This new Recipe, which I’m calling Summer Sun, is bright and warm. If a hot summer day was a picture aesthetic, it’s this. It has a vintage film-like charm, maybe along the lines of Kodak Ultra Color 100UC used with a warming filter (maybe 81C). It’s not specifically modeled after that, but has some similarities nonetheless.
Death of a Chevy – Buckeye, AZ – Fujifilm X-E5 – Summer Sun Recipe
This Summer Sun Recipe is very warm, so it’s definitely not for every subject or light situation. It’s best on a bright sunny day, but can still be okay in partly-sunny situations. It’s compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, X-M5, and X-E5. It’s also compatible with the latest GFX models, specifically the GFX100 II, GFX100S II, and GFX100RF.
Film Simulation: Reala Ace Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Weak White Balance: 7200K, -2 Red & +2 Blue Highlight: -1 Shadow: -2 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Summer Sun Film Simulation Recipe on a Fujifilm X-E5, X100VI & X-S20:
Manhattan from Hotel Window – NYC, NY – Fujifilm X100VI
Fruits & Vegetables – NYC, NY – Fujifilm X100VI
Building Backsides – Buckeye, AZ – Fujifilm X-E5
Spirits of the Past – Buckeye, AZ – Fujifilm X-E5
Green Mack – Buckeye, AZ – Fujifilm X-E5
It’s Corn – Buckeye, AZ – Fujifilm X-E5
Newly Planted Palms – Buckeye, AZ – Fujifilm X-E5
Evening Palm Tree – Buckeye, AZ – Fujifilm X-E5
Suburban Palm – Buckeye, AZ – Fujifilm X-E5
Flowering Tree – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Brooklyn Bridge between Trees – NYC, NY – Fujifilm X100VI
Bridge, Runner – NYC, NY – Fujifilm X100VI
It’s All Greek to Me – Washington, D.C. – Fujifilm X100VI
Red Dumpster – Washington, D.C. – Fujifilm X100VI
Summer Joy – Buckeye, AZ – Fujifilm X-E5
Hidden Tower – Buckeye, AZ – Fujifilm X-S20 – Photo by Jonathan Roesch
Fireworks Stop – Buckeye, AZ – Fujifilm X-E5
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Half Moon Over Central Park – New York City, NY – Fujifilm X100VI – Kodak Gold Max 400 Expired
This new Film Simulation Recipe came about after someone shared with me some photographs they captured with a roll of long-expired Kodak Gold Max 400 film. Kodak introduced this color negative emulsion in 1987 under the name Kodacolor VR-G 400. Later, they renamed it GC 400, Gold 400, Ultra Gold 400, Gold Max 400, Max 400, Max Versatility 400, then Ultramax 400, which is still available today. Over the years the emulsion has been updated a few times, but it is still essentially a 1980’s Kodacolor film.
Even though the roll was long-expired, it looked pretty good. Sometimes expired film has a much different aesthetic than a fresh roll, and sometimes it’s only subtly different. In this case, it seemed more muted and grainy than Ultramax 400, and with a little different color cast, but overall not overtly divergent. The photographer did edit the scans a little, which I’m sure affected the outcome. I wasn’t able to perfectly match it, but I feel this was pretty close. I also found some examples of expired Kodak Gold Max 400 film online, and this Recipe seems to similarly match those images fairly well but not perfectly.
What I love about this Kodak Gold Max 400 Expired Recipe is that it has an obvious analog vibe. The pictures captured with it just seem film-like to me. You could probably convince some people that you didn’t use a digital camera. These photographs don’t look like typical camera-made JPEGs.
Sand Trail – White Sands NP, NM – Fujifilm X-T5 – Kodak Gold Max 400 Expired – Photo by Amanda Roesch
This Kodak Gold Max 400 Expired Film Simulation Recipe is compatible with all fifth-generation X-Trans cameras, which, as of this writing, are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5. You can use it on newer GFX cameras, too. I have a couple of photos at the bottom that were captured with a GFX100S II, and it seems pretty close to the X-Trans V rendering.
Film Simulation: Reala Ace Dynamic Range: DR400 Grain Effect: Strong, Large Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: 6700K, +1 Red & +4 Blue Highlight: -1.5 Shadow: +1.5 Color: -2 Sharpness: -2 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +2/3 to +1 1/3 (typically)
Example photographs, all camera-made JPEGs captured using this Kodak Gold Max 400 Expired Film Simulation Recipe on a Fujifilm X100VI, X-T5 & X-S20:
Oh – New York City, NY – Fujifilm X100VI
Street Portrait – Philadelphia, PA – Fujifilm X100VI
Model Photography – Philadelphia, PA – Fujifilm X100VI
Two Ladies and a Dog – Philadelphia, PA – Fujifilm X100VI
Light on a Dark Building – Philadelphia, PA – Fujifilm X100VI
Pentax Photographer – Philadelphia, PA – Fujifilm X100VI
Bench Corner – Philadelphia, PA – Fujifilm X100VI
Three Story Home – North Bergen, NJ – Fujifilm X100VI
Alien Dunkin’ – Roswell, NM – Fujifilm X-S20 – Photo by Jonathan Roesch
Tractors is dumb – Tularosa, NM – Fujifilm X-S20 – Photo by Jonathan Roesch
Family Boating – Clinton, CT – Fujifilm X100VI
Three Leaves in the Water – Clinton, CT – Fujifilm X100VI
Flag on a Windy Day – Roswell, NM – Fujifilm X-S20 – Photo by Jonathan Roesch
Wood Fence – White Sands NP, NM – Fujifilm X-S20 – Photo by Jonathan Roesch
Christmas Sand – White Sands NP, NM – Fujifilm X-T5 – Photo by Amanda Roesch
Roesch Kids – White Sands NP, NM – Fujifilm X-T5 – Photo by Amanda Roesch
Dry Brush – White Sands NP, NM – Fujifilm X-T5 – Photo by Amanda Roesch
Fujifilm GFX100S II:
Yellow Brush, Pink Sand – White Sands NP, NM – Fujifilm GFX100S II
Brown Leaves – White Sands NP, NM – Fujifilm GFX100S II
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Over the last several months, my wife, Amanda, and I have been sharing our Fujifilm X-T5, which I purchased in November 2022 when it first came out. Her camera is an X-T4 that she’s used for years, but lately has been drawn more to the newer model. Amanda does portrait, event and theater photography, but she really loves videography. By far, the Film Simulation Recipe that she uses the most for still photography is Reggie’s Portra; Reala Ace and Pacific Blues are a distant second and third. We used this new Fujifilm Negative Recipe for some of our photos captured on the X-T5 as we traveled across the country over the last few months.
My inspiration for this Recipe was Fujicolor PRO 160NS color negative film, although it wasn’t necessarily closely modeled after it—I just looked at a number of frames captured with that emulsion when I was creating this, so there is a noticeable similarity. Fujicolor PRO 160NS was produced by Fujifilm between 2010 and 2021; however, before that it was named PRO 160S, and before that—in the 1990’s—it was called NPS 160, with small changes and improvements over the years. While this doesn’t exactly match those emulsions, it certainly has a Fujifilm color negative film vibe, and just feels analog-like.
Camera Conversation – Philadelphia, PA – Fujifilm X-T5 – Fujifilm Negative – by Amanda Roesch
This Fujifilm Negative Film Simulation Recipe is intended for sunny daylight photography. It works well in overcast conditions, too, and indoor natural light. It might not be the best choice for artificial light situations (can be a bit too yellow), and can be a bit too cool in the shade. This Recipe is compatible with all fifth generation X-Trans models, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, X-T50, and X-M5 cameras. It can be used on the latest GFX models, too, but will likely render slightly different (try it anyway).
Film Simulation: Reala Ace Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: 5000K, 0 Red & -2 Blue Highlight: -1 Shadow: -0.5 Color:+2 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this Fujifilm Negative Film Simulation Recipe on a Fujifilm X-T5:
Indoor Grass – Nashville, TN – Fujifilm X-T5
Modeling – Philadelphia, PA – Fujifilm X-T5 – by Amanda Roesch
Friendly Conversation – Philadelphia, PA – Fujifilm X-T5 – by Amanda Roesch
Hot Dog Stand – New York City, NY – Fujifilm X-T5 – by Amanda Roesch
Photowalk – Philadelphia, PA – Fujifilm X-T5 – by Amanda Roesch
Stories – Philadelphia, PA – Fujifilm X-T5 – by Amanda Roesch
Talking About Cameras – Philadelphia, PA – Fujifilm X-T5 – by Amanda Roesch
Reviewing Pictures – Philadelphia, PA – Fujifilm X-T5 – by Amanda Roesch
Setting a Recipe – New York City, NY – Fujifilm X-T5 – by Amanda Roesch
Crosses on Steeples – Denver, CO – Fujifilm X-T5
Oak Leaf – Clinton, CT – Fujifilm X-T5
Lake Morning – Clinton, CT – Fujifilm X-T5
First Catch – Clinton, CT – Fujifilm X-T5
Third Catch – Clinton, CT – Fujifilm X-T5
Fourth Catch – Clinton, CT – Fujifilm X-T5
Shore Fishing – Clinton, CT – Fujifilm X-T5
Dock Fishing – Clinton, CT – Fujifilm X-T5
Breakfast – Clinton, CT – Fujifilm X-T5
Camera on a Bookshelf – Buckeye, AZ – Fujifilm X-T5
Sunset over the Eucalyptus – Buckeye, AZ – Fujifilm X-T5
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Rainbows over Philly – Philadelphia, PA – Fujifilm X100VI – Fujicolor Film Recipe
As a part of the Philadelphia photowalk that I co-led last month, I gave a presentation at Unique Photo on Fujifilm’s Film Simulations and my Film Simulation Recipes. While I was researching for that presentation, I came across a statement by Fujifilm where they dubbed the new Reala Ace film sim as “a negative for the new era.” That slogan—negative for the new era—caught my imagination, and made me consider what it might mean, and how that could translate into a Recipe aesthetic.
Fujifilm claims that the Reala Ace film simulation is modeled after the Reala Ace 100 color negative film, which was a variant of Fujicolor Superia Reala 100 that was only sold in Japan; however, I believe that is more marketing than reality. The emulsion that the Reala Ace film sim is the most similar to is Fujicolor PRO 160C. In my opinion, Fujifilm should have called it PRO Neg. C, as it is clearly in the same family as PRO Neg. Std and PRO Neg. Hi, and is not a Superia aesthetic, which is what the Classic Negative film simulation mimics. But, either way, the Reala Ace film simulation is quite nice, and definitely has a color negative film quality to it.
Saltwater Marsh – Plymouth, MA – Fujifilm X100VI – Fujicolor Film Recipe
Prior to making this Fujicolor Film Recipe, I pulled out a photobox from my closet, and begin sorting through some of my prints from 15-20 years ago that I knew I had captured using a Fujicolor negative film. All of them were printed on Crystal Archive paper at Ritz camera. While I used those pictures to help create this Recipe, I didn’t try to closely copy any specific aesthetic, but was more just generally inspired by those prints. Later, I dug out the negatives (stored in a different box), and I was a little surprised by what films were actually used for those photos: Fujicolor PRO 160S, Fujicolor NPS 160, Fujicolor PRO 400H, Fujicolor Superia Reala 100, Fujicolor Superia 100, and Kodak Gold 100 (oops… I guess I got that one wrong).
I would describe this new Fujicolor Film Recipe as generally similar to a Fujicolor negative film printed on Fujicolor Crystal Archive paper. It’s true-to-life, and not particularly punchy. It definitely has the right feel for printed Fujicolor PRO 160S, although it’s not specifically closely modeled after that—it’s more of a happy accident than on purpose; however, it was inspired in part by that emulsion, so it shouldn’t be too surprising.
Palm & Blue Sky – Buckeye, AZ – Fujifilm X100VI – Fujicolor Film Recipe
This Film Simulation Recipe is compatible with all fifth-generation Fujifilm X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50 cameras. You can also use it on the latest GFX models; however, it will render slightly different (try it anyway). For best results, use in sunny daylight; however, as you can see from the photos in this article, it can be used in a variety of light conditions. It is intended to be your Fujicolor “negative” for the new era.
Film Simulation: Reala Ace Dynamic Range: DR400 Grain Effect: Strong, Small Color Chrome Effect: Weak Color Chrome FX Blue: Weak White Balance: 5500K, -1 Red & -1 Blue Highlight: -1 Shadow: -0.5 Color: -2 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured using this “Fujicolor Film” Film Simulation Recipe on a Fujifilm X100VI:
Floating on the Ocean – Plymouth, MA – Fujifilm X100VI
New York – Plymouth, MA – Fujifilm X100VI
Happiness is a Beach – Plymouth, MA – Fujifilm X100VI
Yankees Girl – Plymouth, MA – Fujifilm X100VI
Low Tide – Plymouth, MA – Fujifilm X100VI
Salt Pond – Plymouth, MA – Fujifilm X100VI
Atlantic Through Trees – Plymouth, MA – Fujifilm X100VI
Clothes Pins – Plymouth, MA – Fujifilm X100VI
Sunstar & Clothesline – Plymouth, MA – Fujifilm X100VI
Chimney – Plymouth, MA – Fujifilm X100VI
Cape Cod Bay House – Plymouth, MA – Fujifilm X100VI
Garden Flowers – Plymouth, MA – Fujifilm X100VI
Bunches of Blossoms – Plymouth, MA – Fujifilm X100VI
Yellow Blooms – Philadelphia, PA – Fujifilm X100VI
Independence – Philadelphia, PA – Fujifilm X100VI
Independence Hall – Philadelphia, PA – Fujifilm X100VI
Sky Rainbow – Philadelphia, PA – Fujifilm X100VI
Carrabba’s Twice – Maple Shade, NJ – Fujifilm X100VI
Fruitstand – Hoboken, NJ – Fujifilm X100VI
Firetrucks – Hoboken, NJ – Fujifilm X100VI
Fuji – Hoboken, NJ – Fujifilm X100VI
Black Bike – Jersey City, NJ – Fujifilm X100VI
Don’t Walk – New York City, NY – Fujifilm X100VI
Yankees Stadium – New York City, NY – Fujifilm X100VI
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Rainbow over Hoboken – Hoboken, NJ – Fujifilm X-T50 – Pushed Analog Recipe
I created this new Film Simulation Recipe while on my four-city photowalk tour. I didn’t have any specific film in mind, but wanted something contrasty, colorful, and warm—perhaps vaguely reminiscent of a push-processed Kodak emulsion without mimicking anything specific. In fact, I didn’t even reference any photographs when I created this (which is unusual for me), just used my experience making Recipes to achieve the aesthetic that I was after. Since it is only similar to pushed film in a very generic way, I named this Recipe very simply Pushed Analog.
Pushing film is where you purposefully underexpose, and then increase the time in the developer to compensate. This Recipe might be more similar to ISO 100 film pushed one stop or maybe two at most (but probably not two stops). Pushing film increases the contrast and grain, and makes the images more punchy and gritty. The more you push, the stronger the effect. The warmth in this Recipe is similar to using a warming filter, such as an 81A or something similar, with daylight balanced film, which used to be common in the film era.
Ciao & Church – Boston, MA – Fujifilm X-T50 – Pushed Analog Recipe
This Pushed Analog Film Simulation Recipe isn’t for every subject or situation, and not everyone is going to like it. Some of you will love it, I’m certain; however, this is not an everyday option that everyone will appreciate. I found that it works best in sunny daylight, and can also be a good option for dusk or dawn. It’s so-so for overcast days, and not good for artificial light. You can get dramatic results, but you might not find every image to be striking. This Recipe is compatible with all fifth-generation X-series cameras, which (as of this writing) are the X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50.
Film Simulation: Reala Ace Dynamic Range: DR200 Grain Effect: Strong, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Fluorescent 1, -3 Red & -2 Blue Highlight: +1.5 Shadow: +2 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -3 ISO: Auto, up to ISO 6400 Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Pushed Analog Film Simulation Recipe on a Fujifilm X-T50:
Upper Manhatten – Hoboken, NJ – Fujifilm X-T50
Richie’s Lemon Ice – Boston, MA – Fujifilm X-T50
Yellow Umbrellas – Hoboken, NJ – Fujifilm X-T50
P is for Parking – Hoboken, NJ – Fujifilm X-T50
Chimney between the Trees – Salem, MA – Fujifilm X-T50
Vines on the Building – Salem, MA – Fujifilm X-T50
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Several weeks back I stumbled on a review of Kodak Ektachrome E100 color reversal film (the current version), and I thought: That looks a lot like the Reala Ace film simulation. I took a guess at some settings, but didn’t put much effort into testing or refining them. I got busy with some other things (such as planning and preparing for a four-city photowalk tour), and neglected to do anything more. More recently, Fuji X Weekly reader Dan Allen messaged me with the same exact observation about Ektachrome E100 and Reala Ace, which made me revisit the project.
Dan actually captured some side-by-side photos with Ektachrome E100 and a Fujifilm camera using the Reala Ace film simulation; however, he couldn’t quite get it to match. Interestingly, the settings that he had come up with as the closest facsimile were quite similar to mine. It was thought that the particular scanner used likely played a role in the exact aesthetic of the Ektachrome images—one film can produce a variety of looks depending on how it was shot, developed, and printed, projected, or scanned, among other things. Being a slide film, E100 is inherently designed to be projected. While this Recipe isn’t an exact match to Dan’s Ektachrome slides (although it’s not terribly far off, either), it does share a lot of resemblance with some Ektachrome E100 images that can be found online.
Kodak introduced Ektachrome in 1946. I counted once, and there are over 40 different emulsions that have been called Ektachrome over the years, not including slight revisions or improvements to the same film. The “E” development process was invented for Ektachrome film… it began with E1; the E6 process that’s used today was introduced in 1977. Each different Ektachrome and development process produced a divergent look. Kodak discontinued Ektachrome in 2012, but in 2018 they brought back Ektachrome E100. Some have suggested that this new version is simply a revision of Ektachrome E100G, but I don’t believe that’s been verified—it may or may not be.
While Reala Ace can be made into a pretty close match to Kodak Ektachrome E100, there are some issues that prevent it from being even more accurate—I would love a +5 Color option, for instance. Skin tones aren’t perfect, either—it’s possible to improve that, but at the expense of other attributes. I also think DR-Auto would be a good option, but the camera doesn’t jump to DR200 quickly enough, in my opinion. This Recipe is not perfect, but after a lot of tries over the years, this is the most satisfied I’ve been with any of my attempts, and I think it’s convincing enough to be given the Ektachrome E100 name.
This is an App Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. It is compatible with all fifth-generation X-Trans cameras, which (as of this writing) are the Fujifilm X-H2s, X-H2, X-T5, X-S20, X100VI, and X-T50. I’m sure it can also be used on the latest GFX models; however, it will likely render slightly different (try it anyway).
Example photographs, all camera-made JPEGs using this Ektachrome E100 Film Simulation Recipe on a Fujifilm X-T50:
Corn Dog – Denver, CO – Fujifilm X-T50
Window Succulent – Buckeye, AZ – Fujifilm X-T50
Airline Club – Phoenix, AZ – Fujifilm X-T50
Terminal Passenger – Phoenix, AZ – Fujifilm X-T50
Green Plant on a Red Desk – Buckeye, AZ – Fujifilm X-T50
Concrete Wall & Shrubs – Buckeye, AZ – Fujifilm X-T50
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Service – Bisbee, AZ – Fujifilm X-T5 & Fujinon 56mm f/1.2 – Fujicolor PRO 160C Warm
I’m sitting in my new office in my new home typing out this article. After two weeks of packing, moving, cleaning, and unpacking… most everything is still in boxes; however, I’ve unpacked enough to get back to Fuji X Weekly.
In case you missed it, Fujifilm released Kaizen firmware updates for the X-H2s, X-H2, X-T5, and X-S20 (the X100VI also has a firmware update). The highlight is that the Reala Ace film simulation is now available for all fifth-generation X series models. If you haven’t updated your camera’s firmware, you may want to do so now.
Kaizen is a Japanese business philosophy that means continuous improvement or change for the better. It can be applied many different ways, but in the case of camera firmware updates, it is simply adding new features or improving existing features (not just bug fixes) for the sake of doing so. This builds customer trust and brand loyalty, because purchasers know that they’re not being left out in the cold whenever innovations occur right after they’ve just spent a bunch of money on a new camera. They can rest assured that the brand cares, which is probably the biggest ingredient for gaining repeat customers.
Fujifilm used to be the king of Kaizen (at least in the camera world), but then they pulled back from it significantly. Now, they’re back at it again—hurray! I would encourage Fujifilm to keep going. Next, they should add Eterna Bleach Bypass and 0.5 Highlight and Shadow adjustments to the X100V and X-Pro3. Then, give Classic Negative to the X-T3 and X-T30 (like the GFX50R and GFX50S have). Those shouldn’t be too hard for them to do. I’d also encourage Fujifilm to update the 40mp cameras with the XPan aspect ratio. Let me know in the comments what Kaizen ideas you’d like to see Fujifilm tackle.
For those who suddenly have a camera with Reala Ace, you might be searching for some Recipes with that film simulation. Well, below are five Film Simulation Recipes in the Fuji X Weekly App that use Reala Ace:
I believe the Fujicolor PRO 160C Warm Recipe is the one that Victor Ha, Vice President of the Electronic Imaging and Optical Devices Divisions of Fujifilm North America, recently mentioned in a live Adorama broadcast.
During my move, I received a “monthly content roundup” email from Fujifilm. Perhaps you received the same email. Buried near the bottom was an add for the Fujifilm X-T4 ES, an infrared “extended spectrum” version of the X-T4. Back in 2022, I suggested that Fujifilm should release an IR camera as a “wow” product. I’ve wanted to get into IR photography for some time now, so I ordered it.
While Fujifilm did make an IR version of the X-T1, it was not sold to the general public. I’m not sure if the X-T4 ES was intended to be sold to the general public or not, but I placed my order and was charged. If it was an accident by Fujifilm, I’m certain I will get a refund shortly; if it was, in fact, made available to the general public, it must already be sold out, because the link is no longer active. I’ll keep you updated either way.
If the Fujifilm X-T4 ES sold out so quickly, I think it goes to show that there is indeed some demand for natively infrared models. Also, it seems like an excellent way to clear the shelves of some cameras that were perhaps over-produced. I don’t think Fujifilm has that issue at the moment, as all the current models appear to be doing well, but, in the future, if the situation occurs where they have a bunch of parts for a particular camera sitting around waiting to be manufactured but without demand, converting them to IR might be a way to get them sold.
I think that’s it for now. I’ve got a lot more to write; however, I’ll save that for various articles that will be published over the next week or so. Right now I’ve got to get back to unpacking; specifically, somehow making room in the garage for a car. I’ve received a bunch of comments, messages, emails, etc., that I’ve yet to respond to—it might take me several days, but I hope to get to all of them soon. I appreciate your patience!
It’s so good to be back. I have a lot to share—some exciting news that I can’t talk about yet but hopefully I can very soon. You’ll definitely want to stay tuned!
Flowers & Field – Buckeye, AZ – Fujifilm X100VI – Kodak Gold 200 v3
I ran across an image in a (pretty interesting) PetaPixel article, and was inspired to create a Film Simulation Recipe. The picture itself sent me down a long rabbit hole; while the photograph in the article served as one of the reference photos, it was far from the only. Actually, I couldn’t closely match that particle picture, but it served as inspiration nonetheless. After sleuthing, I discovered that the image was captured on Kodak Gold 200. But why was it so green? That question is what opened up the rabbit hole.
Kodak Gold 200 is particularly prone to a green cast, and there are a whole bunch of things that can cause it. Underexposure. Heat (such as left in a hot car). Expired. Waiting too long to develop after exposure. Fluorescent lights. Airport scanners. Improper development. Improper storage of negatives prior to scanning. Poor color correction of the scan. Those are the main reasons. That lead me to a trove of Kodak Gold 200 examples that had various levels of green casts.
Clearance Parking – Los Angeles, CA – Fujifilm X100VI – Kodak Gold 200 v3
This Kodak Gold 200 v3 Film Simulation Recipe is modeled after some of those Kodak Gold 200 photographs that have a green cast. Quite obviously I couldn’t match all of them, because there was so much variance. For most of the references pictures I’m not sure what exactly caused the cast. This definitely isn’t a “normal” Kodak Gold 200 Recipe; for that, I recommend this, this, or this. But, if you’d like an alternative aesthetic that is perhaps a bit more lomo, this is a fun Recipe to try.
Kodak Gold 200 v3 is an App Patron Early-Access Recipe. If you are a Fuji X Weekly App Patron, you have access to it right now. If not, no worries, as it will eventually be made available to everyone, once it is replaced by a new Early-Access Recipe. As of this writing, it is only compatible with the Fujifilm X100VI and X-T50; however, once Fujifilm brings Reala Ace to the other fifth generation cameras (supposedly this summer), it will be compatible with the X-H2s, X-H2, X-T5, and X-S20, too.
Example photographs, all camera-made JPEGs using this Kodak Gold 200 v3 Film Simulation Recipe on my Fujifilm X100VI:
Green Girl – Buckeye, AZ – Fujifilm X100VI
Yellow-Orange Flowers on a Green Bush – Buckeye, AZ – Fujifilm X100VI
Spring Trumpets – Buckeye, AZ – Fujifilm X100VI
Village Green Fountain – Buckeye, AZ – Fujifilm X100VI
Spitting Lion – Buckeye, AZ – Fujifilm X100VI
Lion Spewing Water – Buckeye, AZ – Fujifilm X100VI
Lion Fountain – Buckeye, AZ – Fujifilm X100VI
No, No – Scottsdale, AZ – Fujifilm X100VI
Oleander Parking – Buckeye, AZ – Fujifilm X100VI
Small Palm Frond – Buckeye, AZ – Fujifilm X100VI
Red Mustang – Buckeye, AZ – Fujifilm X100VI
Bumper Stickers – Surprise, AZ – Fujifilm X100VI
Red Chair with Flowers – El Segundo, CA – Fujifilm X100VI
Yellow Flower & Tree Trunk – Buckeye, AZ – Fujifilm X100VI
Tree Trunk at a Park – Buckeye, AZ – Fujifilm X100VI
Neighborhood Trees & Partly Cloudy Sky – Buckeye, AZ – Fujifilm X100VI
Parking Garage Reflected – Los Angeles, CA – Fujifilm X100VI
Photo Potential – Los Angeles, CA – Fujifilm X100VI
Paleta Cart – Los Angeles, CA – Fujifilm X100VI
Toyota – Los Angeles, CA – Fujifilm X100VI
First Order TIE Echelon – Anaheim, CA – Fujifilm X100VI
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Fujicolor 100 Industrial was a color negative 35mm film sold in bulk only in Japan—it’s not the same as the Fujicolor 100 that was widely available worldwide. It has been said that Fujifilm keeps their best film stocks in Japan, and there are two Japanese-only Fujicolor 100 emulsions: one is known as Fujicolor 100 Japan, and the other is Fujicolor 100 Industrial; however, they might be the exact same film—some say they are, while others say they are not (I’m not certain which is true, but I think they might be the same). The “Industrial” part of the name does not mean that it was for photographing industrial buildings, but simply that it was intended for commercial use by corporations who go through a lot of film—Fujifilm did not desire for it to be sold individually, but some did so nonetheless. Fujicolor 100 Industrial was discontinued by Fujifilm in 2020.
This film is unusual because it was made for daylight photography, but it is actually Tungsten-balanced. Fujifilm shifted the dyes so that it looked “normal” when used in sunny conditions. I’m not sure why they did this. Was it an experiment from their lab that they thought was cool but didn’t really know how to market? Is it that Tungsten film is cheaper to produce? I have no idea why, but it does give it a slightly different look than other Fujifilm emulsions.
Ford – Buckeye, AZ – Fujifilm X100VI – Fujicolor 100 Industrial
Back in 2019 I made a Fujicolor 100 Industrial Film Simulation Recipe for the Fujifilm X-T3 and X-T30 cameras, which uses PRO Neg. Std as the base. Ever since I published that Recipe, it has been one of my personal favorites for my X-T30; however, I never adapted it for the newer models. The solution is simple: if you have a Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II, X-H2s, X-H2, X-T5, X-S20, or X100VI, set Color Chrome FX Blue to Off, Grain size to Small, and Clarity to 0 (or -2, if you prefer). I have used that adaptation on my X100V, X-E4, and X-T5 a few times, but never made it an official Recipe.
Since the new Reala Ace film simulation is so similar to PRO Neg. Std, I decided to make a version of Fujicolor 100 Industrial using it as the base. I also used the latest JPEG options (that aren’t available on the X-T3 and X-T30) to fine-tune it just a tad more. While this new version of the Recipe isn’t identical to the old, it is still very similar. I like this new one, which uses Reala Ace, a tiny bit better than the old one, which uses PRO Neg. Std., but since they are so similar, you can go with whichever one you personally prefer.
At this time, the only X-series camera that this new Fujicolor 100 Industrial Film Simulation Recipe is compatible with is the Fujifilm X100VI; however, sometime this coming summer Fujifilm will purportedly give the new Reala Ace film simulation to the other fifth-generation models (X-H2s, X-H2, X-T5, and X-S20), so if you have one of those cameras, you’ll be able to use it soon enough. Also, the GFX100 II has Reala Ace, so you can use this Recipe on that camera, but it will likely render slightly differently (try it anyway).
Film Simulation: Reala Ace Dynamic Range: DR400 Grain Effect: Weak, Small Color Chrome Effect: Weak Color Chrome FX Blue: Off White Balance: 3100K, +8 Red & -8 Blue Highlight: +0.5 Shadow: +1.5 Color: -1 Sharpness: -1 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 Fujicolor 100 Industrial Film Simulation Recipe on my Fujifilm X100VI:
Sunkissed Leaves – Buckeye, AZ – Fujifilm X100VI
Sunlight Pouring on the Tree – Buckeye, AZ – Fujifilm X100VI
Easter Bunny – Buckeye, AZ – Fujifilm X100VI
Looking for Hidden Eggs – Buckeye, AZ – Fujifilm X100VI
Main Street Fountain – Buckeye, AZ – Fujifilm X100VI
Oleander Parking – Buckeye, AZ – Fujifilm X100VI
Exit 137 – Buckeye, AZ – Fujifilm X100VI
Two Men at Breakfast – Goodyear, AZ – Fujifilm X100VI
Suburban Roof – Buckeye, AZ – Fujifilm X100VI
Roofline Abstract – Buckeye, AZ – Fujifilm X100VI
Rural Backyard – Litchfield Park, AZ – Fujifilm X100VI
Building in Ruins – Gila Bend, AZ – Fujifilm X100VI
Little Yellow Flower at the Base of a Tree – Buckeye, AZ – Fujifilm X100VI
Small Outdoor Table – Goodyear, AZ – Fujifilm X100VI
Mudflap – Litchfield Park, AZ – Fujifilm X100VI
Palm Shadow on Window – Buckeye, AZ – Fujifilm X100VI
Tower Reflection – Buckeye, AZ – Fujifilm X100VI
Coffee Cove – Buckeye, AZ – Fujifilm X100VI
Patriotic Neighborhood – Buckeye, AZ – Fujifilm X100VI
Lion Spitting Water – Buckeye, AZ – Fujifilm X100VI
Yellow Wall – Gila Bend, AZ – Fujifilm X100VI
Sunset out the Window – Buckeye, AZ – Fujifilm X100VI
Dusk Lamps – Goodyear, AZ – Fujifilm X100VI
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Amazing Grace – Glendale, AZ – Fujifilm X100VI – PRO Negative 160C
This is the very first Film Simulation Recipe that I created using my brand-new Fujifilm X100VI camera, and also the very first using the new Reala Ace film simulation. I’m very excited to share it with you, because I think many of you who have received their X100VI cameras will love it, and those still waiting for their order to be shipped can look forward to it—as well as those with the other X-Trans V cameras whenever it is that Fujifilm gives the Reala Ace film simulation to those models via a firmware update, which Fujifilm has said that they will do.
I mentioned a few days ago that Reala Ace isn’t much like Reala film, but is actually similar to PRO Neg. Std, mostly with just a small increase in Highlight and a moderate increase in Color. It is essentially a third PRO Neg. option, with a tonality in-between Hi and Std, and saturation more similar to Hi (just a little more, actually); for whatever reason, it’s easier to replicate the Reala Ace film sim with PRO Neg. Std than PRO Neg. Hi, but you can get pretty close with either. The most similar emulsion to the new Reala Ace film sim is, in my opinion, Fujicolor PRO 160C, which was made by Fujifilm between 2004 and 2010. “PRO Neg. C” is probably a more appropriate name for the new film sim than Reala Ace, but that’s not what Fujifilm chose.
Vibrant Trumpets – Buckeye, AZ – Fujifilm X100VI – PRO Negative 160C
I didn’t necessarily set out to recreate Fujicolor PRO 160C with this PRO Negative 160C Film Simulation Recipe, although I had it in my mind because I had just looked at a bunch of pictures captured with the film. More simply, I was intending a PRO Neg. Std tonality, but with vibrancy more like (or possibly slightly beyond) PRO Neg. Hi with Color set to +4. You can get about 90% similar to this Recipe using PRO Neg. Hi, but you can’t quite match it. You could probably get a 95% match if PRO Neg. Std had a +6 Color option, but alas +4 is the most that Fujifilm provides. Even though this wasn’t exactly meant to replicate Fujicolor PRO 160C film, it is definitely in the ballpark of that emulsion, and you could probably convince some people that used the film, and not a digital camera.
For those unfamiliar with Fujicolor PRO 160C, it was a natural-yet-vibrant low-ISO color negative professional-grade daylight film. Fujifilm made three different emulsions in the PRO 160 line: 160S, 160NS, and 160C. The PRO 160 series was intended to compete against Kodak’s Portra 160 films; specifically, PRO 160S was Fujifilm’s answer to Portra 160NC, PRO 160C was Fujifilm’s answer to Portra 160VC, and PRO 160NS was Fujifilm’s answer to (the later updated) Portra 160. With that said, Fujifilm’s emulsions were significantly divergent from Kodak’s offerings; while Portra is now legendary, PRO 160 has nearly been forgotten. I never shot with PRO 160C personally, but I did use PRO 160S a couple of times; in retrospect, I think I would have liked 160C more.
Railroad Water Tower – Gila Bend, AZ – Fujifilm X100VI – PRO Negative 160C
As of this writing, the only Fujifilm cameras this PRO Negative 160C Film Simulation Recipe is compatible with are the X100VI and GFX100 II. I’ve not tested this on the GFX model, but I’m certain that it will render slightly differently, although that shouldn’t stop you from trying it. Eventually all X-Trans V cameras will be able to use it once Fujifilm releases it to those models, but I’m not certain exactly when that will happen (hopefully soon). This is a versatile Recipe—use it anytime of the day or night! I believe that it could be your go-to option for everyday photography.
Film Simulation: Reala Ace Dynamic Range: DR200 Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Off White Balance: Auto, +1 Red & -2 Blue Highlight:-1 Shadow: -1 Color: +4 Sharpness: -1 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this PRO Negative 160C Film Simulation Recipe on my Fujifilm X100VI:
Afternoon in Spring – Buckeye, AZ – Fujifilm X100VI
Bougainvillea & Arch – Buckeye, AZ – Fujifilm X100VI
Shrub along Stucco Wall – Buckeye, AZ – Fujifilm X100VI
Water Angels – Buckeye, AZ – Fujifilm X100VI
Yellow Wall – Gila Bend, AZ – Fujifilm X100VI
Abandoned Service Station – Gila Bend, AZ – Fujifilm X100VI
Old Fire Engine – Gila Bend, AZ – Fujifilm X100VI
Old Fire Engine Cab – Gila Bend, AZ – Fujifilm X100VI
Steering Wheel in an Abandoned Truck – Gila Bend, AZ – Fujifilm X100VI
Yellow Wall, Abandoned Building – Gila Bend, AZ – Fujifilm X100VI
Window Basket – Buckeye, AZ – Fujifilm X100VI
Jon with a Camera – Glendale, AZ – Fujifilm X100VI
American Turkey Legs – Glendale, AZ – Fujifilm X100VI
Bud Bud, Light Light – Glendale, AZ – Fujifilm X100VI
Thunderbird & Canopies – Glendale, AZ – Fujifilm X100VI
Mirrored Jets – Glendale, AZ – Fujifilm X100VI
Four Birds in the Sky – Glendale, AZ – Fujifilm X100VI
Collision Course – Glendale, AZ – Fujifilm X100VI
Travis – Glendale, AZ – Fujifilm X100VI
Twin Engine – Glendale, AZ – Fujifilm X100VI
Blue Angel 0 – Glendale, AZ – Fujifilm X100VI
Green Buckets – Glendale, AZ – Fujifilm X100VI
Rescue – Glendale, AZ – Fujifilm X100VI
Airmen in Sunglasses – Glendale, AZ – Fujifilm X100VI
Palm Tree Checkerboard – Buckeye, AZ – Fujifilm X100VI
It’s all Greek to Me – Buckeye, AZ – Fujifilm X100VI
Little Lights, Big Lights – Buckeye, AZ – Fujifilm X100VI
The Black Hole – Buckeye, AZ – Fujifilm X100VI
Kool & The Gang, Crowd – Buckeye, AZ – Fujifilm X100VI
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My Fujifilm X100VI arrived in the mail yesterday. Eagerly I opened the box, pulled out the X100V (but with an “I” after the “V”), placed a freshly charged battery inside, inserted an SD Card, programmed my C1-C7 custom settings presets, and went out shooting. The main reason why I wanted the X100VI was for the brand-new Reala Ace film simulation. I think a big reason why Fujifilm cameras are so in-demand right now are the film simulations and the many Film Simulation Recipes that can achieve various film-like looks straight-out-of-camera, no editing needed. Anytime that Fujifilm adds a new film sim is a good time, and is always a top reason for myself to spend money on a new camera that I don’t actually need.
My very first impression of the X100VI is that it’s an X100V. The two models are identical twins at initial glance. That’s not a bad thing whatsoever, because I absolutely love my X100V; if it ain’t broke, don’t fix it. The new camera is slightly heavier (but, really, you need to have one in each hand to be able to tell), and there’s a small amount of noise when you shake the X100VI due to the IBIS inside, but otherwise there’s not a lot to distinguish the two apart. Internally, the new camera has IBIS (which I haven’t had a chance to test yet since I only used it in bright daylight so far), the 40mp X-Trans V sensor and processor, and the latest JPEG options, including Eterna Bleach Bypass, Nostalgic Neg., and Reala Ace—all of which are the largest distinctions between the old and new versions.
I tried Reala Ace right away. The new film simulation was named after Fujicolor Superia Reala Ace 100 color negative film, a version of Fujicolor Superia Reala 100 that was only sold in Japan. Reala was introduced in the late-1990’s and discontinued in 2013, and was the first Superia film (although initially it didn’t have Superia in the name), the first with their 4th emulsion layer. The Classic Negative film simulation, which is closely modeled after Superia film, is the best way to replicate Reala on your Fujifilm camera; specifically, try my Fujicolor Reala 100 Film Simulation Recipe. My Reala Ace Recipe was intended to mimic the new Reala Ace film sim using Classic Negative, but it can also be thought of as a v2 for replicating Fujicolor Reala film. Unfortunately, the new Reala Ace film simulation is not modeled after the film that it was named after.
When there are not many example photographs of a new film sim, there’s not a lot to go on for replicating it. It’s impossible to know if the samples are straight-out-of-camera with everything set to factory defaults, or if some of the parameters were adjusted, or if post-editing was done, unless the photographer discloses that. When Reala Ace was introduced on the GFX100 II, I believe that many of the samples that initially came out were post-edited to some degree (one photographer did specifically state that their’s was), and that makes sense since most GFX owners are not shooting SOOC JPEGs. My Reala Ace Recipe is probably as close as one can get to the Reala Ace film sim using Classic Negative, and is more similar to the actual film than the Reala Ace film sim is; overall, my Recipe is only a so-so match to the new film sim, and is off in several aspects.
My Reala Ace Film Simulation Recipe
Default Reala Ace film sim, except DR200, Grain Weak/Small & High ISO NR -4
Fujifilm placed the Reala Ace film simulation right above PRO Neg. Hi in the film sim list, and I quickly discovered why. The two PRO Neg. film simulations are not closely modeled after any emulsions, but are generally inspired by Fujifilm’s PRO lines of film, such as PRO 160S, PRO 160NS, PRO 160C, and PRO 400H. The main difference between PRO Neg. Hi and PRO Neg. Std is that the Hi version has more contrast and saturation, and the Std version has less. Reala Ace is quite similar to both PRO Neg. Std and PRO Neg. Hi, and you can more-or-less approximate the Reala Ace film sim with either. I found that PRO Neg. Std is actually the best option for replicating Reala Ace, so if your camera has PRO Neg. Std, you pretty much have Reala Ace. Fujifilm should have named the new film sim PRO Neg. C, since it is the third version of PRO Neg. (“C” is the third letter in the alphabet), and the emulsion that the new film sim is most similar to is Fujicolor PRO 160C (and not Reala).
To get close to Reala Ace (PRO Neg. C) using PRO Neg. Std, make these adjustments: – For Reala Ace, I set both Highlight and Shadow to -0.5. Additionally, I used DR200, Grain Weak/Small, and High ISO NR -4; otherwise, everything else was factory defaults (Off, Auto, or 0). – For PRO Neg. Std, I set Highlight to +1, Shadow to -0.5, Color to +2, Color Chrome FX Blue to Weak, DR200, and Grain Weak/Small; otherwise, everything else was factory defaults (Off, Auto, or 0). You might question why, for example, I didn’t keep Reala Ace at Highlight/Shadow 0, and on PRO Neg. Std simply adjust Highlight to +1.5? I tried that, but for whatever reason, the changes I made are an ever-so-slightly closer match. Both are acceptable, though.
Can you guess which is Reala Ace (PRO Neg. C) and which is PRO Neg. Std in the sets below, Pic 1 or Pic 2?
Pic 1
Pic 2
Pic 1
Pic 2
Pic 1
Pic 2
There are, of course, some small differences. Reala Ace renders blue slightly deeper, but applying Color Chrome FX Blue Weak to PRO Neg. Std is a little too much to exactly match; CCEB Extra-Weak would be perfect, but that doesn’t exist. A WB Shift of -0.5 Blue (-1 Blue is too much) to PRO Neg. Std would be good if you could; I used Auto WB, but if you used Kelvin instead, you could try something like 5100K on PRO Neg. Std to replicate 5000K on Reala Ace. Setting Color to +2.5 on PRO Neg. Std would be great, but that doesn’t exist, either. There are small differences in both Highlight and Shadow rendering, but you’d need 0.25 adjustments to more accurately match them. There is a level of fine-tuning required to precisely replicate Reala Ace that’s not available on Fujifilm cameras, but you can get pretty darn close nonetheless.
The larger point is that if you want a Reala Ace (PRO Neg. C) film simulation look, all you really need is PRO Neg. Std. Simply increase Highlight by +1 and Color by +2 and you’re pretty much there—a little more fine-tuning can get you slightly closer. You can’t 100% match them, but you can get pretty darn close—nobody would be able to tell without a side-by-side comparison, and even then it’s not completely obvious without studying closely.
Reala Ace film simulation
For those still wondering which is which in the photos above, Pic 1 in each set is PRO Neg. Std, and Pic 2 is Reala Ace. You can spot the differences when you know what to look for, but otherwise they’re very similar. Reala Ace is a little nicer at factory defaults than PRO Neg. Std, perhaps more like PRO Neg. Std that has been adjusted into a Film Simulation Recipe. I think there is potential for some new Recipes utilizing Reala Ace as the base; overall, I prefer my Reala Ace Recipe that uses Classic Negative. I am looking forward to seeing what can be done with the new film sim, so expect some Reala Ace (PRO Neg. C) Recipes soon!
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Dodge Van Steering Wheel – Buena Park, CA – Fujifilm X-T5 – Reala Ace Recipe
Mark your calendar! After a two week delay, the next SOOC Live broadcast will now be this coming Thursday, October 19th. Originally, we were going to discuss double-exposure photography (as was advertised at the end of our last show), but we decided to change the topic to Reala Ace.
Why? First, life events happened, and we just didn’t have the time needed for such a big topic, as there are a whole lot of considerations and approaches to multiple-exposures worth addressing. We hope to still tackle this at some point, but understand that it’s a big undertaking, and we can only do it if we have the time to prepare everything. It just didn’t work out this time like we had hoped it would. Second, Reala Ace, which is the name of Fujifilm’s latest film simulation, is a trending subject, and my new Reala Ace Film Simulation Recipe has quickly caught on. So Nathalie Boucry and I thought that we should discuss this instead, diving more deeply into it, while also providing some alternatives.
I hope that you can join us this Thursday! It’s an interactive program, and your participation makes the show better. I’ve included the video below so that you can easily find it, but please follow the SOOC Live YouTube channel so that you don’t miss any upcoming episodes. See you soon!
Luxury Among Palms – Laguna Hills, CA – Fujifilm X-T5 – Reala Ace Recipe
Fujifilm introduced a new film simulation with the GFX100 II called Reala Ace. Fujifilm says that it “combines faithful reproduction with hard tonality,” showing it with a little higher vibrancy than Classic Negative paired with a tonality more similar to Provia. Some have described it as being true-to-life. Photographs that I have found captured with the new film simulation have a Classic Negative look, but with an increase in color, a reduction in contrast, and significantly more blue. I think this new film sim could have been called Classic Negative v2, but Fujifilm named it Reala Ace instead.
Fujicolor Reala 100 was Fujifilm’s first Superia film, even though initially it did not have Superia in the name. Superia films shared Fuji’s “4th layer technology” and Reala was the first to have it, but Reala was marketed towards “pro” photographers while Superia was marketed towards “consumer” photographers. Eventually, though, Fujifilm added Superia to Reala’s name. There were several different versions of Reala manufactured, including a high-ISO Tungsten one made for motion pictures, but Reala 100 was the most popular. Reala was very similar to Superia, but Superia was intended for “general purpose” photography while Reala was intended for portrait and wedding photography. Colors are rendered a little differently between the two films, especially blue, which is deeper and more saturated on Reala, despite Reala being overall slightly less saturated than Superia 100. Fujifilm discontinued Reala in 2013. I have a Film Simulation Recipe that replicates Fujicolor Reala 100, which uses Classic Negative as the base, since Classic Negative is closely modeled after Superia film.
On occasion, Fujifilm named certain film stocks differently in Japan than the rest of the world, and there were several film stocks made available only in Japan. Fujicolor Reala Ace 100 was a color negative film sold only in Japan. Some speculated that it was the exact same thing as Fujicolor Superia Reala 100 just sold under a slightly different name, while others said that Fujicolor Reala Ace 100 was a unique film similar to the Reala sold worldwide except fine-tuned for Japanese skin tones. There doesn’t seem to be any consensus on which is correct, but I’d bet that the latter is true. It was said for decades that Fujifilm kept their best emulsions in Japan. For whatever reason, Fujifilm went with the name Reala Ace for their new film simulation, and not simply Reala. Not all film sims are accurate reproductions of the emulsions that they’re named after, but Reala Ace seems to have the right vibe for replicating actual Reala film.
Red Cliffs – Sedona, AZ – Fujifilm X-T5 – Reala Ace Recipe
I have never used the new Reala Ace film simulation. There aren’t a lot of examples of it, but there are some; however, it’s impossible to know if those images are straight-out-of-camera factory-default Reala Ace JPEGs, or if the photographer adjusted some parameters or post-edited the pictures in some way. Trying to emulate new film simulations when there’s not a lot known about it is tricky, and the results are often wrong. For example, my attempt at Classic Negative was way off, and I stated that it would likely be—I was hesitant to publish it for that reason. Nostalgic Negative was a near identical story, and I stated, “…this Recipe will likely turn out to be an inaccurate facsimile to the real Nostalgic Negative film simulation.” I was right about that. This time, though, is different, as I am confident that this Reala Ace film simulation is a close approximation of the real thing. It might not be perfect, but it is definitely in the ballpark. I bet that it is a 95% match—if not closer—but it’s impossible to know for certain until more samples come out, and (even better) it trickles out to other models and I have a chance to try it myself. It’s definitely close enough that I feel quite good calling it Reala Ace.
Fujifilm said of the new film sim, “As an approach to rich gradation expression, the new sensor for the GFX100 II is the best fit for it. Without this sensor, we are not able to realize the Reala film simulation in it.” They talked about silver halide and signal-to-noise ratios and stuff. You might think this means that Reala Ace won’t make its way to the X-series; however, Fujifilm said something very similar about Nostalgic Neg., yet it is now available for X-Trans V generation models, including the X-S20, which has an X-Trans IV sensor. I think this is just Fujifilm’s way of saying that it’s not coming to X-Trans right away. I, of course, believe that this is a big mistake, because the majority of GFX users don’t use Film Simulation Recipes and won’t really care about this new film sim, while a whole lot of X-series owners do use Recipes and do care a lot about new film simulations. Fujifilm is letting what could be a big promotional opportunity just slip through their fingers, which is exactly what they did with Nostalgic Negative. I hope someday they learn this lesson, and stop making the same mistake over and over. Fujifilm: seriously, and I cannot state this any louder or more clearly, you need to introduce new film simulations with significant X-Trans releases, and not GFX. We can all see through the bogus it-has-to-be-100mp excuse, because I did in three days (and with much more limited resources) what you said wasn’t possible, and made Reala Ace available to all those with X-Trans V cameras. Please don’t hate me for rectifying your mistake, as this Recipe will likely influence more people to buy an X-series camera than Reala Ace will cause people to buy the GXF100 II. For those looking for an excuse to upgrade to an X-Trans V model, this Reala Ace Film Simulation Recipe might just be it for you, because it is that good.
Dodge Van Steering Wheel – Buena Park, CA – Fujifilm X-T5 – Reala Ace Recipe
I love this new Reala Ace Film Simulation Recipe, and for me it’s an instant favorite! It is kind of like a cross between the Fujicolor Reala 100 and Fujicolor NPS 160 Pulled Recipes—you could consider it a “v2” of either of those two, although it has a much stronger Reala vibe than NPS 160. The Recipe is soft yet colorful, highly versatile, and has a clear analog-like aesthetic. It’s just as Fujifilm put it: suitable for all subjects and situations. If you have a fifth-generation X-Trans camera, which (as of this writing) are the X-H2s, X-H2, X-T5, and X-S20 (yes, the X-S20!), I invite you to try this Reala Ace Recipe today! If you have a fourth-generation X-Trans camera with Classic Negative and half-point Highlight/Shadow adjustments, which are the X-T4, X-S10, X-E4, and X-T30 II, you can also use this Recipe, but know that blues will be render slightly less deeply (try it anyway). For the X-Pro3 and X100V, consider Highlight set to -1 in low contrast situations and -2 in high contrast situations.
Film Simulation: Classic Negative Grain Effect: Weak, Small Color Chrome Effect: Strong Color Chrome FX Blue: Strong White Balance: Auto, -1 Red & +1 Blue Dynamic Range: DR400 Highlight: -1.5 Shadow: -2 Color: +2 Sharpness: 0 High ISO NR: -4 Clarity: -2 ISO: Auto, up to ISO 6400 Exposure Compensation: -1/3 to +1 (typically)
Example photographs, all camera-made JPEGs using this Reala Ace Film Simulation Recipe on my Fujifilm X-T5:
Amaricana Equestrian – Litchfield Park, AZ – Fujifilm X-T5
Bougainvillea Blooms & Blue Sky – Buckeye, AZ – Fujifilm X-T5
Sunlit Bougainvillea Blossom – Buckeye, AZ – Fujifilm X-T5
Twin Trumpets – Buckeye, AZ – Fujifilm X-T5
Little Vibrant Blooms – Riverside, CA – Fujifilm X-T5
Fish Out of Water – Riverside, CA – Fujifilm X-T5
Fake Fern – Buckeye, AZ – Fujifilm X-T5
Potted Palm – Buckeye, AZ – Fujifilm X-T5
Morning Johanna – Buckeye, AZ – Fujifilm X-T5
Flowing Fountain – Riverside, CA – Fujifilm X-T5
China in America – Riverside, CA – Fujifilm X-T5
Hill Houses – Laguna Hills, CA – Fujifilm X-T5
Setting Sun over the Pacific Ocean – Laguna Beach, CA – Fujifilm X-T5
Young Surfer – Laguna Hills, CA – Fujifilm X-T5
Golden Ocean – Laguna Hills, CA – Fujifilm X-T5
Jon on the Gold Coast – Laguna Hills, CA – Fujifilm X-T5
Rainbow & Palms – Buena Park, CA – Fujifilm X-T5
Hazy Paifang – Riverside, CA – Fujifilm X-T5
Evening Hoop – Buckeye, AZ – Fujifilm X-T5
Evening Palms & Clouds – Buckeye, AZ – Fujifilm X-T5
Rays from Behind a Big Cloud – Surprise, AZ – Fujifilm X-T5
Clouds & Coaster – Buena Park, CA – Fujifilm X-T5
Cup Ride – Buena Park, CA – Fujifilm X-T5
Happily Anticipating the Thrill Ride – Buena Park, CA – Fujifilm X-T5
Bumper Cars – Buena Park, CA – Fujifilm X-T5
Blacksmith Working – Buena Park, CA – Fujifilm X-T5
Faux Tree Branch – Buckeye, AZ – Fujifilm X-T5
Three Bathtub Ducks – Buckeye, AZ – Fujifilm X-T5
Red Comb – Buckeye, AZ – Fujifilm X-T5
Dog Resting in the Shade – Riverside, CA – Fujifilm X-T5
Paseo Avila – Riverside, CA – Fujifilm X-T5
Illuminated Dilapidation – Litchfield Park, AZ – Fujifilm X-T5
Permanently Opened Door – Litchfield Park, AZ – Fujifilm X-T5
Hole in the Wall – Litchfield, Park, AZ – Fujifilm X-T5
Sonoran Saguaro – Buckeye, AZ – Fujifilm X-T5
Cholla Cactus – Buckeye, AZ – Fujifilm X-T5
Unlit Headlamp – Buena Park, CA – Fujifilm X-T5
Tattoo & Turkish Pizza – Tempe, AZ – Fujifilm X-T5
Thunderbird Tire – Surprise, AZ – Fujifilm X-T5
Thunderbird Taillight – Surprise, AZ – Fujifilm X-T5
Inside Dodge Travel Van – Buena Park, CA – Fujifilm X-T5
Summer Season in the Suburbs – Buckeye, AZ – Fujifilm X-T5
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Now that the X Summit is over and the GFX100 II has been officially announced, we have a little bit better idea of what exactly Fujifilm’s new film simulation is. First, the name is not Reala like was previously rumored, but Reala Ace. Not a huge difference, but different nonetheless.
Fujifilm has sometimes named certain film stocks differently in Japan than the rest of the world, and several film stocks were only made available in Japan. Fujicolor Reala Ace 100 was a color negative film sold only in Japan. Some speculated that it was the exact same thing as Fujicolor Superia Reala 100 (initially, Superia wasn’t in the emulsion name, but was added later) just sold under a slightly different name, while others said that Fujicolor Reala Ace 100 was a unique film similar to the Reala sold worldwide except fine-tuned for Japanese skin tones. For whatever reason, Fujifilm went with the name Reala Ace for their new film sim.
Prior to today’s announcement, I had speculated that “…the new film simulation will [not] be an accurate replication of Reala film, since Classic Negative is so close already; instead, I think Fujifilm is simply going to use the brand name for a film sim that has a neutral and natural rendering (true-to-life or real-like, yet leaning towards soft tonality and muted colors).” I also said, “I’m crossing my fingers that the Reala film simulation will be a tweak of Classic Negative that will more closely mimic Reala emulsions.”
I was half right and half wrong, but I’m quite happy to be half wrong. I was right that the film sim would lean towards soft tonality and have a true-to-life rendering. I was wrong that it wouldn’t look like Reala film or Classic Negative, because it does. You could call the new film sim Classic Negative v2, but Fujifilm named it Reala Ace.
Leaving the Water – Laguna Beach, CA – Fujifilm X-T5 – Fujicolor Reala 100 Recipe
How accurate is the Reala Ace film simulation to Reala film? It definitely has the right vibe, from the small number of samples I’ve found online. It isn’t all that dissimilar to my Fujicolor Reala 100 Film Simulation Recipe, either—in fact, I think just a few small adjustments to my Recipe brings the results closer to the new film simulation. Of course, I have no idea if those Reala Ace examples are unedited, and what parameter adjustments the photographer might have done, or if they’re all factory defaults.
Fujifilm has a graph demonstrating how the different film simulations fit on a tonality and saturation scale. It should be taken with a grain of salt. For example, there’s no way that Nostalgic Neg. is the second most vibrant film sim, because it’s not. PRO Neg. Hi has a little more saturation than PRO Neg. Std, yet they’re the same on the chart. Still, we can extrapolate that Reala Ace has softer tonality yet a tad higher vibrancy than Classic Negative.
Even though Reala Ace is essentially Classic Negative, I’m quite thrilled that this new film sim has an obvious analog aesthetic. Classic Negative is one of my favorite film simulations, and I’m sure Reala Ace will be, too, once I get a chance to use it someday in the future. My guess is that the upcoming Fujifilm X100Z (or whatever Fujifilm calls it… maybe they’ll name it X100Ace?) will be the first X-series camera to get Reala Ace. I won’t buy the GFX100 II (it’s way outside of my budget), so it might be awhile before I get to try it. From what I can tell, the new film sim will be found right below Classic Chrome and right above PRO Neg. Hi in the camera’s film simulation list.
Interestingly enough, there seems to be a lot of interest in this new film sim, but not necessarily by folks who will buy the GFX camera. The ones most excited seem to be those who anticipate that it will trickle to the X-series. Most of those who have reviewed the camera (who received a pre-production model from Fujifilm) barely mentioned it, and mainly as a passing thought. One did talk a little more about it (and right at the beginning), but otherwise the enthusiasm for Reala Ace seems to be much stronger from the X crowd than the GFX, despite it only found (for now) on GFX. This makes a lot of sense to me because most of those who shoot GFX cameras don’t use Film Simulation Recipes (yet there are some); however, many who have X-Trans cameras do use Recipes. Fujifilm should introduce new film sims on X-series models where they can better capitalize on that excitement, and not on GFX where it’s unimportant (generally speaking) to those buyers, essentially wasting the opportunity (hey, maybe Fujifilm should consult with me??!!).
I modified the Fujicolor Reala 100 Film Simulation Recipe on my Fujifilm X-T5, reprocessing in-camera some recent pictures on the SD Card, to more closely resemble the Reala Ace film simulation. You can find the Reala Recipe on this website (here) and on the Fuji X Weekly App. The modifications I made to the Fujicolor Reala 100 Recipe are: White Balance Shift set to 0 Red & +1 Blue (using Daylight WB… I also tried Auto White Balance with that same shift), Color Chrome FX Blue Strong, Color +1, Highlight -1.5, Sharpness 0, and Clarity -2. There are only a small number of examples of the new film sim, and it’s impossible to know if they’re 100% default Reala Ace or if they have been modified or edited in some way, but I think I’m in the ballpark with these settings. It’s pretty close. Below are some examples.
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
Faux Reala Ace on my X-T5
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