I wasn’t sure if I should publish this Film Simulation Recipe, but then I thought, why not? Initially, the intention was simply to see how the Nostalgic Neg. film simulation looks with Dynamic Range set to DR100, and how the X-T5 images look at ISO 125, which is the base-ISO of X-Trans V cameras. I didn’t model these settings after any specific film aesthetic; instead, I borrowed the GAF 500 Film Simulation Recipe‘s white balance (modified just a little after a couple test shots), and was also inspired by Kodak Portra 400 and Reggie’s Portra recipes. I wasn’t sure what to expect from this, but I ended up really liking it!
So what does this Film Simulation Recipe most closely resemble? Unintentionally, I think it has some similarities to Kodak Vericolor film. What’s Kodak Vericolor? Originally introduced in 1971 as an ISO 100 professional color negative film, Kodak made two version of Vericolor: NPS (also known as S-Type) for short exposures (Daylight balanced) and NPL (also known as L-Type) for long exposures (Tungsten balanced). Just a few years later Kodak improved the emulsions and in 1974 introduced Vericolor II NPS and NPL, which was also ISO 100. In 1983 Kodak improved the emulsion once again and introduced Vericolor III, which was ISO 160 for NPS and ISO 100 for NPL; however, the NPL version was later spun off as Ektacolor Pro Gold 100T and later Portra 100T, while Vericolor III NPS was renamed Vericolor III 160. Later (sometime in the late-1980’s, although I couldn’t pinpoint a specific year), Kodak introduced a new high-ISO version called Vericolor III 400. Vericolor III 160 and 400 were replaced by Portra 160 and 400 in 1998. This recipe by chance shares a resemblance to Vericolor III 160 or perhaps Vericolor II NPS, but I think it is more warm, and perhaps more like if an 81A Color Correction Filter was used in conjunction with the film, a common technique in the film era, and maybe a CPL filter, too.
This Kodak Vericolor Warm Film Simulation Recipe is only compatible with (as of this writing) the Fujifilm X-T5, X-H2, and X-H2S. I assume that the GFX100S and GFX50S II can also use this recipe, but that it will render slightly different—I don’t have either of those cameras to test it to know for certain. Unless Fujifilm gives X-Trans IV cameras the Nostalgic Neg. film simulation, which I doubt they will do, this recipe is only for X-Trans V cameras, and maybe the latest GFX, too; however, consider the Kodak Portra 160, Kodak Portra 400, and Reggie’s Portra as alternatives for those with X-Trans IV models. This Kodak Vericolor Warm recipe is especially well-suited for daylight photography, but can also be used during “blue hour” and overcast situations.
Film Simulation: Nostalgic Neg.
Grain Effect: Weak, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 3000K, +8 Red & -9 Blue
Dynamic Range: DR100
High ISO NR: -4
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this “Kodak Vericolor Warm” Film Simulation Recipe on my Fujifilm X-T5:
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I gotta go back and read the article, but I really like the look of this one! You might make me go out and buy an X-T5. 😉
Okay, I did get a chance to read the article. I really do like these articles particularly when you dive into the history of different film stocks. I also checked out the X-Trans IV recipes mentioned and they are nice, but there is a warmth to this one that those don’t quite have (though Reggie’s Portra comes closer). So I suppose I will have to order an X-T5 next year!
The Nostalgic Neg. film sim has a warmth in the shadows that none of the other film sims have. Eterna comes somewhat close, Classic Chrome is next up, but none are as pronounced as Nostalgic Neg.
Fascinating story about the films made by Kodak, indeed it has that sort of yellowish with warm appearance of a vintage Kodak film plus some correction filters. “Tractor pipe” is very nice, the machine looks as old as the light in the sky that looks of that color from old memories, photographies about to fade. Thank you, Ritchie : )
You are very welcome! 😀 😀 😀