One of the more popular film simulation recipes that I’ve created is Kodachrome II, which was made for X-Trans III sensor cameras. While you can use that recipe on X-Trans IV cameras, the newer models have some JPEG options that the older ones don’t, so it can be fun to utilize those options to produce a different and hopefully better version of an old recipe. In this case, I have two new versions of Kodachrome II for X-Trans IV cameras.
Kodak introduced Kodachrome in 1935, and in 1961 they replaced the original film with a new and improved version called Kodachrome II and a higher-ISO sibling called Kodachrome-X. These films had more accurate color, finer grain and faster ISOs (ISO 25 and 64, respectively, compared to ISO 10) than the previous version. It was a big leap forward for color photography, and so it is no surprise that the innovators of color photography in the 1960’s and 1970’s relied heavily on it. It’s also the version that Paul Simon sang, “They give us the greens of summer, makes you think all the world’s a sunny day.”
Kodachrome II and Kodachrome-X produced a very similar look to each other. The main differences were in grain, contrast and saturation, but overall the variations were quite minor. Kodachrome-X was slightly more bold while Kodachrome II was slightly more clean. Even so, comparing slides, it’s tough to distinguish one from the other (conveniently, I have my grandparents old slides at my home). Even though I have named these two film simulation recipes “Kodachrome II” I think they more closely resembles Kodachrome-X film, but I find them to be a reasonable facsimile for both.
Because of the toxic chemicals used in the development of this era of Kodachrome, plus the complexity of the process, Kodak changed from K-12 development to K-14 development, which ushered in new Kodachrome in 1974, called Kodachrome 25 and Kodachrome 64. This version of the film is the one that I have personally used. Interestingly enough, even though this version wasn’t all that much aesthetically different than the previous, there was a big outcry among photographers, and a large group who used Kodachrome II and Kodachrome-X did not appreciate the change.
While I created the X-Trans III Kodachrome II recipe, it was Thomas Schwab who modified it for X-Trans IV. His version, entitled Kodachrome II, is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10 and X-E4. In some of my example pictures below I used a Tiffen 1/4 Black Pro-Mist diffusion filter with my X100V. Why? Because I haven’t used this filter in awhile and wanted to. I don’t think it adds anything essential to the recipe. In fact, you might prefer the results without the filter. Thank you, Thomas, for creating and sharing this update to the original recipe!
I made a slightly modified version, entitled Kodachrome II v2, which is compatible with the X-T4, X-S10 and X-E4. I used this recipe on my X-E4 (without any diffusion filter). This isn’t intended to be a “better” recipe, just a slightly different version using the new JPEG options found in my X-E4. Both of these film simulation recipes can be found in the Fuji X Weekly app!
Kodachrome II
Classic Chrome
Dynamic Range: DR200
Highlight: +1
Shadow: +2
Color: +1
Noise Reduction: -4
Sharpening: +1
Clarity: -2
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Auto, +3 Red & -4 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this new Kodachrome II film simulation recipe on my Fujifilm X100V:
Kodachrome II v2
Classic Chrome
Dynamic Range: DR200
Highlight: +1
Shadow: +1.5
Color: +1
Noise Reduction: -4
Sharpening: +1
Clarity: -2
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Weak
White Balance: Auto White Priority, +3 Red & -5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this new Kodachrome II v2 film simulation recipe on my Fujifilm X-E4:
See also: X-Trans IV Film Simulation Recipes
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Very nice! Thank you!
Will this be automatically updated within the existing app, or will it be a new version to be dl at the app store?
Thanks
cheers Nicolas
PS: what I find quite interesting that Capture One 21 adjusts my RAW files when using your film simulations BUT leaves contrast, clarity, actually the complete black curve.
At least that is my impression….
>leaves out< / ignores the black curve…
It should be in your app. I added it right away when I published the article. If it doesn’t appear, go to the Gear and hit Refresh Recipes.
I have Capture One 20, and it tries to interpret the JPEG data, but doesn’t do everything. I read an article where someone asked “why” the software doesn’t try to interpret all of the JPEG settings, and the answer given by Capture One was something to the effect of, “Why would anyone want their RAW pictures to look like sooc JPEGs?” Well, I think they’re missing a sizable demographic who does want that….
Thanks for the infos concerning the app!
And for the reply of PhaseOne I just had a very good laugh! 😂
Why would anyone need a RAW to look like the SOOC jpgs?!?
This is just hilarious…
I usually work with curves, clarity and or contrast to get closer to the jpg! But it actually needs quite some tweaking
Cheers Nicolas
It does!
I think they’re overlooking the desires of a decent sized group. But who knows what a future update brings?
just in case you missed this… what is your experience concerning CO21 and film simulations?
Thanks
cheers Nicolas
I have Capture One 20, but I’m hearing reports that CO 21 is just a little different, but still doesn’t apply a full interpretation of the JPEG settings to the RAW files. Is that your experience, too?
Actually no 🙁
The color Interpretation is quite good, but contrast, black curve and clarity (+) seems to get ignored…
After a few tweaks it’s satisfying.
But since I always use jpg fine + RAW I always have the jpg just in case…
🙂
What’s nice about RAW+JPEG, is that you can side-by-side compare when you are making the edits, so you know more easily if you are close.
I appreciate the report!
I saw it on the app this morning and I love it. But for some reason my x100v doesn’t let me adjust clarity(it’s grayed out) when I’m putting these setting in. I’ve only had the camera for a few weeks and can’t seem to figure this out
Make sure you are not one of the Continuous shooting modes, which disables Clarity. That should resolve the issue.
That actually brings up another question I have of a behaviour I’ve been observing: some simulations are instantly saved to the card and some take quite some time…
Which parameter cause that?
Thanks
Clarity definitely causes that. Make sure Boost Mode is enable, that helps a little, but no matter what it takes a moment for the camera to save the image when using Clarity. I don’t know of any other setting that slows down the camera. Interestingly, the GFX-50S is slow at saving similar to using Clarity, but it doesn’t have the Clarity option.
Thanks for elaborating this for me!
To be honest, I’m not a huge fan of -clarity and +clarity I would have to add to RAW anyway…
On the other hand one wants to get a jpg as intended in the film look… 🤷🏻♂️
I wish it didn’t slow the camera down so much. I hope Fujifilm fixes this via a firmware update.
I just love the colors I get with this one! Many thanks Ritchie!
PS Any plans to release something like Kodak Elite Chrome 100/200?
You are welcome!
You know, I used to shoot with Elite Chrome (which was a consumer version of Ektachrome) sometimes because it was easy to find. I did make an Elite Chrome 200 Color Fade recipe once:
https://fujixweekly.com/2019/09/21/my-fujifilm-x-t30-kodak-elite-chrome-200-color-fade-film-simulation-recipe/
That’s probably not what you’re looking for, though. I should definitely work on an Elite Chrome recipe, shouldn’t I? I appreciate the suggestion!
I tried this recipe out! loved it for street/urban shooting, you can check it out here if you’re interested
https://www.travellinglens.co/shooting-kodachrome-ii-film-simulation-on-the-x-t4-in-fremantle/
Nice pictures! Thanks for sharing!
Thank you for this, having a revamp of all my saves recipes and I’m looking forward to giving this one a try.
Awesome! I hope that you like it!
For an X-T3 which one do you recommend, your X-trans III version, or this one without the incompatible settings?
It feels like the X-T3 is the odd one out always >.<
The X-Trans III version works well on the X-T3, that’s my recommendation. I have published two recipes for the X-T3/X-T30 this year, and I have more in the works that are coming soon.
Thanks! I didn’t want to imply that you were leaving them left out! I’m very grateful for this website.
I was just sharing my frustration with having an X-Trans IV sensor but without much of the settings of the newer ones 🙁
No, I recognize that I have left the X-T3, X-T30 and X-Trans III out lately, and I’m making an effort to improve that situation. Ideally, Fujifilm will give the X-T3 and X-T30 the new JPEG settings. I don’t know that they will, but they absolutely should–really, it should have happened awhile back.
Hi Ritchie, I’ve tried the Kodachrome II simulation and quite liked it. However, the shadows in some photos came out quite black. Is there a way to lift the shadows in camera, or do I need to edit the raw file in Lr? Thank you.
So slide film (like Kodachrome) typically has a very limited dynamic range (6-8 stops, depending on who you ask, while Fujifilm X has somewhere near 12), so “blocked up shadows” (deep black shadows) was common with that film. It’s a part of the characteristic of it, and these recipes mimic that. However, if that’s not something you want, you could try Shadow set to 0. Also, the JPEG, even though Shadows seem black, still contains a surprisingly large amount of information, and you could lift the shadows of the JPEGs with software if you’d like. I hope this helps!
Thank you so much for your help.
You are welcome!
I love this one. It’s actually my daily driver. One question though. I have the X-E4, why the choice of AWB white priority instead of ambient priority?
In artificial light situations, the recipe (without Auto White Priority) can lean a little too warm, so White Priority keeps that in check. Ambient Priority would make it even more warm. Feel free to try it, though, perhaps you’d like the results.
Joy, Jon, Josh & Jo. Something like JObsession? haha cheers!
It’s a funny story. We had the name Joy picked out years before she was born. When our first son came along, we had a disagreement on what to name him, and Jonathan was a compromise. For our second son, I told my wife we need to choose a “J” name, since the other two have “J” names, and she said, “I’m not doing that,” but then she ended up liking Joshua for him. For our fourth, my wife was initially against naming her with a “J” name, but I told her she’d feel left out if we didn’t. So she began looking at “J” names, but then I realized that the other three weren’t just “J” names, but “JO” names… when I pointed this out, I believe my wife said, “I hate you….” But she found a “JO” name that she liked: Johanna. So that’s the much-too-long story of the kids names.
Wonderful!! you could certainly tattoo a beautiful “JO”! Thanks for the story my friend.
Hi! I was wondering about Exposure compensation, what number in the EV dial is +1/3?
Hey there,
Love this recipe and so many others on here! Thanks!!
Which one would you use with the X-Pro3? Seems like it was left out for the v2 Version although it should be compatible?
Thanks
Tom
Kodachrome II v2 isn’t compatible with the X-Pro3 because that camera doesn’t have the required White Balance type (Auto White Priority) or the half-step Shadow adjustment. So definitely the top one.
Got it – thank you!