’ll have to adjust the shift manually. To help remember the shift, you can include it in the name of the custom setting.
Exposure compensation must be adjusted also (via the knob on top of the camera). I recommend that each exposure should be judged individually, the “typical” setting is only meant to be a starting point.
I hope this helps.
Hi Ritchie!
Thanks for your time and kindness!
Yes, it is now clear to me about the WB and how to manage it. 🙂
About including the WB shift in the name of the Custom profile, it is little help unfortunately because while selecting a Custom profile only a part of the name is visible. I guess the only way is to call the Custom profiles directly by the WB shift.
For the selection of a Custom profile, as well as the WB selection, instead of using the Q-menu I strongly prefer to assign the specific function to a T-fn (or Fn), this way while you select the profile or the WB you can see live the effect they have (not possible with the Q-menu, unless I am missing something).
And yes, there are 7 custom profiles. But like I exposed in my first post, there is no option to reset the settings once you apply a profile. Hence I “have to” use 1 custom profile as a flat profile to quickly and easily reset the parametres.
I find this is important, because as I was explaining, Custom profiles and Film simulation scenes are treated differently. Even if it makes no sense to me…
Once I select a Custom profile, specific settings are applied. But in case I want to switch from a Custom profile back to a standard Film simulation, first I have to change/reset the settings otherwise the Film simulation just overlay on the settings of the Custom profile.
I guess the standard fuji Film simulation scenes are also like Custom profiles and have already their settings. What I don’t get is that if I reset everything and apply a Film simulation, and then I check the settings, what I see is that they are “flat” (everything is set to 0 or Off). That make no sense to me, because is clear that some kind of settings are also applied…
Or am I missing something? 🙂
PS: really hope that with a firmware also the X-t30 will have the possibility to save the WB shift in the custom profiles!
PS II: also, I hope I was clear enough, because English is not my mother tongue 🙂
Well, hopefully you figure out something that works well for you. I’m not really sure what to suggest. I’m sorry that I am not more helpful.
Hello, I am a Chinese. I like your recipe very much.the simulation kdchrome64 of Fimo camera looks very good. Can you study this?
I looked into it. The app is alright. I didn’t pay to get the extra films. Thanks for the tip!
Hi,
Thanks for your work, your photographs look amazing!
I am quite new in the Fuji World and I need your advice: which D-Range priority setting do you use for this film simulation?
Thanks again from France 🇫🇷
D-Range Priority Off. I use it occasionally when it’s a super-contrast situation and I don’t want so much contrast, but for the most part I keep it Off. In fact, DR400 with -2 Highlight and -2 Shadow will produce similar results to using D-Range Priority.
Here are two articles that might be helpful: https://fujixweekly.com/2019/03/28/fujifilm-x-t30-new-feature-d-range-priority/ https://fujixweekly.com/2020/06/05/fujifilm-x100v-new-feature-hdr/
Hi Ritchie,
You specify a maximum ISO setting in your recipes, but my X-T3 only allows two settings as Maximum, 25600 & 51200, how do I set a recommended maximum for a custom recipe?
Go into Auto-ISO in the menu and you can set the ISO parameters to whatever you’d like.
Is that them fixed for the specific setting? If so thanks very much.
Most Fujifilm cameras have three Auto-ISO presets that can be chosen when appropriate. Or, if you manually expose, you can just set the ISO to whatever you want it set to. I use Auto-ISO regularly, but it’s not always the best option.