profile is most closely modeled on Fujifilm's consumer-oriented SUPERIA 100 color negative film, first introduced in 1998. It's a good choice, with pleasing color and moderate contrast, and is a good compromise for general shooting. Sepia toning was a big thing back in the earlier days of photography, but it wasn't just an aesthetic choice back then. Back when the X-Pro3 was announced I was very skeptical on some of the hardware design changes, but one thing that immediately got me excited was the jpg-oriented software updates and specifically the new Classic Negative film simulation. Fuji's ACROS Film Simulation models this entire process. “ My favorite Fujifilm film simulation settings ”, My favorite Fujifilm film simulation settings, The “film look” in digital: what I’ve learned so far, Love at first click: an ode to the Fujifilm x100f, I was very skeptical on some of the hardware design changes, My Favorite Fujifilm Film Simulation Recipes | Fuji X Weekly, Updated my favorite Fujifilm film simulation settings – Life, Unintended, https://lifeunintended.com/tag/fuji-x-pro1/, Updated my favorite Fujifilm film simulation settings (again) – Life, Unintended, Review of SOOC JPEGs with the X70 at Dusk – The City Beautiful, Fujifilm Film Simulation Challenge Roll 3: Tri-X Push - Island in the Net, New film simulation recipe for the X-pro3 – Life, Unintended, [Not] My Fujifilm X-Pro2 Tri-X Push-Process Film Simulation Recipe | Fuji X Weekly, My 2 Favorite Fujifilm Simulation Recipes | Brandon Lopez, [Not] My Fujifilm X100V Classic Negative Film Simulation Recipe | Fuji X Weekly, Isolation Photo Project, Day 126 by Khürt Williams on Island in the Net, 3rd anniversary of “Life, Unintended” – Life, Unintended, Isolation Photo Project : Day 138 by Khürt Williams on Island in the Net, You can also Forage in Eden Terrace – Good Intentions, Film Simulation Recipe Cards, Part 2! . But given the new additions to the Fujifilm lineup in the X-Pro 2 and (soon to be available) X-T2, as well as significant improvements to Lightroom’s Fujifilm support, we thought it would be as good a time as any to revisit […] Helped massively by the Across R Fujifilm Preset, there is a special feel the images it produces. A yellow filter was the classic way to make clouds pop in landscape shots, back in the film era. Step 7. - Saturate all shades of green more than skin tones. The differences between Fuji's and Adobe's versions of the ASTIA Film Simulation are subtle but evident. ), Fuji particularly talked about the handling of sky colors in. The results were different - a lot different! Although it's not been given a film name, the Classic Neg. The image above shows a computer-generated image of the ColorChecker chart, with the theoretically ideal RGB numbers for each swatch, in the sRGB color space that's the default for many cameras and computer monitors. Cameras that offer this profile as of this writing (August, 2020) include the X-H1, X-T3, X-T4 and GFX 100. These show how the light-sensitive layers react to different colors or wavelengths of light. It's exactly as advertised, with much flatter contrast and relatively neutral color desaturation. Here's the really cool part: If you shoot raw files, you can change your mind about what Film Simulation you want to use after the fact! Both have noise reduction disabled, and both images are enlarged 200%, using the Preserve Detail 2 setting in Photoshop (all the crops you'll see below use this same processing. As I said, you might actually prefer the renderings in Photoshop, Capture One, Silkypix or whatever to the camera's own output, but you need to be aware that the two are different; often very different. As with the film it's simulating, it's definitely for studio use, where you can control the contrast through your lighting. I don't have a portrait shot of a black model to compare, but I'm betting that the higher saturation of ASTIA in that part of the spectrum would produce richer, more vibrant and lively-looking skin colors. It's as though the color gamut was squished, to avoid greens and magentas, but then ballooned out in the reds. It turned out that telling the full story was a much, much bigger task than I'd anticipated, and combined with the sale of IR, a trip to Japan in early March of this year (that I still haven't managed to write much about) and the whole COVID-19 thing, I'm only just now managing to post this story in mid-August, 2020. Something that I realized from using his simulations is that the biggest defining factor in the final look of the jpg is the Auto White Balance shift applied. ( Log Out /  At two screen pixels per original camera pixel, this is pixel-peeping carried to an extreme(!) Change ), Photographer | Writer | Northeast Indiana, Barcelona's Multiverse | Art | Culture | Science, My Fuji X photography experiences, film simulations and Capture One styles, Street photography and musings from Glasgow, Scotland, Street Photography | Landschaftsbilder | Momentaufnahmen. I dig the film simulations onboard. Look how differently the cool hues from cyan through purple are handled. ACROS profile. Looking at the Still Life shot, you'll get what I mean about it reminding me of old prints that have been in a drawer for a few decades. As I mentioned before, we can store up to 7 custom film simulation recipes setting on Fujifilm cameras. Non professional. I've never been much of a fan of the usual "scene" or "creative" modes on digital cameras; they've always seemed kind of niche and amateurish to me. The details that went into a film's look are incredibly complex. When I first started working on this article, I was happily slaving away in Photoshop, converting image after image from the RAW files, using the different Fuji film profiles that are built into Adobe Camera Raw. Velvia delivers lush, super-saturated colors, especially reds and greens. In a film emulsion, only a few molecules in each film grain are split like this, but the development process converts the entire halide crystal to silver, even if only a few molecules were initially affected. How would I reproduce these in older x trans sensor? Here's a version of the same shot, rendered with a green filter. Classic Chrome on the other hand is more neutral and subtle. X-Trans IVX100V, X-Pro3, X-T4, X-T3 &… Videographers and cinematographers have to work with footage shot in a wide range of lighting conditions, and somehow distill it down to a uniform "look" across the entire piece. (Blues are shorter wavelengths, on the left side of the graphs, reds are longer wavelengths, on the right.) The contrast and effective color sensitivity will depend a lot on the characteristics of the color original, but in general, this luminance-only conversion tends to produce bland-looking images. (We've talked about color and contrast separately, but in the real world, the tonal characteristics of the different color layers may vary some as well.) Bright greens and reds are also less saturated, going from slightly high saturation to slightly low in the case of the greens and slightly high to neutral in the case of the reds. Color films have multiple light-sensitive layers for each of the three primary colors (red, green and blue light), with color-filtering and interface layers between them. Its flatter and less rosy skin tone mean that it doesn't call as much attention to acne or minor blotchiness as other films do. One film might produce a fairly neutral, technically-accurate color rendering, while another might simultaneously: - Saturate dark greens more than lighter ones (Wow, *that's* a blast from the past! Comparing its color plot to the one for CLASSIC CHROME above, you can see that the lines connecting the true to measured colors are generally pointing in the same directions, but the changes in both hue and saturation aren't as extreme. It's intended to evoke memories of old color magazine photos. (For those wondering why we're looking at cyan, magenta and yellow dyes, when we started out with red, green and blue light, here's a quick overview on additive vs subtractive color.). Here we see even more significant differences between the two different film types; when it comes to the dyes used to make the color image, there's a lot more "spillover" from one color to the next in the Provia dyes than in Velvia's. If you're not a cinematographer, you may not have heard of ETERNA, but it's a simulation even still photographers should know about. For the seventh episode of the Film Simulation Challenge, I chose Ritchie's Fujicolor Pro 400H Film Simulation Recipe. I'd certainly still dodge and burn a critical image as needed, and perhaps even mess with the Curves tool some, but ACROS provides a good starting point, and straight-from-the-camera images shot with it are pleasing to my eye. The simple fact of the matter is I usually shoot for pleasure rather than art, and after spending dozens of hours every week in front of a computer screen for work, it's hard to bring myself back to the computer again in my leisure time. Without any tweaks to the Colour, Shadow Tone, or Highlight Tone, the histogram in this example is fairly evenly spread out. At first I just replicated the settings from my X-trans III recipe using Classic Negative instead of Classic Chrome, but after using it for a while and playing around with some of the new options like Color Chrome Effect and FX Blue, I’ve mostly settled on the settings below. ETERNA Bleach Bypass is a perfect look for urban-grunge imagery. The plot above shows colors in what's called the CIELAB color space. Still, I like the skin tones of Pro Neg.Std (on the right), and would prefer it to PROVIA as a starting point. These plots show the absorption curves for the dyes used in PROVIA and Velvia. Thanks for sharing with us , Thank you for the feedback, glad you liked it! While it evokes strong memories, it's not a look that I seek out myself very often, but I can easily see why so many people find it so appealing. Some colors are given a flatter tone curve than others, to increase the contrast between colors. Looking at the 2D a*b* plot, it's easy to see how dramatically different Velvia is. Change ), You are commenting using your Facebook account. In all cases, we'll be looking at what the cameras themselves produce, whether directly in-camera or through Fuji's X RAW STUDIO software. Adobe's grain simulation has less structure to it than ACROS grain, which became more evident the harder I pushed it. Material on this site may not be reproduced, distributed, transmitted or otherwise used without the prior written consent of The Imaging Resource. The original size and shape of the silver halide crystals and the way the resulting silver particles clump together during development affects not just the size but also the shape and general appearance of what we perceive as film grain. As I said above, my immediate reaction to seeing photos rendered with the ACROS Film Simulation was along the lines of "aaahh, now that's what I'm talking about!" I'm told that the basic ACROS grain processing is always the same, but on a practical basis, you'll see more "grain" at higher ISOs, so if you know you're going for a grainy look in a given shot, shoot the original at a higher ISO setting, even in brighter lighting. Yeah, I know, I never warmed up to that Portra simulation because I couldn’t get the WB right either. Fujifilm managed it, though, and could tap the years of refinement and real-world data from that product line when it came to simulating various film types in their cameras. Choosing between them became an extremely time consuming task and it got to the point where I would sometimes spend over half-an-hour with a single photo going back and forth between different looks. This is why I don't consider it "soft" in terms of its contrast, and because of that last attribute, Fuji also recommends it for use with older, mount-adapted lenses that have lower contrast than modern optics. In the case where you have both JPEG and RAW versions of your shots, Adobe's approach could be a bit confusing, as the RAW file thumbnails might look quite different from their JPEG counterparts. In this article, I'm going to go way, way inside what they do and how they do it, and how the various film types differ from each other. It’s free! For your black and whites do you use the above Acros+R setting as well? In day to day life, I'm much more inclined to just rely on camera JPEGs, but Fuji's film simulations are a compelling reason for me to dedicate the card and hard drive space to RAW files :-). I remember the first time I saw an ACROS-simulated image and thinking "oh yeahhh!" ASTIA's color rendering is more saturated than PROVIA's, but caucasian flesh tones are a bit flatter, and without the rosiness that can emphasize skin blemishes. Shooting in a studio and want to control the contrast with your lighting? ( Log Out /  I'd just spent hours converting dozens of photos, only to find that the "PROVIA", "Velvia", etc in Photoshop didn't actually look like those simulations in the cameras. This workflow has dramatically reduced my editing time on the computer and also helped me to focus on getting things right in camera, instead of shooting mindlessly and hopping to fix it in post. The contrast of a black and white image made from a color one will obviously depend a lot on how contrasty the color original was, but the subtleties of black and white films' color sensitivity will be missing. There are almost 100 different film simulation recipes on Fuji X Weekly! It might be best to highlight which sections were uofadetd. Tapping these deep and largely unconscious cultural memories can help set the mood and tell our own stories. The profile produces very contrasty and slightly red-tinted images. As you might expect, the color plot for PRO Neg.Hi looks a lot like that for PRO Neg.Std, just with more saturation and contrast. ( Log Out /  Yet there will be more! On a practical basis, Provia gives pretty neutral color, neither under- nor over-saturated, with what most people would consider "normal" contrast. If you’re a Fuji shooter with any interest in SOOC jpgs, FujiXWeekly is the finest resource available. This means that if you have shot using multiple modes on a single shoot, if you’re working with the RAW files in Lightroom, it can be a pain to replicate the right ones manually. Most people don't realize just how different film grain is from the sort of high-ISO noise we see in our digital images, though. Here are the settings you need: Velvia is very dramatic, but may not always be your best choice. Here's a classic example of Fujifillm's Velvia look - and a classic use case for it. Oh, I don’t throw away the Rafs, I keep them on an external drive for backup. I could have spent all day fiddling with the settings in Photoshop, but this combination of 50/25/100 had a similar net visual impact to the native ACROS processing. I never shot with the original ACROS film myself, but the look takes me back to my early years in the darkroom. For reference, here's the basic ACROS version of the image we'll be looking at here. While Photoshop's Selective Color and Hue/Saturation controls give you a great deal of control in different parts of the spectrum and the Color Balance tool lets you the overall color balance separately for highlights, midtones and shadows, the sorts of changes seen in Classic Chrome just aren't possible through any manual adjustment. It's kind of funny; I'm usually just a JPEG shooter, only bothering to shoot RAW when I'm faced with a particularly difficult subject. It's hard to describe the almost visceral experience it was to look at images rendered with it; I felt transported across time and space, back to my parent's home when I was growing up. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. For more information, visit: “The World of Film Simulation episode 1” Fujifilm’s Film Simulation modes employ the company’s understanding of film and colour in the digital environment and give Jpeg files a specific appearance. The Monochrome Film Simulation is basically the PROVIA profile with the color information removed. I can't recall the last time I've actually shot with it, but I'm sure I'll be thankful it's still there at some point in the future :-). It produces very low-contrast images with muted colors, and if you shot with it under typical outdoor conditions, the results would be very dull and flat-looking. I always use the same camera settings on the x-pro1, which are: Auto ISO, Auto DR, Astia, Color -2, NR -2, H: 0, S: 0 (or 1), WB shift R4 B-5. Dark cyans are still pulled a bit towards blue and yellows through oranges are rotated a bit more in the yellow direction on the chart, but color reproduction is generally quite accurate, just muted. (Fair warning, this next section does get pretty deep. I don't know if my parents ever used Superia, but this looks a lot like what I remember seeing in a lot of shoeboxes when I was growing up. I was in a similar situation because the custom WB that the Portra recipe mentions may not have any previously set value. Don’t get me wrong though, I’m not a “jpg fundamentalist” – I still use the raf files sometimes, either when the lightning conditions are more challenging or when I want a crazier look just for fun. Interestingly, light cyan (swatch #6) is shifted a bit less, ending up closer to its technically accurate value than Provia manages, but the more intense cyan patch is shifted quite a bit more towards blue. I have a roll of Superia 400 waiting in the fridge, I’ve never tried one yet but I love some of the photos I’ve seen of others taken with that film. While the ETERNA film simulation will appeal to videographers, the reasons behind that should find it a place in still shooters' workflows as well. Nice photos, i recently tried out film simulations in camera myself, it’s been fun! Posted on May 7, 2018 by Ritchie Roesch. PROVIA is Fuji's "standard" color rendering, and the default for all current Fujifilm cameras. The first variant of the technology appeared in 2003, as part of the company's FinePix F700 camera, although at that time it was called FinePix COLOR and offered a choice of just three film looks: F-Standard, F-Chrome or F-B&W. The image on the left is rendered with the Velvia simulation, while the one on the right was made using the ASTIA one. We'll look at the details of how each one handles color, and then see how that plays out in some specific images. I have several ideas and aesthetics that… Changing the look of your photos no longer means juggling rolls of film, and you can even create the look of multiple different film stocks from a single image. With all that as background, we're finally equipped to see clearly just what makes the various Film Simulations unique, and how they vary from each other. We'll use the. The emphasis here is on providing a wider 12-stop(!) The 2D a*b* plot shows that Astia's color mapping is quite different from Provia. Crafting and Inspiring Great Imagery / Medium Format. Compared to the ACROS profile, the result is a flatter tone curve, and grain isn't emphasized as much either. My favorites so far have been the Kodachrome simulations (both the Vintage Kodachrome and Kodachrome II) and Fuji Superia 800, but they’re really all quite excellent and cover an enormous range of looks. Like so many other Fujifilm users out there, one of the main things that drew me into the X series system was the quality of their jpg files and the film simulations. You can of course just bump up the contrast in Photoshop, or even use the Curves control to create a custom tone curve, but I've personally never been as happy with the results I could achieve as I was with the black and white prints I made in the darkroom (many) years ago. Doing it right requires enormous effort, but this was a fundamental part of Fuji's film-manufacturing business over the last seven-plus decades, so they already had the mass of data they needed, when they decided to create their film simulations. The saturation is lower and the skin tone is generally less rosy. Enter your email address to follow this blog and receive notifications of new posts by email. This is reflected in the CLASSIC CHROME color profile. This site was a real game changer, as it allowed me to emulate directly in the camera many of the looks that I was trying to recreate using Lightroom presets. I was a little... perturbed. By and large, though, it's a very conservative but pleasant color rendering. Photoshop gives you options for grain-effect strength, size and "roughness" when you're developing RAW files. This translates into some darker colors (like the green fabric swatch in the still life shot) looking less intense than with CLASSIC CHROME, even though the saturation for that color is essentially identical between the two shots. Finally, we come to the SEPIA simulation, giving a result similar to that of the MONOCHROME profile but with a warm, sepia-toned look that gives your images a retro feel. Many people don't realize that traditional black and white films responded differently to different parts of the color spectrum. When used in the high situations, this black and white recipe is just gorgeous! It can be a little confusing to translate subtractive color (Cyan, Magenta and Yellow) absorption to the red/green/blue additive primary colors we're familiar with in image files. ASTIA is particularly intended for naturally-lit, spontaneous portrait photography. A lot of classic color film emulsions lacked the color saturation that later developments in dye technology provided. This shows the PROVIA version on the left and the Velvia one on the right. - Significantly hue-shift oranges and sky-blues Digital noise looks very different from film grain, but the appearance of the underlying noise in an image can vary greatly depending on the processing used. Few people realize what this actually means, though; most assume that they could do the same thing with a few tweaks of the sliders in Photoshop. It's a classic result for a Velvia shot., with brighter colors all around; particularly noticeable in the yellow sunflower and more intense blue sky. I mentioned my love of ACROS, but I also find myself taking something originally shot in PROVIA or Velvia and making a version of it in Classic Chrome or Classic Neg. In the writeups for each Film Simulation below, we're going to look at a particular type of color plot; here's where that comes from and how it works: Imatest Master is an incredibly deep application for analyzing every imaginable image-quality characteristic; I've been using it for more than 15 years now, but have never more than scratched the surface of its features. Fuji's CLASSIC CHROME profile doesn't match any specific film emulsion, but its generally evocative of not only photo slides or prints, but magazine imagery from a bygone era. The ACROS Film Simulation is my go-to favorite for black and white photography. Choose your sensor to find the film simulation recipes that are compatible with your Fujifilm camera: X-Trans IV X-Trans III X-Trans II X-Trans I Bayer GFX Don't know what sensor your camera has? Most of us know what film grain looks like: Even if you never shot film yourself, you'll have seen plenty of old black and white prints or magazine photos. This has made it a favorite of landscape photographers in both the film and digital eras, and a natural choice for sunrises and sunsets. I use the x-pro1 a lot actually, many of the photos I’ve posted in the last months have been taken with it (https://lifeunintended.com/tag/fuji-x-pro1/). Thank you Janice, I’m glad you found them useful! ETERNA Bleach Bypass is the newest of Fuji's film simulations, only available in the X-T4 and GFX100 as I'm writing this in early August, 2020. Normally this would mean lower color saturation, but as we'll see below, the spectral sensitivities of the different film layers are only part of the equation, though; the spectral curves of the three color dyes used are also critical. Here's the young lady we saw above, this time comparing Pro Neg.Std on the right with PROVIA on the left. If you shoot with high ISOs the grain/noise will already the there, it’s just a matter of applying the Acros red profile and bumping up the contrast a bit. I began exploring different possibilities using the in-camera film simulation settings and came across Ritchie Roesch‘s “Fuji X Weekly” blog, which features some really excellent film simulation recipes inspired by classic films. Pro Neg.Std desaturates colors, while introducing relatively little hue shifts. You could match this in Photoshop with the Curves tool, but the tonal mapping also depends on the underlying color involved, and then there's the question of grain (see below). I shot more landscapes back then, and I loved the pop of its greens and the great, rich sky colors. Film simulation options can be combined with tone and sharpness settings. ASTIA's greens aren't quite as pure and intense, but still quite pleasing, with more saturation than you'd get with PROVIA. PRO NEG STD is much more subdued than ASTIA, the other film recommended for portraits. While I prefer the look of ACROS for most subjects, the flatter tonality of the Monochrome profile gives a more dreamy look to the winter landscape above left, and helps hold onto highlight detail in the bird's plumage, above right.

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