Color Chrome FX Blue | FUJI X WEEKLY

Is the Fujifilm X-S20 X-Trans IV or X-Trans V?

Is the new Fujifilm X-S20 X-Trans IV or X-Trans V? I’ve been asked this question a handful of times, so I thought it would be worthwhile to answer on the Fuji X Weekly blog.

The nearly three-year-old Fujifilm X-S10 is an X-Trans IV model, and we’re over one year deep into the X-Trans V generation, so surely the X-S20 is X-Trans V, right? It’s not that simple. You see, Fujifilm is using the X-Trans IV sensor inside the X-S20. Does that then makes it an X-Trans IV model? Well, the X-S20 has the new X-Processor 5 chip. So is the camera X-Trans IV or V? The answer is yes! The X-S20 is both X-Trans IV and X-Trans V at the same time.

This isn’t the first time that Fujifilm has done this. The often-overlooked X-M1 had an X-Trans I sensor paired with the X-Trans II processor. Still, this is an unusual arrangement in the Fujifilm lineup. It’s a rare exception to the norm. The X-Trans IV sensor is “old” now, but it is still quite excellent, so I don’t think it was a bad move by Fujifilm whatsoever to keep using it. Personally, I really like the X-Trans IV sensor.

The question is whether you should use X-Trans IV Film Simulation Recipes or X-Trans V Recipes on the X-S20? The differences between the aesthetic output of these two sensor generations are pretty minor. The biggest distinction is how deeply blue is rendered on some film simulations; most notably, on X-Trans V cameras, Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass render blue more deeply than on X-Trans IV models.

*More Than Double Wide* – Arlington, AZ – Fujifilm X-T5 – 1970’s Summer Recipe

I’ve never used a Fujifilm X-S20 (and probably never will, unless Fujifilm sends one to me …hint, hint Fujifilm), so I have no firsthand experience on how exactly blue behaves on it. Is it more like X-Trans IV or V? I don’t have a definitive answer. But, two people have reported to me that they believe the X-S20 output looks the same as other X-Trans V cameras, so I’m inclined to believe that the programming makes pictures captured with it look like X-Trans V despite the X-Trans IV sensor. With that said, I don’t believe it matters a whole lot since the output is so similar, and I think it’s ok to use either X-Trans IV or X-Trans V Film Simulation Recipes. My recommendation is to use X-Trans V Recipes, as well as X-Trans IV Recipes that use Provia, Velvia, Astia, PRO Neg. Hi, PRO Neg. Std, Acros, Monochrome, and Sepia; for X-Trans IV Recipes that use Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass, reduce Color Chrome FX Blue by one notch (Weak instead of Strong, Off instead of Weak) when possible. That’s simply a recommendation, as I’m not certain what the right answer is.

Do you like the results that a particular Film Simulation Recipe produces? If a certain Recipe gives you the look you want—whether it’s an X-Trans V, X-Trans IV, or even X-Trans III Recipe—that’s what’s important, and it’s great that you found it. Whether or not you’re “supposed to” use that one on your camera is irrelevant. I have the Fujifilm X-S20 categorized as an X-Trans V model for Film Simulation Recipe purposes, but don’t let that stop you from using X-Trans IV Recipes on it.

I’ve Got the Fujifilm X-Trans V Blues….

Posted on November 25, 2022 by Ritchie Roesch

I’ve been busy the last few days trying to see what is similar and what’s different about the JPEG output from my new Fujifilm X-T5 camera. How does X-Trans V compare with X-Trans IV? Are my X-Trans IV Film Simulation Recipes really compatible with the new Fujifilm cameras? Technically they are because the options are the same (except that X-Trans V has the new Nostalgic Neg. film simulation), but do they render the same, or at least similar enough?

I was surprised by something that I discovered. While many of the colors are extremely close in rendering, blues are not. Take a look at the comparison below. Both images were captured with identical settings and even the same lens—one with an X-Trans IV camera, and the other on X-Trans V—but the blue sky is not the same. If you study close enough you might notice some other extremely subtle differences, but the rendering of blue is a clearly not the same between the two sensor generations.

I looked very closely at all of the different film simulations, and I noticed that this difference in blue is film simulation dependent. Not all film sims render blue differently, and some vary more than others. Here are my discoveries:

Eterna Bleach Bypass on X-Trans V renders blue a little darker than on X-Trans IV with Color Chrome FX Blue set to Weak.
Classic Negative on X-Trans V renders blue identically to X-Trans IV with Color Chrome FX Blue set to Weak.
Classic Chrome and Eterna on X-Trans V renders blue just barely lighter than on X-Trans IV with Color Chrome FX Blue set to Weak.
Velvia, PRO Neg. Hi, and PRO Neg. Std on X-Trans V renders blue halfway in-between Color Chrome FX Blue set to Weak and Off on X-Trans IV.
Provia and Astia on X-Trans V renders blue identically to X-Trans IV with Color Chrome FX Blue set to Off.

In other words, with the exception of Provia and Astia, blue is different on X-Trans V than X-Trans IV. With Classic Negative, if an X-Trans IV Film Simulation Recipe calls for Color Chrome FX Blue set to Weak, if you set it to Off instead, it will render the same; if it call for Color Chrome FX Blue set to Strong, if you set it to Weak instead, it will render the same. You can also do that with Eterna Bleach Bypass, Eterna, and Classic Chrome, and it will be pretty close, but it won’t be identical. With Velvia, PRO Neg. Hi, and PRO Neg. Std, you can go either way (adjusting Color Chrome FX Blue or not), and it really doesn’t matter because it will be wrong by about the same amount, either too light or too dark.

Does it matter? it’s not a huge difference, but it is a difference. You might prefer the rendering of X-Trans IV or you might prefer the rendering of X-Trans V. I think, personally, I’m leaning towards preferring the X-Trans V rendering—many of my recipes use Color Chrome FX Blue set to Weak or sometimes Strong, and with X-Trans V that’s already built-in now on some of the film simulations. But it also means that many X-Trans IV recipes will render differently, and, while technically compatible, aren’t truly compatible with X-Trans V cameras.

*I captured with picture on my Fujifilm X-T5 using the new Nostalgic Neg. film simulation.*

Why did Fujifilm do this? I don’t think this is anything new. For example, Fujifilm has tweaked Velvia film, because the original Velvia emulsion was a “mistake” (although many photographers didn’t think so—if it was an accident, it was a very happy one). I remember reading once that Fujifilm, with each sensor generation, reevaluates each film simulation to see if it’s possible to get them closer to the intended aesthetic. Fujifilm likely decided that the blue of previous generations wasn’t quite “right” for many of the film simulations and so they fixed it. You might not thought that it was “broke” so you’re wondering why they felt the need to “fix” it; however, the folks at Fujifilm must have thought something wasn’t quite right, so they adjusted it.

What else is different? I’m still looking closely, so I don’t have all the answers yet. I think the rendering of cool colors is slightly different, but blue is by far the biggest change—even with a close side-by-side comparison it’s difficult to spot the differences of the greens and purples, but blue is obvious. Shadows and luminance in general seem to be just a hair dissimilar, but it’s close. Warm colors seem to be pretty much identical; if they’re different it’s tough to spot—maybe yellow is the most dissimilar of the warm colors, but it is still very similar, and I think it might have more to do with general luminance than a color difference. Really, blue rendering is the only significant difference I’ve found so far between X-Trans IV and X-Trans V.

With the Fuji X Weekly App, I don’t have X-Trans IV recipes currently listed as compatible with X-Trans V cameras. There are some—those that use Provia or Astia—that could be listed as compatible because they’ll render the same. For others, a Color Chrome FX Blue adjustment will make them compatible. For others, they won’t ever look the same but will still look pretty similar. I’m still deciding how I’ll handle this. The easy route would be to just say they’re all compatible—that they’re close enough—but I don’t think that’s the right path. I ask for patience as I wade through these waters—the rendering of that blue water on X-Trans V—and how to best present it to you in the form of Film Simulation Recipes.

Understanding Color Chrome Effect & Color Chrome FX Blue (Videos)

Posted on December 19, 2021 by Ritchie Roesch

In these two “SoundBites” (as we’re calling it) from Episode 06 of SOOC, Fujifilm X-Photographer Nathalie Boucry and I discuss Color Chrome Effect & Color Chrome FX Blue features on Fujifilm X-Trans IV cameras. These are short snippets from the show, and it gives you an idea of the type of content that’s found in a SOOC broadcast. If you missed Episode 06, I’ve included it below, so you can view it in its entirety if you’d like.

If you’ve never watched, SOOC is a monthly live video series that’s interactive. It’s a collaboration between Nathalie and I. We discuss film simulation recipes, camera settings, and answer your questions. Basically, we’re trying to help you master your Fujifilm camera, with a focus on simplifying your photographic workflow.

The film simulation recipe used in both videos is Kodachrome 64. If you don’t have the Fuji X Weekly App, be sure to download it for free today!

Fujifilm X100V New Feature: Color Chrome Effect Blue

Posted on June 30, 2020 by Ritchie Roesch

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The Fujifilm X100V, X-Pro3 and X-T4 have a new feature called Color Chrome Effect Blue. This is very similar to a different feature, which has a nearly identical name, that’s also found on X-Trans IV cameras, such as my X-T30, called Color Chrome Effect. What does Color Chrome Effect Blue do to photographs? How is it different than Color Chrome Effect? Those are questions that I hope to answer in this article.

The original Color Chrome Effect takes vibrant colors (mostly reds, but also yellows and greens to a lessor extent) and deepens their tones to retain color gradation. Fujifilm says that a short-lived color slide film called Fortia inspired this setting. Color Chrome Effect Blue is essentially the same, but for blue. It makes blues in the picture a deeper shade. It’s a lot like using a polarizing filter. You have three options: Off, Weak and Strong.

Let’s take a look at the pictures below:

Color Chrome Effect Blue Off

Color Chrome Effect Blue Weak

Color Chrome Effect Blue Strong

Color Chrome Effect Blue Strong & Color Chrome Effect Weak

Color Chrome Effect Blue Strong & Color Chrome Effect Strong

Color Chrome Effect Blue noticeably darkens the blue sky. There’s a difference between Off and Weak and Strong that’s not too hard to spot. I added Color Chrome Effect to the bottom two images, and it doesn’t affect the sky—it barely affects the warm building; it’s so subtle that it’s hard to tell the difference even upon close inspection. I believe that Color Chrome Effect Blue makes more of a difference in an image than Color Chrome Effect, but they manipulate different colors, so they have different purposes. Disappointingly, Color Chrome Effect Blue doesn’t seem to change black-and-white images much at all.

For color images where you want blues to be rendered deeper, such as blue sky, Color Chrome Effect Blue is great! It’s like using a polarizing filter. If you want reds to be rendered deeper, use the original Color Chrome Effect. I hope this helps explain what the new Color Chrome Effect Blue feature is, how it’s different than Color Chrome Effect, and when to use it.