This is my favorite CineStill 800T film simulation recipe. I created my first CineStill 800T recipe, which is intended for X-Trans III cameras, over three years ago. My next version, which is intended for newer X-Trans IV cameras, was published nearly a year ago. This X-Trans II recipe was one of the original Patron “Early-Access” recipes on the Fuji X Weekly App. In other words, those who are Patrons on the App have already had access to this recipe, and now that another recipe has replaced it, this CineStill 800T recipe is available to everyone! Early-Access to some new recipes is one of the benefits of being a Fuji X Weekly Patron, and a great way to support this website.
CineStill 800T is Kodak Vision3 500T motion picture film that’s been modified for use in 35mm film cameras and development using the C-41 process. Because it has the RemJet layer removed, it is more prone to halation. The “T” in the name means tungsten-balanced, which is a fancy way of saying that it is white-balanced for artificial light and not daylight. CineStill 800T has become a popular film for after-dark photography.
Even though the film that this recipe is intended to mimic is Tungsten-balanced, it can still produce interesting pictures in daylight. It’s a versatile recipe, but it definitely delivers the best results in artificial light. When I photograph with my Fujifilm X-T1 after sunset, this is the recipe that I use.
PRO Neg. Std
Dynamic Range: DR200
Highlight: +2 (Hard)
Shadow: +1 (Medium-Hard)
Color: -1 (Medium-Low)
Sharpness: 0 (Standard)
Noise Reduction: -2 (Low)
White Balance: 4300K, -3 Red & -3 Blue
ISO: Auto up to ISO 3200
Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured on my Fujifilm X-T1 using this CineStill 800T film simulation recipe:
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Interesting recipe, Ritchie. And I have to say, the quality of light in your opening photograph in this article – the one of the Gas Station at night – is quite wonderful. In fact, the photo itself is seriously and amazingly cool.
I have a quick question which I suspect only some trial-and-error on different cameras (with different X-Trans processors) may partially resolve. In your recipe here, for X-Trans II cameras, the recipe starts with the Pro Neg Std. simulation. But in your parallel CineStill 800T for X-Trans IV equipped cameras (Like my X-Pro3), it is based on the newer Eterna simulation (which seems to have, as an initial raison d’être, the goal of duplicating a cinema negative film stock, as opposed to a stills-only film sim. So—
My question is: with the X-Trans IV version of this recipe, would I get a similar effect, using an X-Trans IV camera to take a nocturnal photo of a Gas Station, with tones similar to the ones here, which you took in Centerville, UT, with your X-T1?
I’m impressed by both the look you achieved – and the time and expertise you (must have!) invested to create it!
X-Trans II produces a different look than X-Trans IV, so it wouldn’t look exactly the same. I’ve been meaning to revisit CineStill 800T for X-Trans IV, to try and better replicate this recipe for that sensor, because I personally like this one more. I feel if I keep trying, I’m bound to get it more right, so that’s something I need to do. As far as PRO Neg Std vs Eterna, there are some similarities between these two, and they can be made to look (more or less) alike. I generally prefer Eterna a tad more than PRO Neg Std, but perhaps Eterna isn’t the best base, although logically it should be, since it is modeled after cinematic film.
I appreciate the comment!
Thank you so much
You are welcome!
Half a year ago when I got an X-E2, the CineStill 800T (X-Trans III version) was one of the first recipes I included on it. I wanted something that looked good in low light, particularly indoors with ordinary LED lightbulbs, and I’ve been coming back to it frequently.
I find the difference between the “II” and “III” versions really interesting. Sharpness 0 instead of Sharpness +1 might not be dramatic, but the white balance is. When I was adapting the “III” version, I kept the same white balance of 3200K (0,0), while the new one is 4300K (-3,-3). This new one is a lot warmer, and I’m not sure it suits me. A lot of why I use the X100F version is that it cuts through the warmness of interior artificial light.
I think I might try splitting the difference for a while, maybe 3600k (-1,-1). But maybe it’s also that it’s technically daytime here. I’ll have to see how the differences look after sunset.
Anyhow, thanks so much for all the work put into these. Half the point has to be that they serve as wonderful stepping-off points, so that we can all get the SOOC look we want.
The tricky thing about CineStill 800T is that it seems to produce much different looks, depending on how it was shot, developed, scanned, etc. I would say the variance is more than many films. So I think all of the different CineStill recipe options resemble the film, but differently. If you like the X-Trans III recipe, definitely continue using it. I appreciate your input! Thanks for the comment!
As I’ve played around with these at night, I’ve really come to like best a white balance that splits the difference between X Trans II and X Trans III. 3600K, -1 Red, -1 Blue.
Once again, thanks so much for all the work.
Cool! Thanks for sharing!
I tried this out on my X-E1 and it works very well! This is my go to night film sim now especially when paired with a Promist 1/8 or 1/4 filter!
Awesome! So glad to hear it!
cool i use xe1 too, is there any change you made for xe1