Sunny Afternoon Blooms – Buckeye, AZ – Fujifilm X70 – Pro Film Recipe
For this Film Simulation Recipe, I was attempting to accomplish two different things: create a Recipe that uses Underwater White Balance and produce results with an analog-like color negative film aesthetic. To the second point, this Recipe does produce that in generic terms. It’s not intended to mimic any specific film emulsion, although there might be someunintended resemblance to Fujicolor Pro 160C, or—to a lesser extent—Kodak Portra 160VC.
The reason I chose the Underwater White Balance type is because I’ve yet to use it with any X-Trans II Recipe; since your camera will remember one White Balance Shift per White Balance type, this can be another option to consider for your C1-C7. If each of the seven Film Simulation Recipes programmed into your Custom Presets has a different White Balance type, you won’t have to worry about changing the WB Shift when switching between your C1-C7 Custom Preset.
Red Bicycle – Buckeye, AZ – Fujifilm X70 – Pro Film Recipe – Photo by Jon Roesch
This “Pro Film” Recipe is compatible with all Fujifilm X-Trans II cameras (except the XQ1 and XQ2, which don’t have the PRO Neg. Hi film simulation). You can use this Recipe on the X-Pro1 and X-E1 (as well as many of the Bayer models), although the results will be slightly different.
PRO Neg. Hi Dynamic Range: DR200 Highlight: -1 (Medium-Soft) Shadow: -2 (Soft) Color: +2 (High) Sharpness: -1 (Medium-Soft) Noise Reduction: -2 (Low) White Balance: Underwater, 0 Red & -2 Blue ISO: Auto, up to ISO 3200 Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs using this “Pro Film” Film Simulation Recipe on a Fujifilm X70:
No Turning Back – Phoenix, AZ – Fujifilm X70
Yellow Truck – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Sunset Ford – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Red Car – Buckeye, AZ – Fujifilm X70
Van Accessible – Phoenix, AZ – Fujifilm X70
Walkway Bicycle – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Window in the Wall – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Locked Up Bike – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Enjoy – Phoenix, AZ – Fujifilm X70
Corner Table – Phoenix, AZ – Fujifilm X70
Clouds over Rooftop – Buckeye, AZ – Fujifilm X70
Sunlight Behind Pavilion – Buckeye, AZ – Fujifilm X70 – Photo by Joy Roesch
School – Buckeye, AZ – Fujifilm X70
Backlit Tree & Wall – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Electric Wall – Buckeye, AZ – Fujifilm X70
Backyard Jo – Buckeye, AZ – Fujifilm X70
Backlit Water Fountain – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Green Field – Buckeye, AZ – Fujifilm X70 – Photo by Jon Roesch
Park View – Buckeye, AZ – Fujifilm X70 – Photo by Joshua Roesch
Photographing the Photographer – Buckeye, AZ – Fujifilm X70 – Photo by Joshua Roesch
Arizona Green – Buckeye, AZ – Fujifilm X70 – Photo by Joy Roesch
Early Morning Bougainvillea – Buckeye, AZ – Fujifilm X70
Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support Fuji X Weekly.
Empty Baseball Field – Buckeye, AZ – Fujifilm X-T1 – Provia Negative Recipe
Unlike most Film Simulation Recipes, I didn’t model this one after any film or process. My first thought was this: how can I make a Recipe that’s helpful. Let me back this up a minute. Unless your camera is an X-Pro3 or newer, you cannot save a white balance shift with your C1-C7 custom presets; however, your camera will remember one shift per white balance type, so if each C1-C7 recipe uses a different white balance type, you won’t have to remember to change the shift when you change Recipes. For X-Trans II, there are recipes that use Auto, Daylight (which Fujifilm calls “Fine” for some reason), Kelvin, and Shade, so I thought it would be helpful to create a recipe that calls for a different white balance type that I haven’t yet used.
After some playing around, I created a Film Simulation Recipe that I was quite happy with. It reminds me a little of Fujichrome Provia 100F slide film, but less vibrant, and a tad less contrasty, too, but still kind of similar; however, I think the tonality is more similar to negative film than reversal film. That’s why I call this recipe Provia Negative. This recipe has a slight cool color cast, with white leaning towards blue. I was able to get good results in several different light situations—including indoors, overcast, and shade—but it is especially well suited for sunny daylight.
Indoor Tree – Buckeye, AZ – Fujifilm X-T1 – Provia Negative Recipe
This Provia Negative Film Simulation Recipe was a Fuji X Weekly App Patron Early-Access Recipe, so subscribers to the App have been able to use it since July; however, a new Early-Access Recipe has replaced it, so it is now available to everyone. Because it uses the Classic Chrome film simulation, it is only compatible with X-Trans II camera with Classic Chrome, which are the Fujifilm X100T, X-E2, X-E2S, X-T1, X-T10, X30, XQ2, and X70.
Classic Chrome Dynamic Range: DR400 Highlight: -2 (Soft) Shadow: +2 (Hard) Color: +2 (High) Sharpness: -1 (Medium-Soft) Noise Reduction: -2 (Low) White Balance: Fluorescent 3, -2 Red & -2 Blue ISO: Auto up to ISO 3200 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this Provia Negative Film Simulation Recipe on my Fujifilm X-T1 and Fujifilm X70 cameras:
Fake Leaf by Real Window – Tucson, AZ – Fujifilm X70
Cienega Creek Bridge – Vail, AZ – Fujifilm X70
Sharp Agave – Tucson, AZ – Fujifilm X70
Two Magenta Flowers – Buckeye, AZ – Fujifilm X-T1
One Bloom Remains – Buckeye, AZ – Fujifilm X-T1
Pink & Green – Buckeye, AZ – Fujifilm X-T1
Pop of Warmth – Buckeye, AZ – Fujifilm X-T1
Pink Flower Blossom – Buckeye, AZ – Fujifilm X-T1
Pink Flower Blossom 2 – Buckeye, AZ – Fujifilm X-T1
Bougainvillea Pink – Buckeye, AZ – Fujifilm X-T1
Backlit Flowers & Leaves – Buckeye, AZ – Fujifilm X-T1
Basketball in the Grass – Buckeye, AZ – Fujifilm X-T1
Go Supply – Goodyear, AZ – Fujifilm X-T1
Hobby Lobby – Avondale, AZ – Fujifilm X-T1
1:40 Diner – Benson, AZ – Fujifilm X70
Square on Block Wall – Buckeye, AZ – Fujifilm X-T1
Find this Film Simulation Recipe and nearly 300 more on the Fuji X Weekly App! Consider becoming a Patron subscriber to unlock the best App experience and to support this website.
Help Fuji X Weekly
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
When should you use which Film Simulation Recipes on your Fujifilm X-Trans II camera? With so many recipes to choose from, it can be difficult to know what recipe you should select in a given situation, and this article is intended to help you with that. If you haven’t read Part 1, it’s important to do so because it explains what exactly we’re doing—the backstory—which is imperative to understand. There’s a video to watch in that article, too. Take a moment right now to hop on over to Part 1 (click here) before continuing on with this post, if you haven’t viewed it already.
One thing to note about X-Trans II cameras is that not all of them have the Classic Chrome film simulation, including the X100S, X20, and XQ1. Unfortunately, if you have one of those models, this list is slightly less useful to you, although I hope you still find it helpful. For those with an X100T, X-E2, X-E2S, X-T1, X-T10, X30, X70, or XQ2, this list is fully compatible with your camera.
Like Parts 2 & 3, I set out to recommend seven recipes, one for each C1-C7 Custom Preset, that don’t share the same white balance type or, if they do, they also share the same shift, because X-Trans II cameras cannot remember a White Balance Shift within the C1-C7 Custom Presets. If two recipes share the same white balance type but not the same shift, then when you switch presets you must remember to adjust the shift, too. That can be inconvenient and frustrating, so my best solution is to program recipes that use different white balance types and/or share the same white balance type and shift. The user experience is much improved, but you might not be able to program all of your favorite recipes at the same time, which is the one downside to doing this. It was a difficult task, but I think I came up with a good set for you.
The Classic Kodak Chrome Film Simulation Recipe is a great option for sunrise or sunset photography, or pretty much anytime of the day or night. This is my current favorite recipe for X-Trans II cameras—I shoot with it often, more than all of the other X-Trans II recipes combined. This is my top allrounder choice! Almost no matter the subject, situation, or light, this is the recipe that I go with. Classic Kodak Chrome uses the Auto white balance type; if I wasn’t concerned about white balance type, I’d go with this recipe or Ektachrome 100SW whenever the sun is low to the horizon.
An Arizona Autumn – Buckeye, AZ – Fujifilm X-T1 – “Kodak Portra 160”
Whenever the sun is not low to the horizon, my top-choice for daylight photography is the Kodak Portra 160 recipe, although it is good for “golden hour” too, and can be used anytime the sun is out. This is one of my favorite X-Trans II recipes, and is especially good for portrait photography, or whenever you want warm Kodak-like negative film colors. Kodak Portra 160 uses the Daylight white balance type; if I wasn’t concerned about white balance type, this or any in the “alternatives” list would be good options.
A Yellow Trumpet Blossom – Buckeye, AZ – Fujifilm X70 – “Fujichrome Slide”
I really like the Fujichrome Slide recipe, but it’s not my first option for overcast conditions. It does well enough, but I’d go with Classic Kodak Chrome instead (which is already in the C1 custom preset slot). Unfortunately, there aren’t a lot of good options for dreary days that don’t use a white balance type that’s already taken for another category. Fujichrome Slide uses the Fluorescent 1 white balance type; if I wasn’t concerned about white balance type, I would consider Winter Slide or Porto 200 as better alternatives.
Morning Coffee – Glendale, AZ – Fujifilm X70 – “Kodak Color Negative”
The Kodak Color Negative Film Simulation Recipe is pretty versatile and does well in a number of situations—indoor is just one of them. It uses the Incandescent white balance type; if I wasn’t concerned about white balance type, I’d still choose it, but Agfa Optima would be a good alternative.
Night Synergy – Centerville, UT – Fujifilm X-T1 – “CineStill 800T”
The CineStill 800T recipe for X-Trans II cameras is my absolute favorite nighttime option, period. If it’s after dark and I’m photographing artificial lights, this is the recipe I’m using. CineStill 800T uses the Kelvin white balance type; if I wasn’t concerned about white balance type I’d still use this one.
Freedom – Buckeye, AZ – Fujifilm X70 – “Lomography Color 100”
In Parts 1-3, this category is called Alternative Process; however, for X-Trans II there’s only one recipe for that category—Cross Process—and it uses a white balance type that’s already taken. So I changed the rules a little, and called this category Wildcard instead, which is simply a recipe that’s included just because. Lomography Color 100 can produce good results in a number of situations, including golden hour, midday, shade, and indoors. It’s good for landscapes, street, and portrait photography. However, it has a little different aesthetic than the other recipes in this list. Lomography Color 100 uses the Shade white balance type; if I wasn’t concerned about white balance type, I’d choose Cross Process instead.
Jonathan with a Smile – Buckeye, AZ – Fujifilm X70 – “Monochrome Red”
The Monochrome Red Film Simulation Recipe is an excellent option for black-and-white photography. It’s especially well suited for blue-sky landscapes, but it does pretty well in other situations, too. It uses the Fluorescent 1 white balance type and shares the same shift as Fujichrome Slide, so both can occupy a slot in the C1-C7 custom presets simultaneously; if I wasn’t concerned about white balance type, the Monochrome recipe is a pretty good alternative—you really can’t go wrong with either.
Dying Garden Rose – Buckeye, AZ – Fujifilm X70 – “Fujichrome Slide”
Sometimes you can get interesting results when you change the film simulation that a Film Simulation Recipe calls for. In this case, the recipe was Monochrome Red, which calls for Monochrome+R, and the film simulation that I used instead was Provia. I actually don’t like the Provia film simulation as much as most of the others, I think because it doesn’t much resemble Provia film; however, I do like how this recipe renders images, so perhaps I’ve been a little too critical of the “standard” film simulation.
This recipe doesn’t match Fujichrome Provia 100F film, but it is much closer to the film than just using default Provia. If you are looking for an X-Trans II recipe that’s in the neighborhood of Fujichrome Provia 100F, and don’t mind that it’s not exactly right, this one’s for you! It has a good deal of contrast (but not too much), and has vibrant colors (but not too vibrant)—definitely a (non-Velvia) Fujifilm color reversal film vibe. If you like this recipe, you should also consider trying Provia Negative.
Fisherboy – Litchfield Park, AZ – Fujifilm X70 – “Fujichrome Slide”
This “Fujichrome Slide” Film Simulation Recipe is compatible with all X-Trans II cameras. Those with X-Trans I or Bayer models can use it, too; however, it will render slightly differently—I tried it on my X-Pro1 and the results were good; similar but not identical to my X70.
Provia/Std Dynamic Range: DR400 Highlight: -1 (Medium-Soft) Shadow: +2 (Hard) Color: +2 (High) Sharpness: +1 (Medium-Hard) Noise Reduction: -2 (Low) White Balance: Fluorescent 1, -4 Red & +7 Blue ISO: Auto up to ISO 3200 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured on my Fujifilm X70 using this “Fujichrome Slide” Film Simulation Recipe:
Beyond Orange – Goodyear, AZ – Fujifilm X70
Three Beams & Palm – Litchfield Park, AZ – Fujifilm X70
Palm Bush – Goodyear, AZ – Fujifilm X70
Shriveling Bloom – Buckeye, AZ – Fujifilm X70
Trumpet Vine – Buckeye, AZ – Fujifilm X70
A Yellow Trumpet Blossom – Buckeye, AZ – Fujifilm X70
Moth Wall – Buckeye, AZ – Fujifilm X70
Rose Palm Evening – Litchfield Park, AZ – Fujifilm X70
Fisher Jon – Litchfield Park, AZ – Fujifilm X70
Tree & Home Reflection – Litchfield Park, AZ – Fujifilm X70
Little Boat in the Little Lake – Litchfield Park, AZ – Fujifilm X70
Suburban Lake Reflection – Litchfield Park, AZ – Fujifilm X70
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Houses, Reflected – Litchfield Park, AZ – Fujifilm X70 – “Monochrome Red”
Back when I shot black-and-white film, I usually used a color filter to manipulate the shades of grey, and for landscape photography the Red filter was my most-used option. You cannot use these filters on your Fujifilm camera, but Fujifilm does provide you with three faux filters: +Y, +R, & +G. These mimic the aesthetic of using a Yellow, Red, or Green filter (sort of). In my opinion, +R doesn’t actually replicate the use of a Red filter very well; it’s more like an Orange filter. This recipe is intended to produce a look more similar to a Red filter on black-and-white film, which means that it will darken blues and lighten reds.
I actually created this “Monochrome Red” Film Simulation Recipe several months back on my Fujifilm X-T1, but that camera has a dirty sensor in need of a cleaning, so I never shared the results. Then I moved, and the X-T1 got packed away for awhile. Just recently I purchased a different X-Trans II camera—an X70—so I plugged this recipe into it and began shooting. This is an excellent option if you are looking for a black-and-white recipe, and is especially good for landscape photography.
Sunlit Flowers – Litchfield Park, AZ – Fujifilm X70 – “Monochrome Red”
The “Monochrome Red” recipe is compatible with all X-Trans II cameras. If you have an X-Trans I or Bayer model, the results will be ever slightly different, but very similar, and you can definitely use it—if you have an X-Pro1 or X-T200 or anything like that, feel free to give this recipe a try.
Monochrome+R Dynamic Range: DR400 Highlight: -1 (Medium-Soft) Shadow: +2 (Hard) Sharpness: +1 (Medium-Hard) Noise Reduction: -2 (Low) White Balance: Fluorescent 1, -4 Red & +7 Blue ISO: Auto up to ISO 6400 Exposure Compensation: 0 to +1 (typically)
Example photographs, all camera-made JPEGs captured on my Fujifilm X70 using this “Monochrome Red” Film Simulation Recipe:
Josh Intently Gaming – Buckeye, AZ – Fujifilm X70
Jonathan with a Smile – Buckeye, AZ – Fujifilm X70
Backlit Jo – Litchfield Park, AZ – Fujifilm X70
Boy Fishing – Litchfield Park, AZ – Fujifilm X70
Dock Abstract – Litchfield Park, AZ – Fujifilm X70
Lock & Chain – Litchfield Park, AZ – Fujifilm X70
Pole & Chain – Litchfield Park, AZ – Fujifilm X70
Fishing Pole on Dock – Litchfield Park, AZ – Fujifilm X70
Young Boy Fishing – Litchfield Park, AZ – Fujifilm X70
Lakeside Tree – Litchfield Park, AZ – Fujifilm X70
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Empty Baseball Field – Buckeye, AZ – Fujifilm X-T1 – “Provia Negative”
The Fuji X Weekly App is free, yet becoming a Fuji X Weekly Patron unlocks the best App experience! One benefit of being a Patron is you get early access to some new Film Simulation Recipes. These Early-Access Recipes will eventually become available free to everyone in time, including this new one. In fact, many Early-Access Recipes have already been publicly published on this Blog and the App, so now everyone can use them. Patrons help support Fuji X Weekly and, really, without them there would be no App. So I want to give a special “thank you” to all of the Patrons!
I didn’t model this recipe after any film or process. My first thought was this: how can I make a recipe that’s helpful. Let me back this up a minute. Unless your camera is an X-Pro3 or newer, you cannot save a white balance shift with your C1-C7 custom presets; however, your camera will remember one shift per white balance type, so if each C1-C7 recipe uses a different white balance type, you won’t have to remember to change the shift when you change recipes. For X-Trans II, there are recipes that use Auto, Daylight (which Fujifilm calls “Fine” for some reason), Kelvin, and Shade, so I thought it would be helpful to create a recipe that calls for a different white balance type that I haven’t yet used.
Indoor Tree – Buckeye, AZ – Fujifilm X-T1 – “Provia Negative”
After some playing around, I created a Film Simulation Recipe that I was quite happy with. It reminds me a little of Fujichrome Provia 100F slide film, but less vibrant, and a tad less contrasty, too, but still kind of similar; however, I think the tonality is more similar to negative film than reversal film. That’s why I call this recipe Provia Negative. This recipe has a slight cool color cast, with white leaning towards blue. I was able to get good results in several different light situations.
If you are a Fuji X Weekly App Patron, it’s available to you right now on the App! Don’t have the App? Download it for free today! Become a Patron to unlock the best App experience and gain early access to this recipe.
Example photographs, all camera-made JPEGs captured using this “Provia Negative” Film Simulation on my Fujifilm X-T1:
Two Magenta Flowers – Buckeye, AZ – Fujifilm X-T1
One Bloom Remains – Buckeye, AZ – Fujifilm X-T1
Pink & Green – Buckeye, AZ – Fujifilm X-T1
Pop of Warmth – Buckeye, AZ – Fujifilm X-T1
Pink Flower Blossom – Buckeye, AZ – Fujifilm X-T1
Pink Flower Blossom 2 – Buckeye, AZ – Fujifilm X-T1
Bougainvillea Pink – Buckeye, AZ – Fujifilm X-T1
Backlit Flowers & Leaves – Buckeye, AZ – Fujifilm X-T1
Basketball in the Grass – Buckeye, AZ – Fujifilm X-T1
Go Supply – Goodyear, AZ – Fujifilm X-T1
Hobby Lobby – Avondale, AZ – Fujifilm X-T1
Square on Block Wall – Buckeye, AZ – Fujifilm X-T1
One of my favorite X-Trans I Film Simulation Recipes is Color Negative Film, which has a white balance shift inspired by my Fujicolor 100 Industrial recipe. This recipe, which was a Patron Early-Access Recipe on the Fuji X Weekly App but is now available to everyone, is an adaptation of the X-Trans I recipe for X-Trans II. It doesn’t mimic any specific film, but just has a more generic film aesthetic. It’s not an exact match to the X-Trans I recipe, but it’s pretty close.
This “Color Negative Film” recipe is a great allrounder for daylight situations. My Fujifilm X-T1 was boxed away for over two months as I moved, and when I unboxed it last week this recipe is the one that I programmed and used first. It’s a recipe that I know many of you will love, too. If you have an X-Trans II camera, give this one a try!
No Swimming – Layton, UT – Fujifilm X-T1 – “Color Negative Film”
Provia Dynamic Range: DR400 Highlight: +2 (Hard) Shadow: +2 (Hard) Color: -2 (Low) Sharpness: -1 (Medium-Soft) Noise Reduction: -2 (Low) White Balance: 3200K, +8 Red & -8 Blue ISO: Auto up to ISO 3200 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured using this “Color Negative Film” film simulation recipe on my Fujifilm X-T1:
Sunlit Leaves – Layton, UT – Fujifilm X-T1
Green Leaves – Farmington, UT – Fujifilm X-T1 – Photo by Jon Roesch
Early Autumn – Farmington, UT – Fujifilm X-T1
Forest Trail – Farmington, UT – Fujifilm X-T1
One Dead Leaf – Farmington, UT – Fujifilm X-T1
Backlit Autumn Leaves – Farmington, UT – Fujifilm X-T1
Autumn Flare – Farmington, UT – Fujifilm X-T1
Changing Leaves in the Woods – Farmington, UT – Fujifilm X-T1
Yellow Shrub – Farmington, UT – Fujifilm X-T1
Trail to the Trees – Layton, UT – Fujifilm X-T1
Water Logged – Farmington, UT – Fujifilm X-T1 – Photo by Jon Roesch
Little Purple Blooms – Farmington, UT – Fujifilm X-T1
Reeds of Summer – Farmington, UT – Fujifilm X-T1
Magenta Blossoms – Buckeye, AZ – Fujifilm X-T1
Trumpet Flower – Buckeye, AZ – Fujifilm X-T1
Pride of Barbados – Buckeye, AZ – Fujifilm X-T1
Jon by a Wall – Buckeye, AZ – Fujifilm X-T1
Find this Film Simulation Recipe and over 200 more on the Fuji X Weekly App!
Help Fuji X Weekly
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Night Synergy – Centerville, UT – Fujifilm X-T1 – “CineStill 800T”
This is my favorite CineStill 800T film simulation recipe. I created my first CineStill 800T recipe, which is intended for X-Trans III cameras, over three years ago. My next version, which is intended for newer X-Trans IV cameras, was published nearly a year ago. This X-Trans II recipe was one of the original Patron “Early-Access” recipes on the Fuji X Weekly App. In other words, those who are Patrons on the App have already had access to this recipe, and now that another recipe has replaced it, this CineStill 800T recipe is available to everyone! Early-Access to some new recipes is one of the benefits of being a Fuji X Weekly Patron, and a great way to support this website.
CineStill 800T is Kodak Vision3 500T motion picture film that’s been modified for use in 35mm film cameras and development using the C-41 process. Because it has the RemJet layer removed, it is more prone to halation. The “T” in the name means tungsten-balanced, which is a fancy way of saying that it is white-balanced for artificial light and not daylight. CineStill 800T has become a popular film for after-dark photography.
Pair – Kaysville, UT – Fujifilm X-T1 – “CineStill 800T”
Even though the film that this recipe is intended to mimic is Tungsten-balanced, it can still produce interesting pictures in daylight. It’s a versatile recipe, but it definitely delivers the best results in artificial light. When I photograph with my Fujifilm X-T1 after sunset, this is the recipe that I use.
PRO Neg. Std Dynamic Range: DR200 Highlight: +2 (Hard) Shadow: +1 (Medium-Hard) Color: -1 (Medium-Low) Sharpness: 0 (Standard) Noise Reduction: -2 (Low) White Balance: 4300K, -3 Red & -3 Blue ISO: Auto up to ISO 3200 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured on my Fujifilm X-T1 using this CineStill 800T film simulation recipe:
Red Hatchback – Centerville, UT – Fujifilm X-T1
We Care About Asada Nachos – Centerville, UT – Fujifilm X-T1
Shoe Repair in Disrepair – Kaysville, UT – Fujifilm X-T1
Vending Machines – Kaysville, UT – Fujifilm X-T1
Narrow Drive – Kaysville, UT – Fujifilm X-T1
2nd & Main – Kaysville, UT – Fujifilm X-T1
The Kaysville Theatre – Kaysville, UT – Fujifilm X-T1
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Photo by Joy Roesch – Yosemite NP, CA – Fujifilm X-T1 -“Yosemite Velvia”
On a recent trip to Yosemite National Park, my daughter, Joy, created a new film simulation recipe for X-Trans II cameras, which I’m calling Yosemite Velvia. Joy has made two X-Trans I recipes, Superia Xtra 400 and Winter Blue, but this is her first for X-Trans II. On this trip I let her use my Fujifilm X-T1 camera, and I told her that she could use whichever settings she wanted—this recipe is what she came up with.
I asked her why she chose these settings. She told me that she wanted the pictures to be colorful but without too much contrast. She decided on the Shade white balance because the forecast was for overcast sky, although it ended up being mostly sunny; however, she liked how it looked, so she stuck with it. Besides photographing in Yosemite, she also used these settings in Reno, Nevada.
Photo by Joy Roesch – Yosemite NP, CA – Fujifilm X-T1 -“Yosemite Velvia”
This film simulation recipe is compatible with all Fujifilm X-Trans II cameras. You can use it on X-Trans I and Bayer sensor cameras, too, but the results will be a little different (feel free to try, though).
Velvia Dynamic Range: DR200 Highlight: -1 Shadow: -2 Color: +2 Sharpness: -1 Noise Reduction: -2 White Balance: Shade, -2 Red & -2 Blue ISO: Auto up to ISO 3200 Exposure Compensation: 0 to +2/3 (typically)
Example photographs, all camera-made JPEGs captured by Joy on my Fujifilm X-T1 using this “Yosemite Velvia” film simulation recipe:
Photo by Joy Roesch – Yosemite NP, CA – Fujifilm X-T1
Photo by Joy Roesch – Yosemite NP, CA – Fujifilm X-T1
Photo by Joy Roesch – Yosemite NP, CA – Fujifilm X-T1
Photo by Joy Roesch – Yosemite NP, CA – Fujifilm X-T1
Photo by Joy Roesch – Yosemite NP, CA – Fujifilm X-T1
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Bicycle 88 – West Valley City, UT – Fujifilm X-T1 – “Kodak Platinum 200”
Fuji X Weekly reader Corey Steib (Instagram here and here) shared with me an X-Trans II recipe that he created called Kodak Platinum 200. Corey named it this because it reminds him of vibrant Kodak film captured with a Panaflex Platinum motion picture camera, and because the best results are found at or near ISO 200. This recipe is nothing like the Eterna film simulation, but it does have a slight cinematic feel to it nonetheless thanks to the Shadow setting. It looks really nice, with vibrant colors and soft shadows, and is a great all-purpose recipe. Thank you, Corey, for creating this and allowing me to share it!
I have the ISO in my camera set to Auto, with the upper limit set to ISO 3200. I’m happy with the results from my X-T1 all the way to ISO 3200, but the intention of this recipe is to keep the ISO lower when you can. In bright light, depending on the contrast in the scene, because of the DR-Auto setting, the camera might select ISO 200 or ISO 400, and the idea is to use this recipe at those ISOs when practical. As the available light decreases, it’s perfectly fine to increase the ISO, and I feel good going as high as ISO 3200 when necessary.
Touch of Red – Salt Lake City, UT – Fujifilm X-T1 – “Kodak Platinum 200”
This film simulation recipe is compatible with all Fujifilm X-Trans II cameras. You can use it on X-Trans I and Bayer sensor cameras, too, but the results will be a little different (feel free to try, though).
Provia Dynamic Range: DR-Auto Highlight: +1 (Medium-High) Shadow: -2 (Low) Color: +2 (High) Sharpness: +1 (Medium-High) Noise Reduction: -2 (Low) White Balance: Daylight/Fine, 0 Red & 0 Blue ISO: Auto up to ISO 3200 (but… the lower the better) Exposure Compensation: -1/3 to +1/3 (typically)
Example photographs, all camera-made JPEGs captured with my Fujifilm X-T1 using this “Kodak Platinum 200” film simulation recipe:
Snack – Salt Lake City, UT – Fujifilm X-T1
Yellow Rope – West Valley City, UT – Fujifilm X-T1
Unicorn Jo – West Valley City, UT – Fujifilm X-T1
Curved Trunk – Salt Lake City, UT – Fujifilm X-T1
Log Bridge & 3 Trees – Salt Lake City, UT – Fujifilm X-T1
Bridge & Stump – Salt Lake City, UT – Fujifilm X-T1
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Joshua & Joy at a Creek – Layton, UT – Fujifilm X-T1 – “Portra v2” – Photo by Jon Roesch
I’ve been wanting to create a Kodak Portra 400 film simulation recipe for Fujifilm X-Trans II cameras for a long time now. I’ve had a Portra 160 recipe on this website for awhile, but I’ve never created a Portra 400 recipe for this sensor. I’ve actually created five different Portra 400 recipes for X-Trans III and IV cameras, but those don’t work on X-Trans II. I made a guess on my Fujifilm X-T1 on what might be a good Portra 400 recipe, handed the camera to my son, Jon, and let him capture some pictures with it. You might remember that Jon created his own Classic Chrome recipe; this time I made the recipe, but I let him capture the pictures.
You might be wondering why I didn’t call this recipe “Portra 400” but named it “Portra v2” instead. While I believe that this recipe is similar to Portra 400, I do plan to create a more accurate recipe. Actually, that was my intentions with these pictures: reprocess the RAW files in-camera to refine the Portra look; however, as I reviewed the pictures, I liked the aesthetic created by these settings, so I decided to keep this as its own recipe. I will still work on a different Portra 400 recipe for X-Trans II.
Trees – Layton, UT – Fujifilm X-T1 – “Portra v2” – Photo by Jon Roesch
One film can have many different aesthetics, depending on how it’s shot, developed, scanned or printed, and this is especially true with Kodak Portra 400. Portra can have many different looks. This recipe does resemble one of those aesthetics, but it definitely doesn’t resemble all of the aesthetics, or even the most common. If you do like Portra, I’m confident that you’ll appreciate these settings, which is compatible with all X-Trans II cameras that have the Classic Chrome film simulation.
Classic Chrome Dynamic Range: DR200 Highlight: -1 (Medium-Low) Shadow: -1 (Medium-Low) Color: +2 (High) Sharpness: -1 (Medium-Low) Noise Reduction: -2 (Low) White Balance: Daylight/Fine, +4 Red & -4 Blue ISO: Auto up to ISO 3200 Exposure Compensation: +2/3 to +1 (typically)
Example photographs, all camera-made JPEGs captured by Jon on my Fujifilm X-T1 using this Portra v2 film simulation recipe:
Water – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Fence Tree – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Trees & Lake – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Creek in the Woods – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Trees & Leaves – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Moss on a Log – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Grass – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Bridge – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
My Friend – Layton, UT – Fujifilm X-T1 – Photo by Jon Roesch
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch – “Jon’s Classic Chrome”
I handed my Fujifilm X-T1 to my 11-year-old son, Jonathan—gave him a brief tutorial on how to use the camera, and let him have at it. My XF10 Classic Chrome film simulation recipe was programmed into the X-T1; to my surprise, Jon made a few small adjustments to it. He increased Dynamic Range to DR400, moved the White Balance Shift to +4 Red, and set Sharpness at 0. I’m not sure why he made those specific changes, but the results are pretty good, and I’m very proud and impressed by the pictures that he captured with the X-T1 using his settings!
My opinion is that this recipe has a ColorPlus feel to it. It could be close to Kodacolor, Portra 400, or Ultramax—it definitely has a Kodak color negative vibe; however, I think Fujicolor C200 might also be in the neighborhood. Whatever film it might be close to, it’s got a great analog-like aesthetic that’s easy to love. Great job, Jon!
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch – “Jon’s Classic Chrome”
Classic Chrome Dynamic Range: DR400 Highlight: +1 (Medium-High) Shadow: +2 (High) Color: +1 (Medium-High) Sharpness: 0 (Medium) Noise Reduction: -2 (Low) White Balance: Auto, +4 Red & -4 Blue ISO: Auto up to ISO 3200 Exposure Compensation: +2/3 (typically)
Example photographs, all camera-made JPEGs captured by Jon on my Fujifilm X-T1 using his Classic Chrome film simulation recipe:
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Fujifilm X-T1 – Farmington, UT – Photo by Jonathan Roesch
Hidden House – Farmington, UT – Fujifilm X-T1 – “Porto 200”
I was asked to make a film simulation recipe for Fujifilm X-Trans II cameras that mimics the aesthetic of photographer João Falcão (Instagram). I got pretty close to his look with this recipe, although perhaps not exact. Certainly if you like João’s aesthetic, you’ll appreciate these settings. It produces some really nice results! I call it Porto 200.
Why do I call this film simulation recipe Porto 200? After all, there’s no film called Porto 200. Well, Porto is the city in Portugal where João is from. While Porto means “port” I think it has a nice film-stock-like name, similar to “Portra” for example. So Porto 200 it is!
Moody Lake – Big Arm, MT – Fujifilm X-T1 – “Porto 200”
I really enjoy using this recipe on my X-T1! It has (at least for now) a permanent spot in the Q menu. It produces a look that might be kind of similar to ColorPlus 200. It’s not intended to be similar to that film, but to me it seems a little similar. Feel free to try it with +1 Color and/or Sharpness if you prefer, or -5 Blue if you think it’s too yellow. This recipe is intended for X-Trans II cameras, but it will work on X-Trans I and Bayer cameras, too, but with slightly different results.
PRO Neg. Std Dynamic Range: DR400 Highlight: 0 (Std) Shadow: +1 (Medium-Hard) Color: 0 (Mid) Sharpness: 0 (Std) Noise Reduction: -2 (Low) White Balance: Daylight/Fine, +2 Red & -6 Blue ISO: Auto, up to ISO 3200 Exposure Compensation: -1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs using this Porto 200 recipe on my Fujifilm X-T1:
Holiday Rain – Big Arm, MT – Fujifilm X-T1
Forest Ivy – Farmington, UT – Fujifilm X-T1
Fall Wall – Farmington, UT – Fujifilm X-T1
Forest Fence – Farmington, UT – Fujifilm X-T1
Dying Leaves – Farmington, UT – Fujifilm X-T1
Tree Leaves – Farmington, UT – Fujifilm X-T1
Hanging Leaves – Farmington, UT – Fujifilm X-T1
Little Red Berries – Farmington, UT – Fujifilm X-T1
Red Berries in a Tree – Farmington, UT – Fujifilm X-T1
Nobody pays me to write the content found on fujixweekly.com. There’s a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Evergreen Sunstar – Mirror Lake, UT – Fujifilm XQ1 – “Astia”
One of my favorite film simulation recipes that I’ve created is Fujicolor 100 Industrial. It’s not compatible with X-Trans II cameras, but I wanted to make something similar to it for the Fujifilm XQ1. This camera doesn’t have PRO Neg. Std, the film simulation that the Fujicolor 100 Industrial recipe requires. For color photographs, the XQ1 has three options: Provia, Velvia and Astia. I tried both Provia and Astia, and neither worked, but I liked how the Astia recipe looked, so I continued working with it.
What this Astia recipe reminds me of is Provia 100F film. When Fujifilm created their film simulations, the one they named Provia more closely resembles Astia film, and the one they named Astia more closely resembles Provia film, but neither are a great match. This recipe isn’t a 100% match to Provia 100F, but it is closer than the Astia film simulation out-of-the-box or especially the Provia film simulation. Confused? Well, to make it even more confusing, since it’s not really intended to look like Provia 100F and it’s not an especially close match, I named this recipe “Astia” after the film simulation it requires. Whatever the name, and whatever film it may or may not resemble, this film simulation recipe is actually pretty good for everyday use.
Diagonal Lines on Decor – Farmington, UT – Fujifilm XQ1 – “Astia”
The XQ1 has a small X-Trans II sensor inside, which means this recipe is fully compatible with all X-Trans II cameras. If you are using it on an APS-C X-Trans II camera, you can increase the maximum ISO to 3200. Feel free to try this recipe on X-Trans I or Bayer sensor cameras, too—it will work but the results might be slightly different.
Astia Dynamic Range: DR400 Highlight: -2 (Soft) Shadow: 0 (Standard) Color: -2 (Low) Sharpness: -1 (Medium-Soft) Noise Reduction: -2 (Low) White Balance: 2650K, +8 Red & -8 Blue ISO: Auto, up to ISO 1600 Exposure Compensation: +1/3 to +1 (typically)
Example photographs, all camera-made JPEGs made using this Astia film simulation recipe on a Fujifilm XQ1:
Mirror Lake Sign – Mirror Lake, UT – Fujifilm XQ1
Floating Preparations – Mirror Lake, UT – Fujifilm XQ1
Lake Boardwalk – Mirror Lake, UT – Fujifilm XQ1
Blue Boat by the Boardwalk – Mirror Lake, UT – Fujifilm XQ1
Fishing Blues – Mirror Lake, UT – Fujifilm XQ1
Lone Pine – Mirror Lake, UT – Fujifilm XQ1
Tree Silhouette – Mirror Lake, UT – Fujifilm XQ1
Nature Flames – Mirror Lake, UT – Fujifilm XQ1
Reaching Leaves – Mirror Lake, UT – Fujifilm XQ1
Mountain Flower Blossom – Mirror Lake, UT – Fujifilm XQ1
Sunlit Pine Needles – Mirror Lake, UT – Fujifilm XQ1
Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Fuji X Weekly reader Gustavo Potenza sifted through all of the film simulation recipes on this website and organized them by sensor and camera compatibility. Whoa! That was a tall task, but he knocked it out in a matter of minutes. I wanted to share this information with you, but also separate it into multiple posts so that you can quickly find the recipes you’re looking for. I’ll link this article to the recipe page for easy access, and I’ll keep it updated as I make new recipes. Thank you, Gustavo, for doing the hard work on this!
The first list, which are recipes compatible with Fujifilm Bayer and X-Trans I sensors, is very short. I really need to make it longer by adding more recipes. I hope to do that eventually. If you have a Fujifilm camera with a Bayer sensor or X-Trans I sensor, these are the recipes that you can use. The Classic Chrome recipe is only compatible with those cameras that have the Classic Chrome film simulation. At the bottom is the X-Trans II list, which is much longer.
The above recipes are intended for the Fujifilm X-A1, X-A2, X-A3, X-A5, X-A7, X-A10, XF10, X-T100, X-T200, X100, X-PRO1, X-E1, and X-M1 (I hope I didn’t miss any). Some of the X-Trans II recipes below might also work on your Bayer or X-Trans I camera, although results might vary slightly, and it will depend if your camera has the film simulation that the recipe requires.
X-Trans II
The film simulation recipes below are compatible with X-Trans II cameras. A few X-Trans II cameras don’t have all of the different film simulations required, so some of these recipes might not work on your camera.
The above recipes are intended for the Fujifilm X100S, X100T, X-E2, X-E2S, X-T1, X-T10, X70, X20, X30, XQ1, and XQ2 (I hope that I didn’t miss any). Not all of the recipes will be compatible with every X-Trans II camera. Some of them might even be compatible with Bayer and X-Trans I cameras with varying results, so feel free to try.
Red Greens – Kaysville, UT – Fujifilm XQ1 – “Kodachrome”
I’ve made a lot of Kodachrome film simulation recipes for Fujifilm cameras (click here, here, here, here, here and here), and they’re very popular. Kodachrome was an iconic slide film made by Kodak for many, many years, so it’s no surprise that people want to get that look out of their Fujifilm camera. All of my Kodachrome recipes use Classic Chrome because it has a Kodak-esque slide film aesthetic, but some cameras don’t have Classic Chrome, such as the Fujifilm XQ1. Yes, the XQ1 is an X-Trans II camera, and most X-Trans II cameras have Classic Chrome, but this one doesn’t, only Provia, Velvia, and Astia for color images.
I created this recipe by capturing an image on my X-T1 using my Kodachrome 64 recipe for that camera, and then as best as possible recreated the look not using Classic Chrome. While I tried Velvia and Astia, I ended up using Provia. It’s a surprisingly close match, although not exact. I think you’ll like this Kodachrome recipe if your camera doesn’t have Classic Chrome.
!!! Ride !!! – Salt Lake City, UT – Fujifilm XQ1 – “Kodachrome”
Provia Dynamic Range: DR200 Highlight: +2 (Hard) Shadow: +1 (Medium-Hard) Color: -2 (Low) Sharpness: 0 (Standard) Noise Reduction: -2 (Low) White Balance: Daylight (Fujifilm calls it “Fine” for some reason), -1 Red & -4 Blue ISO: Auto, up to ISO 1600
Exposure Compensation: +1/3 to +2/3 (typically)
Example photographs, all camera-made JPEGs made using this “Kodachrome Without Classic Chrome” film simulation recipe on a Fujifilm XQ1:
Lights & Reflections – Kaysville, UT – Fujifilm XQ1
Flag Poles – Farmington, UT – Fujifilm XQ1
Drive Thru Gas & Wash – Kaysville, UT – Fujifilm XQ1
Flowers in a Pot on Concrete – Kaysville, UT – Fujifilm XQ1
Horse Ranch – Salt Lake City, UT – Fujifilm XQ1
Closed Umbrella, Threatening Clouds – Farmington, UT – Fujifilm XQ1
Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Mitchell Mesa – Monument Valley, AZ – Fujifilm X-T1 “Kodak Portra 160”
Kodak introduced Portra film in 1998. As the name implies, this film was designed for portrait photography, as it produces pleasing skin tones. It came in three ISO options: 160, 400 and 800. The ISO 160 and 400 versions came in two varieties: Neutral Color (NC), which was less saturated, and Vivid Color (VC), which was more saturated. In 2011 Kodak did away with the Neutral Color and Vivid Color options, making a new version that was more-or-less in-between the two.
One of the top films that I’ve been asked to create a film simulation recipe for is Portra 160. I’ve tried many times, and I felt that I got close a couple of times, but I was never able to get it quite right. Fuji X Weekly reader Piotr Skrzypek recently created a Portra 160 film simulation recipe for his Fujifilm X-E2, and he gave me permission to share his settings with you! When I first looked at his pictures, I immediately thought that they resembled Portra, and I continued to think so as I used his recipe on my X-T1. Piotr has a lot of experience shooting film, and the main film that he uses is Portra 160. I’ve shot Portra before, but it’s been many years. How the film is shot, developed, and printed or scanned effects the way that it looks, so results can vary, but this recipe is overall an excellent facsimile of actual Portra 160 film. Great job, Piotr Skrzypek!
Portra – Farmington, UT – Fujifilm X-T1 “Kodak Portra 160”
I did alter Piotr’s recipe a little. I have Color set to +1, but he has Color set to +2, which I think more mimics Portra 160VC. Whether you set Color to +1 or +2, you are still getting a Portra look, and you can try it both ways and decide which you like better for your photographs. You can even try setting color to 0 to get a Portra 160NC look. The other change I made is to white balance, which I set to Daylight, while Piotr uses auto-white-balance. In many outdoor circumstances Daylight and AWB will produce identical results, so for the most part it doesn’t matter which you choose. I like Daylight a little more than AWB, but you can decide which you prefer for yourself. This recipe is intended for X-Trans II cameras, but there will be a Portra 160 recipe for X-Trans III and IV cameras coming soon!
Classic Chrome Dynamic Range: DR-Auto Highlight: -2 (Low) Shadow: -2 (Low) Color: +1 (Medium-High) Sharpness: -2 (Low) Noise Reduction: -2 (Low) White Balance: Daylight, +3 Red & -4 Blue ISO: Auto, up to ISO 3200
Example photographs, all camera-made JPEGs using this Kodak Portra 160 recipe on my Fujifilm X-T1:
Snow on the Roofs – Farmington, UT – Fujifilm X-T1
Roof Snow – Farmington, UT – Fujifilm X-T1
Faux Green – Farmington, UT – Fujifilm X-T1
Beside the Window – Farmington, UT – Fujifilm X-T1
Silver & Green – Farmington, UT – Fujifilm X-T1
Green Stems – Farmington, UT – Fujifilm X-T1
Bright Blossoms – Farmington, UT – Fujifilm X-T1
Future Fujifilm Photographer – Monument Valley, AZ – Fujifilm X-T1
Girl, Horse & Books – Farmington, UT – Fujifilm X-T1
The Peg Game – Farmington, UT – Fujifilm X-T1
Girl & Game – Farmington, UT – Fujifilm X-T1
Wood Ladder – Edge of the Cedars SP, UT – Fujifilm X-T1
Monumental Crosswalk – Monument Valley, UT – Fujifilm X-T1
Four Desert Horses – Monument Valley, AZ – Fujifilm X-T1
Mittens Evening – Monument Valley, AZ – Fujifilm X-T1
Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
One of my favorite film simulation recipes, and one of the most popular, if not the most popular, on Fuji X Weekly, is my Kodachrome II recipe. This version of that recipe is adapted for Fujifilm X-Trans II cameras, such as my X-T1. It will work on all cameras with an X-Trans II sensor, plus Bayer sensor cameras, such as the XF10, X-T100 and X-A7. Because it requires the Classic Chrome film simulation, it is not compatible with X-Trans I cameras, or the original X100.
Classic Chrome
Dynamic Range: DR200
Highlight: +2 (High)
Shadow: +1 (Medium-High)
Color: -1 (Medium-Low)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: Auto, +1 Red & -2 Blue
ISO: Auto up to ISO 3200
Example photographs, all camera-made JPEGs captured on my Fujifilm X-T1 using this Kodachrome II film simulation recipe:
The Wetlands of Farmington Bay – Farmington Bay, UT – Fujifilm X-T1
Pallet Dump – Farmington, UT – Fujifilm X-T1
Old Wood – Farmington Bay, UT – Fujifilm X-T1
February Thistles – Farmington Bay, UT – Fujifilm X-T1
Francis Peak in February – Farmington, UT – Fujifilm X-T1
Succulents – Farmington, UT – Fujifilm X-T1
Bright Apple – Farmington, UT – Fujifilm X-T1
Kodak Film Canisters – Farmington, UT – Fujifilm X-T1
Bolsey on the Camera Shelf – Farmington, UT – Fujifilm X-T1
Longing For Another World – Farmington, UT – Fujifilm X-T1
Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
Sun Roof – Farmington, UT – Fujifilm X-T1 – “Kodachrome 64”
One of my favorite film simulation recipes is Kodachrome 64. It’s also one of the most popular recipes on Fuji X Weekly. Those with X-Trans III and IV cameras, such as the Fujifilm X-T30 that I created it on, have been enjoying it since August, but those with X-Trans II cameras—X-T1, X-T10, X-E2, X-E2s, X100T, and X70—have been left out of the fun. Those with Bayer sensor cameras, such as the X-T100, XF10, X-A7, etc., have been out of luck, too. That all changes, starting now. I have cracked the code, and created a Kodachrome 64 recipe for my X-Trans II camera! Unfortunately, it won’t work on the X100, X100S, X-E1 or X-Pro1 because it requires the Classic Chrome film simulation, which those cameras don’t have. But those who own a Fujifilm X-Trans II or Bayer camera, which do have Classic Chrome, I’m sure will appreciate this Kodachrome 64 recipe.
Classic Chrome
Dynamic Range: DR400
Highlight: +2 (High) Shadow: +1 (Medium-High) Color: 0 (Medium)
Sharpness: 0 (Medium)
Noise Reduction: -2 (Low)
White Balance: Daylight, 0 Red & -3 Blue
ISO: Auto, up to ISO 3200
Example photographs, all camera-made JPEGs using this Kodachrome 64 recipe on my Fujifilm X-T1:
Watered Tree – Farmington, UT – Fujifilm X-T1
Reflection in the Grass – Farmington, UT – Fujifilm X-T1
Reed Grass – Farmington, UT – Fujifilm X-T1
Reeds In Water – Farmington, UT – Fujifilm X-T1
Sisters on a Bridge – Farmington, UT – Fujifilm X-T1
Red Mustang – Farmington, UT – Fujifilm X-T1
Wrangler – Farmington, UT – Fujifilm X-T1
Parking Lot Sunset – Farmington, UT – Fujifilm X-T1
January Evening Hill – Farmington, UT – Fujifilm X-T1
Rooftop Birds – Farmington, UT – Fujifilm X-T1
Suburban Silver Lining – Farmington, UT – Fujifilm X-T1
Nobody pays me to write the content found on fujixweekly.com. There's a real cost to operating and maintaining this site, not to mention all the time that I pour into it. If you appreciated this article, please consider making a one-time gift contribution. Thank you!
I’ve been trying to figure out how to make my Fujifilm X-Trans III & IV film simulation recipes compatible with my X-T1 camera, which has an X-Trans II sensor. The X-T1 has the same film simulations as my Fujifilm X-T30, minus Acros and Eterna, but many of the customization options to fine-tune the image are different. For the X-T1, everything maxes out at plus and minus two, while X-Trans III & IV cameras can go to plus and minus four on many settings. There are other tools that the newer cameras have that the older ones don’t. The simple fact is this: X-Trans III & IV recipes aren’t directly compatible with X-Trans I & II cameras; can I recreate those recipes for the older models?
When I looked at the pictures that I captured with the different film simulations on my X-T1, it seemed like the results were different than with the same film simulations on my X-T30. Do the film simulations look different on different sensors? I did some tests to determine what is the same and what is not. I think there are some subtle changes, and you won’t get precisely the same results from X-Trans II as you will from X-Trans III and IV. It’s close, but not exact.
Fujifilm X-T30 with Monochrome film simulation.
Fujifilm X-T1 with Monochrome film simulation.
Something that I determined is that, with everything set at 0, X-Trans II has slightly darker shadows and X-Trans IV has slightly lighter highlights. It makes it seem like the pictures from my X-T30 are brighter than those from my X-T1, although mid-tones are identical. I made the mistake in the test below (with the exception of Provia) of trying to compensate for that by dropping the exposure by 1/3 stop on my X-T30, which made it darker than the X-T1. That overcompensated for the highlight and shadow difference, while making the mid-tones all wrong. Instead of lowering the exposure on the X-T30, I could have adjusted shadow and highlight by one (-1 Shadow and +1 Highlight) on the X-T1 to get a closer match. Actually, if I had adjusted shadow and highlight (+1 Shadow and -1 Highlight) on the X-T30, it would have been an even closer match, as I also discovered that +1 on the two cameras are different. I think that +1 on the X-T1 is equal to about +1.25 on the X-T30 (if it could adjust in 1/4 increments), and +2 is equal to about +2.5. I think that, because highlights have a brighter starting point on the X-T30, +2 Highlight is about the same on both cameras, while +2 Shadow on the X-T1 is actually closer to +3 on the X-T30. Interestingly enough, I think that -1 and -2 highlight and shadow on the two cameras are similar to each other, and with the same exact minus settings applied to both cameras, the X-T30 will have lighter highlights and shadows than the X-T1. Color on the X-T1 seems to move in +/-1.25 increments when compared to the X-T30, which means +2 Color on the X-T1 is in-between +2 and +3 on the X-T30, while -2 Color on the X-T1 is in-between -2 and -3 on the X-T30.
There’s another difference that I discovered between X-Trans II and X-Trans IV: the white balance is not the same. The X-T1 is actually slightly warmer, leaning towards yellow or yellow-green. It’s not a huge difference, but it’s not exactly the same, which means a slight adjustment will be required to the white balance shift for recreating recipes. What I anticipate as I attempt to translate X-Trans III & IV recipes for X-Trans II is that some will be easy, and some will be difficult or maybe impossible. Because there are less tools to work with on my X-T1, the aesthetic won’t be as precise, as it’s not as fine-tune-able. Despite that, I hope to have some good film simulation recipes very soon for those with older Fujifilm X cameras.
