Evening at a Pond – Farmington Bay, UT – Fujifilm X100V “Kodachrome 64”
The Fujifilm X100V has some new features, including Clarity and Color Chrome Effect Blue, that my X-T30 doesn’t have, despite sharing the same sensor. The more JPEG options that I have, the more accurately I can create in-camera looks. My hope is to revisit some of my film simulation recipes, and create what I hope are more accurate versions using the new features. The first one that I revamped is my Kodachrome 64 film simulation recipe.
Many people love my Kodachrome 64 recipe, but not everyone. The biggest complaint that I’ve heard about it is that the reds aren’t vibrant enough. I don’t disagree with that, but there are always compromises when recreating looks in-camera because the tools available to me are limited. Of course, what Kodachrome 64 looks like depends on how you’re viewing it, whether projector, light table, scan, print, and how so. You can find some vastly different looking pictures that were captured on Kodachrome 64. For this revamped recipe, I spent some time studying the Kodachrome slides that I captured many years ago.
Red Lights & Rain – Farmington, UT – Fujifilm X100V “Kodachrome 64”
While I feel that this is an improved Kodachrome 64 recipe, it’s still not perfect. Those who disliked how reds were rendered on the old recipe will certainly like this one better, but is it 100% exactly like the film? No. I think +2 Color might be too much, but +1 Color doesn’t render reds and yellows vibrant enough. If you prefer +1 Color, feel free to do that instead. There’s a little less contrast with this new version. Both of the Color Chrome Effects, the lower Dynamic Range setting, and Clarity add contrast, so I changed Highlight and Shadow to compensate. The X-T4 has .5 Highlight and Shadow adjustments, and I would set Shadow to +0.5 if I were using these settings on that camera (I hope that Fujifilm updates the X100V and X-Pro3 to allow this, too). I think it would be acceptable to use +1 Shadow, but I felt that was a tad too much, so I set it to 0. Despite not being perfect, I do feel that this version is a little more accurate to actual Kodachrome 64 film.
If you have an X100V, X-Pro3 or X-T4, I invite you to try this new-and-improved Kodachrome 64 film simulation recipe. Be sure to let me know what you think! Here are a couple pictures comparing the two versions of this recipes:
Original Kodachrome 64 recipe.
New Kodachrome 64 Recipe.
Original Kodachrome 64 recipe.
New Kodachrome 64 recipe.
Classic Chrome
Dynamic Range: DR200
Highlight: 0
Shadow: 0
Color: +2
Noise Reduction: -4
Sharpening: +1
Clarity: +3
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Daylight, +2 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this new Kodachrome 64 film simulation recipe on my Fujifilm X100V:
White Horse by a Stream – Farmington, UT – Fujifilm X100V
Horses in the Grass – Farmington, UT – Fujifilm X100V
Curious Horse – Farmington, UT – Fujifilm X100V
Country Tires – Farmington, UT – Fujifilm X100V
Yellow Flowers, Blue Sky – Farmington, UT – Fujifilm X100V
Wishful Day – Farmington, UT – Fujifilm X100V
Beer & Board – Farmington, UT – Fujifilm X100V
Road Bicycling – Farmington, UT – Fujifilm X100V
All the World’s a Sunny Day – Farmington, UT – Fujifilm X100V
Orders & Pickup – Farmington, UT – Fujifilm X100V
Red, White & Blue Day – Farmington, UT – Fujifilm X100V
Flag Up Close – Farmington, UT – Fujifilm X100V
Reeds by the Water – Farmington Bay, UT – Fujifilm X100V
Evening Reeds – Farmington Bay, UT – Fujifilm X100V
Landscape Flowers – Farmington, UT – Fujifilm X100V
Handlebar – Farmington, UT – Fujifilm X100V
Kodak Colors – Farmington, UT – Fujifilm X100V
Half of an Orange – Farmington, UT – Fujifilm X100V
Ground Beans – Farmington, UT – Fujifilm X100V
Pallets – Centerville, UT – Fujifilm X100V
IHOP – Centerville, UT – Fujifilm X100V
Cupcake – Farmington, UT – Fujifilm X100V
Sitting on Concrete – Farmington, UT – Fujifilm X100V
Spring Snow – Farmington, UT – Fujifilm X100V
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Excellent work Ritchie. Now, I want an upgrade. 😃
Thank you! It’s a fun camera. It feels like an “upgrade” (even to the X-T30) with all of the new features.
Hallo Ritchie, das sind wirklich tolle Ergebnisse, die mit dem Update erreicht wurden. Ich werde mein Q Menü gleich entsprechend ändern.
Es bleibt auch meine Hoffnung die halben Schritte zu erhalten. Bis dahin werde ich wohl die Schatten auf +1 setzen. Auf die folgenden updates der populärsten Rezepte bin ich schon gespannt. Vielen Dank für Deine Arbeit!
LG Thomas
Ich bin froh, dass du es magst! Ich freue mich über das Feedback. Vielen Dank! Ich freue mich darauf, mehr zu schaffen.
Danke Ritchie für dein Engagement! Ich habe viel Spaß deine Rezepte auszuprobieren! Mach bitte weiter so. 😊👍🏻
Danke für die Bewertung! Ich schätze Ihre Ermutigung!
Hi Ritchie, thanks for the recipe update! Will definitely try this during my photo walk tomorrow. I just took some test shots around the house, the chrome and clarity settings do add some processing time. I wonder if changing to a a faster SD card will help.
A faster card might help a little, but I think Clarity just slows the camera down. Shooting real Kodachrome was never a quick experience, so maybe it adds to the experience?
Hi Ritchie,
Yes, it does made me pause to think about my next shot rather than just pressing the shutter to do burst mode.
I have a question on the white balance of your recipe (not only for this one), do i have to change the wb settings to tungsten rather than daylight if (for example) i am shutting indoors with tungsten lighting? Or i should just leave it as it is?
You can certainly try changing the white balance and see what happens. It’s not really intended for that, but by all means feel free to experiment. There were Tungsten versions of Kodachrome produced by Kodak over the years.
Hi! Would love to see side by side picture with the color chrome effects and clarity effect on and off to get an idea how different the look is with modern Fuji cameras compared to X- trans III cameras that have none of those settings. I mean using this recipe and the photo or photos including red color which You mention in this article. Hopefully You can make a mini review that concentrates to this recipe and the effect of those above mentioned settings to the look and colors.
That’s a really good idea for a post (or series of posts, even). Thank you for the suggestion!
Gotta try this new version ASAP!
However is there any way to not use the Clarity option? Forcing me to wait a couple of seconds means I might lose some important moments on the streets, I try to avoid it as much as possible… :-/
It doesn’t look as good without Clarity, but you could do +1 Highlight and Shadow instead. It won’t be exactly the same. Or if you shoot RAW+JPEG you can add it after the fact (which is what Fujifilm recommends).
Love this recipe! However, I noticed that when I shoot with the new recipe, there’s a loading screen that comes up for like a half second (“storing”). Is this normal due to the settings? I don’t experience this “storing” screen when I use your other recipes.
I’m glad you like it! It’s Clarity slowing it down. If you shoot RAW+JPEG you can add it later (which is Fujifilm’s recommendation). Or let the pause become a part of your method.
I’ve actually allowed the pause become of my work method with clarity on, and I love that it makes me more dialed into what I’m trying to capture.
Yes! I think the pause is great. Things that slow me down are good. Everyone is different, though, so what works for me might not for another.
Hmm. The two recipes seem to produce similar results but the new Kodachrome 64 recipe seems warmer. I like it.
Thanks! It is similar results, but I like the new version better, even if just slightly so.
I’m an X-Pro3 user and would really like the look of Steve McCurry’s images (Kodachrome). Which of your recipes would you recommend for that look?
This one!
The thing to know about Steve McCurry (and many other people as well, this is nothing against Steve) is that his photos are post-processed, even his old Kodachromes. He doesn’t do it himself (I don’t think), but he has a team that handles the editing. So even his famous National Geographic pictures from the 80’s aren’t straight Kodachrome slides.
Something interesting that I figured out while researching different films for various film simulation recipes is that many photographers might have used the same film, such as Kodachrome 64, but their pictures are much different. It’s all in how it’s shot, developed, printed and/or scanned.
I’m not seeing some of these options for the X-T30, am I missing some settings somewhere or are they not available in all the cameras that share this sensor?
The X100V, X-Pro3, and X-T4 have some different settings that the X-T3 and X-T30 don’t have. I really hope that Fujifilm will add them to those cameras via a firmware update sometime this summer, but Fujifilm hasn’t said for sure if they will.
Great Update Ritchie. Tried this on my X100V yesterday, colours look great. Regarding the processing delay, when I turned off clarity and re-saved to fix this, the delay was still there. I also tried turning Chrome effect and fxblue but still the delay remained. Can you offer any insights?
Do you have Performance set to Boost? I do find that the X100V has a little more lag than my X-T30, even with Clarity set to 0. Perhaps try Continuous shooting mode.
Thanks, the boost made a huge difference. One thing I forgot to ask was about your reasons for changing the WB from Auto with shift to Daylight with shift? Wondering if it would be better on Auto so that as night falls you dont have tp worry about forgetting about it.
Well, you can do either. The film is “daylight balanced” so that is the reason. But AWB is fine, too. Back in the days of film I used to carry different warming and cooling filters to adjust for changing light. No need to do that with AWB, but Daylight is a little more accurate to the film.
Thanks for the recipe!
It seems like the “storing” pause screen doesn’t appear when shooting in burst mode (I tried low speed burst). Does that mean clarity isn’t applied to the photo?
Burst mode turns off Clarity.
Hi there, I’m new to the Fujifilm platform, and I’m excited to try out some recipes. I had a question about this recipe. How important to the overall recipe is the “White Balance: Daylight, +2 Red & -5 Blue” element? To get the right look do you have to use it in “daylight” with this setting for the white balance? And, what if you’re shooting in a different lighting environment? Like overcast, or indoors? Should you still use that proscribed white balance?
Thanks for putting in so much work to create these!
It’s pretty important. You could use auto white balance instead of Daylight, but I prefer Daylight because it better mimics the film (which was daylight balanced).
Thanks for the reply! I’ll do some experiments and see how the output varies.
Hallo Ritchie,
deine Rezepte sind wirklich klasse und man kann sich gar nicht so wirklich entscheiden, welche man auf seiner Kamera installieren soll.
Mein Lieblingsrezept ist tatsächlich das neue Kodachrome 64 Rezept. Allerdings braucht meine X100V immer einige Sekunden um das Bild abzuspeichern, was bei Serienaufnahmen etwas störend ist. Bei den anderen Rezepten ist das nicht so. Leider habe nicht rausgefunden woran das liegt. An einer Einstellung im Rezept oder an der Kamera. Weißt du da eventuell mehr?
P.S.: Ich fotografiere in RAW und JPEG.
Viele Grüße
Dennis Gloth
Hi Dennis, die CLARITY Funktion verlangsamt tatsächlich den workflow Deiner Kamera. Entweder Du kannst Dich damit abfinden oder Du fügst den gewünschten Wert nachträglich Deiner RAW Datei an. Meine Empfehlung: genieße die Entschleunigung beim Fotografieren. Neudeutsch auch Back to the roots.
LG Thomas
Hallo Thomas,
die Entschleunigung genieße ich tatsächlich. Manchmal ist es beim Fotografieren auf der Straße allerdings ein wenig ärgerlich, den entscheidenen Moment zu deswegen zu verpassen. 😀
😎😉👍🏼
Danke für Ihre netten Worte. Ich freue mich über die Eingabe! Leider verlangsamt Clarity die Kamera um einiges. Stellen Sie sicher, dass der Boost-Modus aktiviert ist, da dies ein wenig hilft. Die andere Option besteht darin, Clarity auf 0 zu setzen und die RAW-Datei später erneut zu verarbeiten und zu diesem Zeitpunkt Clarity hinzuzufügen. Ich hoffe, dass Fujifilm Clarity in einem Firmware-Update zu einem späteren Zeitpunkt beschleunigen kann.
Doe it works for fuji xt20?? Thanks
No, it sure doesn’t. But try this (just disregard Color Chrome Effect):
https://fujixweekly.com/2019/08/02/my-fujifilm-x-t30-kodachrome-64-film-simulation-recipe/
Doe it works for fuji xt20?? Thanks
Unfortunately, it won’t work on the X-T20.
Nice work Sir, I have been on the search for the Kodachrome look that is visible in the photos from the legendary Fred Herzog. Which of your film simulations do you feel best reproduces that old vintage look?
Thank you! Fred Herzog used all three eras of Kodachrome. Much of his work falls into the first two eras, which are what my “Vintage Kodachrome” and “Kodachrome II” recipes mimic. I do plan to revisit both of these recipes soon for newer cameras. His later work would be more like this recipe.
i love Fred Herzogs work! im going to try the vintage chrome on my xpro3 but i look forward to your revisits
I’ve been working on a revision of both, but I’m not completely satisfied with the results so far, so I will keep at it. But I hope to have them both done soon.
Hi Ritchie, thank you so much for the recipes I have been loving them on my Fujis. I was wondering if you have this “recipe” to create a preset in Lightroom as well?
I’m glad that you like the recipes! I don’t have any Lightroom presets (I don’t even have Lightroom currently). Sorry.
Hi Richie, great recipe, takes me back to my FM2 days. Would it be ok to apply clarity in lightroom rather than in camera?
Thanks so much! I’m sure that’s fine if you’d prefer.
Thanks for that.
You are welcome!
Thank you so much. Is it possible to make these settings by connecting the camera to a computer?
Not that I’m aware. It’s something Fujifilm should make possible, though.
Hi Ritchie, may I ask if we could use all these Fujifilm recipe on gfx100? I don’t think you can use them on gfx50s n r yet though i m not sure if fuji update them yet. But on the gfx100 can we use it since they all have these stimulations as well. I haven’t have a chance to hold the camera yet to try it out, but if we can that probably will make my purchase decision easier. BTW, both my wife and I patron ur ios app. Great work my friend.
Thank you so much for your support! It’s much appreciated!
I have heard mixed reports on using the recipes on GFX. I don’t have any first-hand experience to know exactly what works and what doesn’t. If you find out, I would love to know! —Ritchie
hi Ritchie,
I recently discovered Madeleine de Sinéty’s work, both her color slide and negative bw pictures from the 70s. Would you already have made a preset ressembling the color slides from this exhibit: https://actu.fr/bretagne/fougeres_35115/photos-pendant-dix-ans-madeleine-de-sinety-a-photographie-les-habitants-de-poilley_37780518.html?
Thanks a lot in advance,
eric
I think Vintage Kodachrome and Kodachrome 1 can be in the general ballpark. Maybe Vintage Agfacolor, too. There might be others that aren’t too far off, but these are the ones I think of off the top of my head.
https://fujixweekly.com/2017/10/21/my-fujifilm-x100f-vintage-kodachrome-film-simulation-recipe/
https://fujixweekly.com/2020/09/14/fujifilm-x100v-film-simulation-recipe-kodachrome-1/
https://fujixweekly.com/2018/06/23/my-fujifilm-x-pro2-vintage-agfacolor-film-simulation-recipe/
Thank you for your extraordinary work. I just bought an s10 and you don’t know what your formulas can do. I have subscribed to your app for IOS. I said: thank you.
I appreciate your kindness and support! I’m happy to be helpful!
Hallo Ritchie, tausend Dank für Deine tolle Arbeit und Mühe, die Du und andere in dieses Projekt stecken.
Ich teste mich gerade durch einige Rezepte für meine erste/neue Fuji, die x100v.
Mit Filmen kenne ich mich wirklich nicht gut aus, liebe aber den speziellen Look. Wenn nicht die neue Fuji dabei ist, fotografiere ich normalerweise mit der A7riii und vielen Vintage Linsen. Die älteste ist eine Rangefinder Linse von Mitte der 50er Jahre. Ich lese viel und schreibe gerne im Rangefinderforum, dort bin ich auf diesen Thread gestoßen, über eben den Kodachrome Film. Vielleicht ist dieser Schatz an Informationen und Bildern ja mal interessant für Dich.
https://www.rangefinderforum.com/forums/showthread.php?t=165131
Viele Grüße aus München,
Chris
Vielen Dank für Ihre freundlichen Worte und dafür, dass Sie dies mit mir teilen. Dort gibt es viele tolle Inspirationen! Ich schätze es so sehr!
Hey Ritchie,
Thank you so much for your good job, we can feel your passion! I m a brand new Fuji xt4 / Fujiweekly app user. This afternoon i spend a looot of time to understand why the kodachrome 64 did’nt work, I’ve understood that the recipe is balanced for outside and i did all my test inside (of course..Daylight WB) but on the webpage there is a picture indoor so i thought that was an all go recipe..
Still talking about kodachrome 64, if i use Auto WB to be polyvalent indoor / outdoor, do you recommend keeping R+2 B-5?
Several recipes have an Auto WB, can i consider these can work in any situation?
In the opposite, when the WB is very specific (For example « Elite Chrome 200 » WB 8300K) do you recommend to use it only when the light is around 8300K? Or again can I use a Auto WB? Keeping the R and B valor?
Those are great questions!
Back in the film days, you chose either Daylight balanced film or Tungsten, and to adjust the White Balance (which wasn’t a common term before digital) you used warming or cooling filters. Auto WB makes those filters unnecessary. The struggle has always been: do I make the recipes more like the film, and not use AWB, or do I say using AWB (or a different WB) is like simulating the use of filters? I’ve gone back and forth on it. What I typically tell people is: if the WB isn’t working for the situation, try a different one and see if it works better. If daylight isn’t working, try AWB or one of the Florescent options or a specific Kelvin value. Will it look less like the film? Probably. But, is it better to be accurate or better to get results that you’re pleased with? Some recipes, like the Elite Chrome you mentioned, would be a little more difficult to adjust and still achieve the intended look, so my advice is, if a specific recipe doesn’t look good in a certain situation, try a different one that might. I hope this all makes sense.
Hi, I’m new to these sim recipes and I’ve gotta admit – they look like FUN! Slight problem though, I’m sat here with my XT3 trying to input the various Portra and Kodachrome recipes into the Q Menu, however, I don’t seem to have either ‘Clarity’ or ‘Chrome Effect Blue’. Neither were added in the recent updates? (which Fuji are famously so good at doing)
Few quick questions:
1) Are there any recipes on this site designed for my “irrelevant in 2021” XT3 – or are they all intended for the newer cameras? I can search for recipes based on a particular X-Trans sensor, but, not a specific camera. This isn’t helpful when 2 cameras that share the same sensor don’t necessarily share the same settings options.
2) How do I lock BASE so my edited ‘C1’ recipe doesn’t keep hijacking the original BASE? (I need to be able to quickly return a clean Q Menu.)
3) How do I rename my created simulation recipes from ‘C1’ to say, erm…. ‘Kodachrome’?
4) There was another question but it’s late and I can’t remember what it was.
Thanks darling
XXX
PS Don’t forget the 2l bottle of Irn-Bru and herbal cough sweets! Ta
It’s a shame that Fujifilm has not updated the X-T3 & X-T30.
On this page, if you scroll roughly halfway down, you’ll find recipes intended for the X-T3:
https://fujixweekly.com/fujifilm-x-trans-iv-recipes/
A handful of the ones in the top half can be used on the X-T3 (following the instructions in the article), such as Tri-X 400, but most are not compatible.
The X-Trans III recipes are also compatible with your camera:
https://fujixweekly.com/fujifilm-x-trans-iii-recipes/
“Base” in the Q menu confused me for awhile. All that it means is that it is what’s currently selected. Whatever settings are set at that moment is “Base”. As soon as you change the settings, “Base” changes, too. On the X-E4 Fujifilm did away with “Base” and it makes so much more sense.
I recommend, if you need a “clean” setting, is to “reset” one of the C1-C7 presets. You’ll find that option at the bottom of each preset. C1 is Provia, C2 Velvia, C3 Astia, etc.
To rename, it’s right above the “reset” option in the preset (at the bottom). Just remember, after typing in the name, to select “Set” and not push the back button.
I hope this helps!
You’re a star. Thank you.
Hi Ritchie,
Thank you so much for sharing these many wonderful recipes! I’ve been spending way too much time experimenting with them, but in the process I think I’m developing more of an eye for the subtle differences in colour palette between different film stocks (even if the recipes understandably can’t always be perfectly accurate). A wonderful learning experience as well as a real pleasure to explore.
I’m especially enjoying Portra 800 (sunlit forest leaves look really ethereal), Fujifilm NPS 160 pulled (great for urban cloudy days), and Kodachrome 64. I was wondering if you might have any thoughts on imitating Kodachrome 200? I think this is the Kodachrome Alex Webb often used, e.g. in his work in Istanbul (https://www.magnumphotos.com/arts-culture/society-arts-culture/alex-webb-city-of-hundred-names/). Along with the lovely grain––someone said it’s what Tri-X would look like if it were a colour film––there’s usually a lack of the more amber or golden cast of 64, unless Webb was clearly shooting in “golden hour” sunlight. In daylight there are also very rich greens and blues (but without the cool colour cast of Fuji), and of course in mixed lighting Webb got some wonderfully whacked-out colours. I’ve tried your 64 recipe with Auto WB, which helps, have added some grain, and have experimented with Color Chrome Effect Blue set at Strong, but that doesn’t seem to do the trick. Might you have any suggestions? Or might a specific Kodachrome 200 recipe a possibility some day?
Thank you and Thomas Schwab for sharing so much creativity. I’m finally loving digital!
Best regards,
William
This is a lovely message and a great suggestion! I know that Webb used K200 pretty extensively, I don’t think he used it exclusively (before Kodachrome was discontinued), but the Istanbul series was shot either primarily with or exclusively with K200. I’ll see what I can come up with. I appreciate your kind words! Thank you for this comment!