X-Trans IV | FUJI X WEEKLY

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

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

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

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

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

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

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

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

Which Film Simulation Recipes, When? — Summer Edition — Part 1: Fujifilm X-Pro3, X100V, X-T4, X-S10, X-E4, X-T30 II

Posted on May 28 by Ritchie Roesch

*Rural Warehouse* – Litchfield Park, AZ – Fujifilm X-E4 – Fujicolor 100 Gold Recipe

Original Series

Summer is here! Traveling, camping, visits to the beach, boating on the lake, and stuff like that are common during these months. Perhaps you are looking for some Film Simulation Recipe recommendations for your Fujifilm camera for the summer season. I thought I’d take this opportunity to revisit my Which Film Simulation Recipe, When? series of articles. This post will make a lot more sense if you’ve read the original series—especially the first article—so be sure to take a look at it if you haven’t yet (or if it’s been awhile and you don’t remember).

This Part 1 is for Fujifilm X-Trans IV cameras, except for the X-T3 and X-T30, which will be covered in a different section. If you have an X-Pro3, X100V, X-T4, X-S10, X-E4, or X-T30 II model, I invite you to give these Recipes a try! There are seven suggestions below—one for each C1-C7 Custom Preset—and three alternative ideas for each in case you don’t like the first recommendation. Each Custom Preset slot serves a specific purpose, so you should have a good Recipe option programmed into your camera no matter the subject or lighting. This group of seven isn’t necessarily better or worse than my original recommendations, just a different set chosen specifically for the summer months.

C1 — Fujicolor Natura 1600 — Golden Hour

*Golden Lake* – Culleoka, TX – Fujifilm X-E4 – Fujicolor Natura 1600 Recipe

Fujicolor Natura 1600 is a Film Simulation Recipe that does well at anytime during daylight hours—and it’s one of my all-time favorites—but I’m going to recommend it specifically for “golden hour” near sunrise and sunset. If you like the aesthetic, this really could be your primary use-all-of-the-time recipe, and that’s why I suggest placing it in C1, but when the sun is low to the horizon, this is one I definitely recommend shooting with. I personally use this recipe frequently.

Alternatives for “golden hour” photography:

Fujicolor 100 Gold
Kodak Portra 400 v2
Kodak Portra 400

C2 — Pacific Blues — Midday

*Coastal Blooms* – San Simeon, CA – Fujifilm X-E4 – Pacific Blues Recipe

Pacific Blues is another one that could be your go-to everyday-use Recipe, but specifically I want to suggest it for daytime (non-“golden hour”) photography. Obviously it can also be used for when the sun is low to the horizon, too, which it excels at, but I think it is an excellent option for when the sun is not low—from mid-morning to mid-afternoon. It’s especially well suited for a day at the beach.

Alternatives for “midday” photography:

Kodachrome 64
Vintage Color
Superia Summer

C3 — Urban Dreams — Overcast

*Cienega Bridge on Old Highway 80* – Vail, AZ – Fujifilm X100V – Urban Dreams Recipe

If it’s thick overcast and rainy, the Urban Dreams Recipe is surprisingly an excellent option. Yes, it’s pretty good in daylight, too (even “golden hour” and at night), but give it a try on drab overcast days—I think you’ll really appreciate just how well it does in that situation.

Alternatives for “overcast” photography:

Elite Chrome 200
Reggie’s Portra
Kodachrome II

C4 — Nostalgic Negative — Natural-Light Indoor

*Watch and Jewelry* – Farmington, UT – Fujifilm X100V – Nostalgic Negative Recipe

For natural-light indoor photography, a good option is the Nostalgic Negative Recipe. This is another great all-rounder that could be used in pretty much any daytime situation and produce excellent results, but specifically I’m recommending it for natural-light indoor pictures. For artificial-light indoor images, use the Recipe for nighttime photography below.

Alternative for “natural-light indoor” photography:

Kodak Ultramax 400
Color Negative 400
Classic Negative

C5 — Pure Negative — Nighttime

*Brad’s* – Pismo Beach, CA – Fujifilm X-E4 – Pure Negative Recipe

If it’s after dark, an excellent option for nighttime or artificial light photography is Pure Negative. This is a low-contrast Recipe with a natural rendering, which makes it especially ideal for high contrast scenes, particularly during midday light; however, it also does quite well in the darkness between sunset and sunrise and in indoor artificial light situations.

Alternatives for “nighttime” photography:

Serr’s 500T
Ektachrome 320T
CineStill 800T

C6 — Vibrant Arizona — Bonus

*Summer Cliffs* – Sedona, AZ – Fujifilm X-E4 – Vibrant Arizona Recipe

The C6 slot is a bonus, and the Vibrant Arizona Recipe is a solid option to fill it with—and it’s one of the most popular Recipes right now. If you didn’t want to use Vibrant Arizona, you could instead select your favorite “alternative” Recipe from C1-C5 above, or use one below.

Alternatives bonus Recipes:

Bright Kodak
Bright Summer
Silver Summer

C7 — Kodak T-Max P3200 — B&W

*Closed Umbrella* – Phoenix, AZ – Fujifilm X100V – Kodak T-Max P3200 Recipe

The newest black-and-white Film Simulation Recipe is Kodak T-Max P3200, and it has quickly become one of my favorites! If you don’t want to use this one, definitely give Kodak Tri-X 400 a try.

Alternatives for “B&W” photography:

Kodak Tri-X 400
Ilford HP5 Plus 400
Moody Monochrome

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Fujifilm X-E4 (X-Trans IV) Film Simulation Recipe: Pure Negative

Posted on July 21, 2022 by Ritchie Roesch

*Gold Coast* – Pismo Beach, CA – Fujifilm X-E4 – “Pure Negative”

This “Pure Negative” Film Simulation Recipe was created by Thomas Schwab, who has made several recipes published on this website, including Superia Xtra 400, Fujicolor NPS 160 Pulled, Urban Vintage Chrome, Kodachrome II, Kodak Portra 800 v2, Kodak Brilliance, Classic Monochrome, B&W Superia, and Monochrome Kodachrome. Thomas has also collaborated on other recipes, playing an important role in getting them right, including Kodak Portra 800, Kodak Ektar 100, Kodachrome 1, Kodak Portra 400, and Kodak T-Max 400. I’m sure I’ve missed a few, and for that I apologize.

Thomas told me that this “Pure Negative” recipe is basically a modification of his X-Trans I Kodachrome II recipe for use on X-Trans IV cameras. Because X-Trans I doesn’t have Classic Chrome, Thomas used the PRO Neg. Std film simulation to emulate a Kodachrome aesthetic as best as possible, and his recipe does a good job of that for the X-Pro1 and X-E1 cameras. There are already several excellent Kodachrome options for X-Trans IV; this recipe isn’t intended to replicate Kodachrome, but instead produce good natural-looking results—perhaps there is a little unintentional Kodachrome 25 resemblance, too. Thank you, Thomas, for creating this recipe and allowing me to share it on Fuji X Weekly!

*Cactus Scar* – Goodyear, AZ – Fujifilm X-E4 – “Pure Negative”

This Film Simulation Recipe is a great general-purpose option. It’s very versatile, delivering excellent results in a variety of situations. The only modification that I made to Thomas’ recipe is Dynamic Range: he prefers DR-Auto, but I set it to DR200. That’s not a big change, as DR-Auto chooses DR200 whenever there is bright highlights in the frame. Select whichever you prefer—either DR-Auto or DR200 is fine. For the Fujifilm X-T3 and X-T30 cameras, ignore Grain size and use a 5% CineBloom in lieu of Clarity (or just ignore Clarity)—the results will be similar. For X-Trans III, you’ll additionally have to ignore Color Chrome Effect, since your camera doesn’t have it. This recipe should be fully compatible with the new X-H2s, although I have not tested it to know for certain.

PRO Neg. Std
Dynamic Range: DR200
Highlight: +1
Shadow: +2
Color: -4
Noise Reduction: -4
Sharpness: +1
Clarity: -2
Grain Effect: Weak, Small
Color Chrome Effect: Weak
Color Chrome Effect Blue: Off
White Balance: Auto, +1 Red & -2 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: 0 to +1/3 (typically)

Example photographs, all camera-made JPEGs using this “Pure Negative” Film Simulation Recipe on a Fujifilm X-E4:

*Bougainvillea Branch* – Buckeye, AZ – Fujifilm X-E4

*One Blossom Remains* – Buckeye, AZ – Fujifilm X-E4

*Prickly Pear* – Goodyear, AZ – Fujifilm X-E4

*Arching Palms* – Goodyear, AZ – Fujifilm X-E4

*Veiled Wasatch* – Layton, UT – Fujifilm X-E4

*Teenage Mutant Ninja Turtle* – Layton, UT – Fujifilm X-E4

*Pismo* – Pismo Beach, CA – Fujifilm X-E4

*Brad’s* – Pismo Beach, CA – Fujifilm X-E4

*Turbulent Waters* – Pismo Beach, CA – Fujifilm X-E4

*Wave Rider* – Pismo Beach, CA – Fujifilm X-E4

*Surfer* – Pismo Beach, CA – Fujifilm X-E4

*Standing on Water* – Pismo Beach, CA – Fujifilm X-E4

*Golden Ocean* – Pismo Beach, CA – Fujifilm X-E4

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Fujifilm X-Trans IV Film Simulation Recipe: AgfaChrome RS 100

Posted on August 3, 2021 by Ritchie Roesch

*H&M* – Farmington, UT – Fujifilm X-E4 – “AgfaChrome RS 100”

I was asked to create a film simulation recipe for AgfaChrome RS 100 color transparency film. Agfa made this slide film from 1984 through 1995, with an “improved emulsion” released in 1992. I never used AgfaChrome RS 100, so I have zero experience with the film. It was difficult to find examples of, and old issues of Popular Photography and Photographic magazines were my best resource. Despite the challenges, I was able to create a film simulation recipe that I’m very happy with.

This AgfaChrome RS 100 recipe renders pictures beautifully! It has a great vintage analog feel to it. People might think that the images are old film pictures that you scanned, and they certainly won’t suspect that they’re straight-out-of-camera JPEGs! I’m confident that this recipe will be an instant favorite for many of you.

*Flower Garden* – Park City, UT – Fujifilm X-E4 – “AgfaChrome RS 100”

Because this X-Trans IV recipe requires Classic Negative, Clarity, and Color Chrome FX Blue, it’s only compatible with the Fujifilm X-Pro3, X100V, X-T4, X-S10 and X-E4 cameras—unfortunately it’s not compatible with the X-T3 and X-T30. I believe that it is compatible with the GFX100S, although results will likely be slightly different. If you have a compatible camera, be sure to give this AgfaChrome RS 100 recipe a try!

Classic Negative
Dynamic Range: DR400
Highlight: +1
Shadow: -1
Color: +2
Noise Reduction: -4
Sharpening: -2
Clarity: -3
Grain Effect: Strong, Small
Color Chrome Effect: Strong
Color Chrome Effect Blue: Strong
White Balance: Daylight, -3 Red & +5 Blue
ISO: Auto, up to ISO 6400
Exposure Compensation: -1/3 to +1/3 (typically)

Example photographs, all camera-made JPEGs using this “AgfaChrome RS 100” film simulation recipe on my X100V and X-E4:

*Bowl on a Shelf* – Scottsdale, AZ – Fujifilm X100V

*Parking Garage* – Park City, UT – Fujifilm X-E4

*Below Deck Parking* – Park City, UT – Fujifilm X-E4

*Smile* – Farmington, UT – Fujifilm X100V

*Little Dragon* – Scottsdale, AZ – Fujifilm X100V

*Free People* – Park City, UT – Fujifilm X-E4

*Towering Cloud* – Farmington, UT – Fujifilm X-E4

*Drive Slow, But Don’t Park* – Park City, UT – Fujifilm X-E4

*Checkerboard* – Scottsdale, AZ – Fujifilm X100V

*Patagonia* – Park City, UT – Fujifilm X-E4

*Green Grapes* – Farmington, UT – Fujifilm X-E4

*Blackberries* – Farmington, UT – Fujifilm X-E4

*Pink Among Green* – Farmington, UT – Fujifilm X-E4

*Little Cherries* – Farmington, UT – Fujifilm X-E4

*Permission to Park* – Park City, UT – Fujifilm X-E4

*One Way* – Park City, UT – Fujifilm X-E4

*Honey Bucket & Trailer* – Park City, UT – Fujifilm X-E4

*We Are Open* – Park City, UT – Fujifilm X-E4

*Park City Downtown* – Park City, UT – Fujifilm X-E4

*Buildings in Downtown Park City* – Park City, UT – Fujifilm X-E4

*Church Cans* – Park City, UT – Fujifilm X-E4

*Gas Sign* – Park City, UT – Fujifilm X-E4

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Film Simulation Recipe Compatibility: X-Trans IV

Posted on August 5, 2020 by Ritchie Roesch

Bayer, X-Trans I & II
X-Trans III

Those with Fujifilm X-Trans IV cameras, which include the X-T3, X-T30, X-Pro3, X100V and X-T4, have the most film simulation recipes to choose from. There are currently five X-Trans IV cameras, and they actually fall into two groups: “Old” (X-T3 & X-T30) and “New” (X100V, X-Pro3 & X-T4). The two groups have different options. The latter has the new Classic Negative film simulation (also the new Bleach Bypass film simulation on the X-T4), Color Chrome Effect Blue, Clarity, new Grain options, and new B&W Toning. This means that the recipes that are intended for the X100V, X-Pro3 and X-T4 are not compatible with the X-T3 and X-T30, with the exception of Kodak Tri-X 400, Kodak T-Max 400, and Verano Tostado, which are compatible with X-Trans III & IV (just follow the directions explained in those recipes). I do hope that Fujifilm adds these new features to the X-T3 and X-T30 via firmware updates.

X-T3 & X-T30

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The list below are the film simulation recipes that are intended for use on the X-T3 and X-T30. Also, all of the X-Trans III recipes are also fully compatible with these two cameras, so you have that list to choose from, too.

Kodachrome 64
Kodak Gold 200
Kodak Portra 160
Kodak Portra 400
Kodak Ultramax
Kodak Vision3 250D
Eterna
Expired Eterna
Eterna Low-Contrast
Polaroid
Polaroid II
Analog Color
Jeff Davenport Night
Faded Color
Vintage Color Fade
Elite Chrome 200 Color Fade
Color Negative
Fujichrome Sensia 100
Fujicolor Pro 400H Overexposed
Warm Contrast
Bleach Bypass
Kodacolor
Kodacolor II 126
Classic Slide
Urban Vintage Chrome
Fujicolor 100 Industrial
Lomography Color 100
Velvia
Redscale
Cross Process
Acros
Monochrome Kodachrome
Ilford HP5 Plus Push-Process
Ilford Delta Push-Process
Dramatic Monochrome
Faded Monochrome
Split-Toned B&W
Cyanotype
Sepia

If you have an X-Trans III camera, you can use some of the recipes above, even though they are intended for X-Trans IV. Those recipes that use the Eterna film simulation are only compatible with the X-H1, because that’s the only X-Trans III camera with Eterna. Those that call for Color Chrome Effect or B&W toning are not fully compatible with X-Trans III (but some can be used anyway, it will just look a little different). Others, such as Portra 160 and Warm Contrast, are actually full compatible with X-Trans III, because Color Chrome Effect is Off.

X100V, X-Pro3 & X-T4

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The film simulation recipes below are only compatible with the X100V, X-Pro3 and X-T4, with the exception of Kodak Tri-X 400, Kodak T-Max 400, and Verano Tostado (just follow the instructions in that article). Expect this list to grow significantly over the coming weeks and months, as I have a number of different recipes in the works.

Kodachrome 64
Kodachrome 1
Kodak Portra 400
Kodak Ultramax 400
Kodak Ektar 100
Fujicolor Reala 100
Fujicolor Superia 100
Fujicolor Superia 800
Fujicolor Superia 1600
Agfa Vista 100
Classic Negative
Nature Neon
The Rockwell
Bleach Bypass
Verano Tostado
Bright Summer
Cine Teal
CineStill 800T
Kodak Tri-X 400
Kodak T-Max 400
B&W Superia
Black & White Infrared
Sepia

All of the X-Trans III and “Old” (X-T3 & X-T30) X-Trans IV recipes are fully compatible with the X100V, X-Pro3 and X-T4, but with two caveats: Grain and B&W Toning. You’ll have to decide if you want Grain set to Small or Large. That will be your call, whatever you think is most appropriate for your pictures. If the recipe calls for B&W Toning, you’ll have to figure out how the new B&W Toning translates, because it’s different. Other than that, all of those recipes are yours to use, in addition to the ones listed above.

Now it’s your turn! Which recipes are your favorite and what cameras are you using them on? Let me know in the comments!

Comparing JPEGs: Fujifilm X-T1 vs X-T30

Posted on January 29, 2020 by Ritchie Roesch

Fujifilm X-T30 with Astia film simulation.

Fujifilm X-T1 with Astia film simulation.

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.

Provia: