When Fujifilm released the X-T50 last year, it had a new feature: a Film Dial. In my pursuit of figuring out how to use it effectively, I created the Film Dial Recipe set, a group of 14 Recipes that are really just one “Universal Recipe” (set of settings) that work well with any of the 20 film simulations (I grouped all four Acros options together, as well as all four Monochrome; hence 14 Recipes and not 20). This technique makes the X-T50—and now the X-M5, which also has the Film Dial—more versatile than the other X-series cameras for the straight-out-of-camera photographer. At least so I thought.
As it turns out, this technique can be used on any Fujifilm camera, simply by assigning one of the customizable knobs, wheels, rings, or buttons to activate the film simulation menu. The X-S10 and X-S20 have an unmarked knob on top that are factory-default set for this purpose. On other cameras, the rear command dial (R-Dial in the Fn settings menu) can be set to activate the film simulation menu. On my Fujifilm X100VI, I programmed the Control Ring to adjust the film simulation. On one hand the Film Dial is preferable: you can see what the film simulation is set to just by looking at the camera, it can be adjusted with the camera powered off, and it won’t reset when the camera is powered on. On the other hand, the non-Film Dial cameras are preferable: you have quick access to all 20 film simulations, and not limited by the 12 slots found on the Film Dial. There are advantages and disadvantages to both, and I prefer the Film Dial personally. But the light bulb moment for me was realizing that the Film Dial Recipe can be used on many cameras, and not just those with the Film Dial—I use it regularly on several different models, including my X100VI, X-T5, and GFX100S II.
Fujifilm’s film simulations are good straight-out-of-the-box, but with some parameter adjustments, they can become great. To get the most out of the various film simulations, you need to make changes to the factory-default settings (a.k.a. use Film Simulation Recipes). However, the Film Dial becomes problematic when you do this because rarely do multiple film simulations look good with the same Recipe settings. Sometimes they do, such as with Kodak Portra 400 v2, Vintage Vibes, and Ferrania Solaris FG 400, which require the same exact settings (note: set Color Chrome FX Blue to Off on X-Trans V), but use three different film simulations: Classic Chrome, Classic Negative, and Eterna Bleach Bypass. Most of the time, however, whenever you use a different film sim than what the Recipe calls for, the results are less than spectacular, such as when Omar Gonzalez accidentally used Classic Chrome instead of Classic Negative with the Agfa Vista 100 Recipe. Creating a “Universal Recipe” like the Film Dial Recipe is not an easy task.
Not content with having just one “Universal Recipe”, I set out to create another. I’ve been working on this one for more than three months now, and I’m excited to share it with you. It can be used in conjunction with the Film Dial on the X-T50 and X-M5; however, it can also be used on any fifth-generation X-Trans camera or even the latest GFX models. I created this Recipe on my Fujifilm X100VI, and all of the photos below were made using that camera. Also, if you don’t want to use it as a “Universal Recipe” but you like the results of just one of them—such as Classic Negative (a.k.a. “Fujicolor Superia 200”) below—simply use that one standalone. Or pick your favorite three and use it in conjunction with the Film Simulation Bracket feature.
I wanted this new universal option, which I’m calling Universal Negative, to be different than the Film Dial Recipe set. I didn’t want to merely repackage a small adjustment to it; I wanted something significantly divergent, and maybe a tad more film-like. Hopefully that’s what I accomplished here. My plan is to have both this Universal Negative Recipe set and the Film Dial Recipe set programmed into at least one of my cameras (right now it’s my X100VI), which really just opens up the opportunity to achieve various looks in-camera. It’s kind of like having C1-C35, instead of just C1-C7. While this is intended for fifth-generation models (currently: X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5), it can also be used on X-Trans IV (except the X-T3 and X-T30); however, blue will render slightly less deeply on Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass, and some film sims won’t be available.
Film Simulation: Any (See Below)
Dynamic Range: DR400
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome FX Blue: Strong
White Balance: 4000K, 0 Red & -5 Blue
Highlight: 0
Shadow: -2
Color: -2
Sharpness: -2
High ISO NR: -4
Clarity: 0
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +2/3 (typically)
Additionally, for Acros and Monochrome, set Monochromatic Color to WC 0 & MG 0 (a.k.a. Off). Also, Color will be disabled for Acros, Monochrome, and Sepia. For Eterna and Acros, ISO can be up to ISO 12800.
Provia/STD — “Universal Provia”
This “Universal Provia” Recipe doesn’t much resemble real Provia film, but that doesn’t mean it doesn’t produce an appealing aesthetic. It is true-to-life with a slight analog vibe, perhaps reminiscent of a Fujicolor Crystal Archive print. It’s kind of a Goldilocks Recipe—not too vibrant or muted, not too contrasty or flat, not too warm or cool. For best results, use in sunny daylight; however, it can do well in shade, indoor natural light, and even blue-hour with artificial light.
Velvia/Vivid — “Velvia 100F”
Velvia was the go-to film for vibrant landscape photography. If you wanted the colors to pop, Velvia 50 slide film is what you’d want to use. There were multiple versions of Velvia, and Velvia 100F (not to be confused with Velvia 100) was the least saturated of them all. This “Velvia 100F” Recipe isn’t strictly modeled after the emulsion, but it is in the ballpark, and close enough to name this after the film. This is an excellent option for colorful pictures that are not over-the-top vibrant. Great for sunny daylight landscapes, golden hour, sunrise/sunset, and even some nighttime situations.
Astia/Soft — “Indoor Astia”
This “Indoor Astia” Recipe is my favorite of all these for indoor natural light photography. It’s also good for sunny daylight, dreary overcast, and nighttime pictures. While this Recipe is more similar to actual Astia 100F film than the film simulation is when set to the factory default settings, it’s not necessarily a good match for the emulsion.
Classic Chrome — “Elite Chrome”
Elite Chrome was Kodak’s consumer-grade version of Ektachrome color slide film, produced in the late-1990’s and early-2000’s. While this “Elite Chrome” Recipe wasn’t modeled after the emulsion, surprisingly it does resemble Elite Chrome 100 film to a degree. For best results, use in sunny daylight; however, it does do well in overcast and blue hour light.
Reala Ace — “Retro Negative”
Reala Ace is Fujifilm’s newest film simulation. It’s purportedly based on Reala film, but it’s not a very close replication of that emulsion, which is in the Superia line, and more similar to Classic Negative. Instead, Reala Ace is nearer to the Fujicolor PRO 160 line, and shares similarities with PRO Neg. Std and PRO Neg. Hi. Reala Ace probably should have been named PRO Neg. C, since it is most similar to Fujicolor PRO 160C film. Of the three “PRO Neg.” film sims, Reala Ace is my personal favorite. This “Retro Negative” Recipe is reminiscent of color negative film from the 1980’s and ’90’s, and might even remind you of some photos printed in magazines from that time frame. I found it is quite excellent for golden hour and blue hour photography; however, it’s good for a lot of different subjects and situations, including rainy days, natural light indoors, and portrait photography.
PRO Neg. Hi — “Fuji Negative”
This “Fuji Negative” Recipe is generally similar to various Fujicolor negative films, without mimicking any one specifically. This is probably my favorite of this group for overcast light, but it also does well in sunny daylight and blue hour.
PRO Neg. Std — “Pulled Negative”
Pulling film means to overexpose a little, then reduce the development time to compensate. The results are lower contrast photos with less pop. You could consider this “Pulled Negative” Recipe a one-stop pulled version of the “Fuji Negative” Recipe above. This Recipe is one of the best of this group for artificial light situations, such as nighttime and indoors.
Classic Negative — “Fujicolor Superia 200”
This “Fujicolor Superia 200” Recipe is probably my favorite of this group. Inadvertently, it’s reminiscent of Fujicolor Superia 200 color negative film, which was introduced in 1998 and discontinued in 2017. I especially like this Recipe for indoor natural and artificial light situations; however, it’s good for many subjects and light scenarios.
Nostalgic Neg. – “Americana Film”
Nostalgic Neg. is the second most recent addition to the film simulation lineup, and is modeled after American New Color images from the 1970’s. The Nostalgic Neg. film simulation has a strong Kodak aesthetic, particularly photographic prints from five decades ago. This is the warmest film sim, which means that this “Americana Film” Recipe is the warmest of this group. It’s great for portraits or any situation where you want a retro rendering.
Eterna/Cinema — “Eterna Film”
This “Eterna Film” Recipe is the second lowest saturated and least contrasty of all the color options in this series. It has a lovely soft cinematic quality that is especially great for taming high-contrast scenes; however, it has a limited use-case where it does well. I had trouble finding scenarios where it was the most appropriate option for the situation, but occasionally I did.
Eterna Bleach Bypass — “Chrome City”
Eterna Bleach Bypass has the lowest saturation and highest contrast of all of the film simulations. Bleach bypass is a development technique where the bleach step is reduced or eliminated, resulting in a high-contrast, low-saturation image that almost appears like a B&W picture over a color picture. It can be used in still photography, but is more commonly found in motion pictures (think Saving Private Ryan). This “Chrome City” Recipe is reminiscent of LomoChrome Metropolis film, which is an emulsion by Lomography that mimics the aesthetic of the bleach bypass technique. The results from this Recipe can be spectacular, and it’s one of my favorites from this group; however, it’s definitely not for every subject or situation.
Acros, Acros+Y, Acros+R, Acros+G — “Acros Negative”
Fujifilm introduced Neopan Acros black-and-white negative film back in 1952. Neopan Acros came in four versions: ISO 100, ISO 400, ISO 1600, plus an ISO 400 version for C41 development that was actually repackaged Ilford XP2 Super 400. Neopan Acros was briefly discontinued in 2018, and reintroduced in 2019 as Neopan Acros 100 II. Curiously, the new version is actually manufactured by Harman (the parent company of Ilford), although it behaves quite similarly to the original.
Typically, I prefer contrasty black-and-white pictures; however, this “Acros Negative” Recipe is fairly low-contrast. It has to be used thoughtfully, or else the pictures will look slightly muddy. The Acros filter options (+Y, +R, +G) are your friend, and this Recipe thrives on high-contrast scenes. In the right situations, the results can be wonderful. For grainer pictures, use higher ISOs, as the Acros film sim has built-in Grain that increases with the ISO. If I could only pick one Acros option for the “Acros Negative” Recipe, I’d go with Acros+R.
Monochrome, Monochrome+Y, Monochrome+R, Monochrome+G — “B&W Negative”
The Monochrome film simulation is simply Provia with the color turned off. It was the standard B&W film sim until the introduction of Acros on X-Trans III. Generally speaking, I like Acros much more than Monochrome, as Acros has more of an analog feel to it; however, Monochrome does have a slightly harsher tonality, so there are times that the Monochrome film simulation could be preferable, and you might choose this “B&W Negative” Recipe. Similar to the “Acros Negative” Recipe above, this one thrives in high contrast light, and the filter options (+Y, +R, +G) are your friends.
Sepia — “B&W Sepia”
Last and least is Sepia. This film simulation has been around for a long time, but very few use it. If Fujifilm discontinued it, most probably wouldn’t even notice. Sepia is a darkroom technique where you bathe B&W prints in a chemical for archival and artistic purposes. Most commonly, Sepia baths are quick, and the toning subtle; however, the prints can be left in longer, resulting in a pronounced reddish/brown tone (this film simulation replicates that), which was popular a hundred or more years ago. For a more subtle effect, simply use either “Acros Negative” or “Monochrome Negative” with Monochromatic Color set to WC +2 MG -2. Most likely you’ll skip this one, but if you’re looking for something different, maybe give it a try.
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Fujifilm X100VI in black:
Amazon, B&H, Moment, Wex, Nuzira
Fujifilm X100VI in silver:
Amazon, B&H, Moment, Wex, Nuzira
See also: Fujifilm X-T50 Film Dial Settings + 14 Film Simulation Recipes
Let’s goo! Thank you Ritchie, very exciting and right on time for the weekend, can’t wait to try all these.
You are very welcome!
As far as I am aware, it is only possible with the x100vi, however with that camera you can programme one unique film simulation bracket per custom setting. Other cameras it’s a universal setting that applies to all custom settings.
Usually a film recipe will also work with “neighbour” film Sims. So a provia custom setting might also work well with astia, classic chrome and Real Ace for example but not great with classic neg without further tweaks.
So per custom setting, set up the bracketing mode with the three (it must always be three) other film sims you think it might work well with, or even include the original film sim for the recipe as one of the three.
Since using bracketing disables clarity, I use this as a quick way to determine which film sim combination works for any scene, then choose the appropriate film sim from the film sim function I have programmed to a fn button. It’s particularly good to have all three versions of Acros programmed to one recipe.
This is an undersold advantage of the x100vi. Along with the ability to custom build your own zone shapes and to custom build the AF-all option to choose as many or as few options as you like to cycle through.
I do think most people already have a fn button or wheel set to film sim, and that this is why there was a lot of head scratching with the x-t50 hardwired dial for this. All Fuji needed to do was to allow us to choose which film Sims we wanted to be able to choose from when we map it to a button/dial. Job done.
What’s more powerful is to be able to set a dial or fn button to select custom setting, without needing to open the Q menu.
I think that assigning a unique Film Simulation Bracket to any C1-C7 preset is possible on all X-Trans V cameras. I could be wrong about that, so I’ll have to dive more deeply into it when I have the chance.
What I like about the Film Dial (as apposed to an Fn button or the Control Ring or something like that), is that it doesn’t reset to Provia (or if the Custom Preset is set to something else) every time the camera is powered off and back on. That’s the annoying part of NOT having the Film Dial, but the disadvantage of the Film Dial is that not all of the film sims are available on it. Pluses and minuses both ways, and overall I prefer the Film Dial personally. But, as you said, not having to dig through the menu is a positive for sure, and both options provide that benefit.
Another way is to set up the camera so that changes to the custom settings are permanent, not reset when turning the camera off. There’s always the risk that you permanently change the other settings and completely mess up your recipe – however the lock camera button is your friend. I think it’s severely underused by most people, but you can customise it to a crazy depth of fine-tuning. You could set it for example so that everything remains unlocked, except for all the Q menu options you want to never change. Then shooting and using the camera in lock mode is no different to unlocked, except your key settings can’t be accidentally changed and e.g. you can keep film sim as a setting that is permanently changed when you change it.
I like knowing exactly what a given recipe looks like and in what conditions to use it. So, not for me – nor the film sim dial for the same reason. But I do use it for AF settings which don’t have so much to do with the recipe, but need to be set.
As to setting individual film-sim brackets to each custom setting, I know it’s not possible with the x-t2,3,5 the x100v or x70. It’s possible it is an option with cameras that came after the VI. Maybe the x-t50? But earlier cameras not and was one of the reasons I never really used it.
I’ll have to test that out. I only ever used the lock camera button once and it was by accident, and I nearly sent the thing in to be serviced—I thought I broke it! 🤣 🤣
Thanks for these recipes. Just want to make sure color shift is Blue -5? It’s Blue -2 on the app.
Thank you for pointing out this mistake. It’s correct on the website, and was incorrect in the app. But I just fixed it, so now it is correct int he app, too. The correct WB Shift is -5 Blue.
I think the xs20 with the left general dial (assigned to Film simulations) is very convenient, because I have all the Film sims in this dial. I only need to set the Universal recipe and I have it in all modes except C1-C4 (for other recipes). The ‘bad’ thing is that I only have 4 C and not 7.
Thanks for the new version of the standard recipes! I will try very soon…
You are very welcome!
Thanks for the universal recipe! I noticed the WB is set at 4000 whereas in many other popular recipes (eg Reggies) its set as Auto WB. Would auto work Ok with this universal setup too? Or the 4000 is the way to go?
4000K is the way to go. It will look much different in most circumstances with AWB.
Hi Roesch! Thank you for your efforts into these recipes! I just got my new X100VI and can’t wait to try your talented work. Going for “Fujicolor Superia 200” first cuz I like its color tone.
Awesome! I hope you find a few Recipes that you like. Let me suggest this article:
https://fujixweekly.com/2024/09/19/which-film-simulation-recipes-when-part-1-x-trans-v-2024-edition/
futhermore I wonder if there’s any chance that you can offer recipe recommendation on travel to Japan and European countries, since the views are quite different in various places.
I’ve never been to Japan or Europe (I’m jealous…), so I don’t have firsthand experience. For Japan, I would definitely choose some Classic Negative, Velvia and Reala Ace Recipes. Maybe Fujicolor Superia 100, Fujicolor Superia 1600 or Fujicolor Natura 1600, Reala Ace (the Recipe, not the Film Sim) or Fujicolor Super HG v2, Velvia Film and/or Velvia 100F, Fujifilm Negative or Fujicolor Film, and Retro Negative or Fujicolor PRO 160C Warm.
For Europe, I would consider Agfa Ultra 100 v2, Agfa Ultra (set Color Chrome FX Blue to Weak instead of Strong), Agfachrome RS 100 (again, set Color Chrome FX Blue to Weak instead of Strong), and Agfa Vista 100 (set Color Chrome FX Blue to Off instead of Weak). Beyond that, I would also strongly consider Pacific Blues, and your two favorite Recipes to finish out your C1-C7.
I hope this helps!
I’ll never remember what this universal recipe is for, indoor vs outdoor vs artificial, etc…usually I tag on the right conditions at the end. How do you manage to remember not only the 7, but then make universals? It’s a fantastic idea, I just feel like I’ll never choose the right one? I haven’t tried film bracketing, yet I guess that’s one way,though I imagine it limits the number you can bracket! Great work, thanks, I just need to up my memory game. I’m still really struggling to find jog recipes that end up looking like the samples I see, but having lived in Arizona, now in London again, I am not shocked at the difference!
It works best in natural light: sunny or cloudy; indoor or outdoor. It can be ok for artificial light, but it wouldn’t be my top choice. I hope this helps!
Basically, what will be the différence between the 14 recipes of “universalité provia” and the 14 recipes of “Standards film”? Which willbe the most neutral to programme in c1? If i understand, to make film bracketing it s préférable tu use a recipe with clarity 0
The difference between the Universal Negative Recipe set (this article you are reading right now) and the Film Dial Recipe set (found here: https://fujixweekly.com/2024/05/16/fujifilm-x-t50-film-dial-settings-14-new-film-simulation-recipes-yes-14/) is that they produce a different aesthetic. The Film Dial set uses Auto White Priority WB to work well in a large variety of lighting situations; the Universal Negative set uses a Kelvin value and is intended to be a bit more film-like in that regard. The Film Dial set is more vibrant; the Universal Negative set is more grainy. If you are using Film Simulation Bracket, my recommendation is to use this Universal Negative set because it has Clarity set to 0. I hope this helps!
Thanks Ritchie, I don’t really understand, you just have to set these two simulations in C1 and then select the film you want to use when shooting (Provia, Pro Neg Hi, Reala Ace, etc…)..no? It works the same way for both recipes on xt5?
You set all of the parameters in (say) C1. Once programmed, then, when you use it, only change the Film Simulation and nothing else. I would recommend selecting an Fn button for quick access to the Film Simulation Menu (maybe the rear command dial?). You could also use the Film Simulation Bracket, if you wanted, and choose the three Film Simulations you’d like to use.
Hello Ritchie, another great article to share! However I have a question, on my X-M5, I already set the only 4 external film simulations slots (kodachrome 64, Superia X TRA 400, Kodak Portra 160 V2 and last one slot for Kodak Portra 400 V2) so no more slots available..
So I set the film simuation wheel to any internal / native film simulation on my XM5 and then changed one randomly with your global settings, so it of course changed every internal simulations the same. I see the differences and they are great ! it applies automatically to all the native film simlation on the wheel at the same time, but of course NOT to the 4 slots I set weeks ago.
My simple question is, is it a good way to use your global settings that way instead on using one slot or is it a really bad idea??
Thank again for you time 🙂
I’m not 100% sure how the X-M5 works, I know it’s different than a lot of the other cameras, but I assume it is similar to the GFX100S II, which is also PASM. I believe, if you program some settings into the IQ Menu when you are in (say) Aperture Priority Mode (A on the Dial), you can program a Recipe and it will stay there. So when you switch the Dial to C2, then C3, and then back to A, that Recipe you programmed while in A will still be there. So if you program this Universal Negative Recipe set into A (or S or M or P, whatever is your preference), then it will be available for you without losing the other four Recipes that are in C1-C4. I hope this is the correct answer, and is helpful to you.
wow thank you again Ritchie, that’s a quick answer 😮
There is probably something I did wrong, because I can add you “secret recipe” to all native / root film simulation just by selecting on the left wheel any simulation (except the “C” one) and on the right wheel, A (Aperture) for example, and then passing by the Q menu, if I change something, it will do the same thing as I did inside the menu directly. If I change one parameter, it will be changed in ALL film simulation native of the camera (except my C1 – C4)
I may be not clear, but for a quick summary, If for example I put the camera on STD (left wheel) and A (right wheel) and then passing by the Q (quick) menu, or by the detailed one, if I change DR100 to DR400, every simulation on the film simulations wheel will have the DR400 (except the C1 to C4)
The results look great but if I want to go back to the original film simulation at some point, I will have to change every parameters I changed, (on only one film simulation)
There is probably a particular option that I can’t get yet or something I missed somewhere, I will check further to be able to have the secret recipe in one mode dial like Aperture priority. If I find it, I will come back to tell you how I did it. If not I think I will keep it this way and see how these deeper colors and more contrasted film simulations will look and if I like it 🙂
Thank you 👍
Yeah, what you described is how it works. The “secret” Recipe slot is simply the IQ Menu parameters, and anytime you choose P, A, S, or M on the dial, that activates the IQ Menu parameters (the “secret” Recipe slot). If you change any of the IQ Menu parameters, it will change the Recipe. So essentially you have C1-C5 instead of C1-C4. I hope that clears it up.
Hi Ritchi, Mandy thanks for this enlightening article. I have the X-T50. I have programmed the Universal Recipe into the IQ Menu. Now, if put the film dial into the Acros position, how can I get access to the filter option. Or is that not all possible and I have to use the FS1-FS3 positions for that?
As far as I understand your question, you want to know how to quickly access Acros+Ye, Acros+R, and Acros+G on the Film Dial, correct? If so, the easiest way is to set FS1, FS2, and FS3 for those. I did that at one point on the X-T50, but I don’t have my X-E5 configured that way. Alternatively, you could have the Acros spot set to Acros+R, and FS1 set to Acros+G, and for the most part you’re probably good to go, and FS2/FS3 are available for two other film sims that were excluded from the Film Dial. I hope this helps!