This is a long-overdue adaptation of the X-T3/X-T30 Kodak Vision3 250D Film Simulation Recipe for use on “newer” X-Trans IV cameras. Kodak Vision3 250D is one of my favorite Recipes, but it’s only compatible with the Fujifilm X-T3 and X-T30; however, I’ve been using it on my X100V and X-E4 occasionally for years. It’s not hard to adapt X-T3/X-T30 or X-Trans III Recipes for use on newer models by simply selecting a Grain size (Small or Large), setting Color Chrome FX Blue (and Color Chrome Effect for X-Trans III Recipes) to Off, and Clarity to 0. In the case of this Recipe, I prefer Clarity set to -2 and not 0, but it’s acceptable either way.
Vision3 250D is a medium-speed daylight-balanced color motion picture film introduced by Kodak in 2009. It was a replacement for the similar (yet slightly inferior) Vision2 250D. Vison3 250D can be developed in ECN-2 chemistry or C-41. There is a lot of variation in how the film can look depending on a host of factors—especially how shot, developed, and scanned—but I’ve always been impressed with how closely this Recipe mimics some of the aesthetics produces by the emulsion.
This Kodak Vision3 250D Film Simulation Recipe is compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, and X-T30 II cameras. For fifth-generation models, which are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20!), you can use this Recipe, but blue will render more deeply, so it will look slightly different.
Film Simulation: Eterna
Dynamic Range: DR100
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Off
White Balance: Fluorescent 1, -3 Red & -1 Blue
Highlight: +3
Shadow: +4
Color: +3
Sharpness: -2
High ISO NR: -4
Clarity: -2
ISO: Auto, up to ISO 6400
Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Kodak Vision3 250D Film Simulation Recipe on my Fujifilm X-E4:
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This one looks quite good, lovely show of – bold tenderness? And I had not noticed it all that much before. (It’s not that long I own a camera that sports the Eterna sim.) Will want to give it a spin.
Definitely give this one a try! 😀
Can I use the recipe for video?
Great question!
The answer is both yes and no. You can use it, but not all of the settings are available in video mode, so it will look a little different. Grain, Clarity, and Color Chrome Effects are not available in video mode. Also, Fujifilm programmed the Eterna film sim to have a slightly different look in video mode vs. still.
In the video below, this Recipe was used for the video clips (on an X-T4), so that will give you an idea how it looks:
https://youtu.be/qqCZ0vHlDeQ?si=czLzfmCpsNI-Q3oT
Love this. I’m getting a ‘storing’ notification after taking the shot even though I’ve set the clarity to zero. What else would it be? Thanks!
I would double check that Clarity is actually set to 0. That’s the only thing that causes the Storing pause, as far as I’m aware. I’m not sure what else would cause that problem.
That’s a good one. Any equivalent for X-Trans III ? 😀
It might be possible to get something kind of similar using PRO Neg. Std. The lack of Color Chrome Effect will be the biggest hurdle.
Perhaps try:
PNS
DR200
Grain Strong
WB Fluorescent 1, -3 Red & -1 Blue
+1 Highlight
+2 Shadow
+2 Color
-2 Sharpness
-4 NR
I’ve not tested that, but it should be reasonably close.
Is this the one used by Nolan in the Odyssey?
I found this after reading a NYT wirecutter article:
“Film Emulsions Used
Kodak Vision3 50D (5203): Daylight-balanced stock chosen for ultra-fine grain in bright exterior conditions.
Kodak Vision3 250D (5207): Daylight-balanced stock utilized for versatile daytime and exterior setups.
Kodak Vision3 500T (5219): Tungsten-balanced high-speed stock relied upon for low-light and interior sequences.
Eastman Double-X (5222): Classic panchromatic black-and-white negative emulsion used for specific sequences”
I would say that, yes, Kodak Vision3 250D was likely used for some scenes in The Odyssey; however, a few notes:
– Whenever you are talking about a Hollywood-type motion picture, a whole team of lighting experts works closely with the cinematographer and director to carefully control the light to achieve desired results. This probably has a larger impact over the aesthetic than the film stock itself.
– How one processes the film has a significant impact on the outcome. I haven’t looked deeply into this, but it’s my understanding that The Odyssey was developed using the standard ECN process, but then digitized through scanning, and edited in software. For the IMAX 70mm showings, the finished digital copy was used to expose the film, which (again) went through a standard ECN development process.
– For this Recipe, it is intended to mimic Kodak Vision3 250D film that has been modified for still-picture use, and developed in C41 chemistry.
I hope this answers your question.