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It still took a lot of work to translate all this knowledge into code that could be run by digital camera processors, but Fuji could leverage data that no other current camera maker has available to work with. 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. Velvia on the other hand aims for a dramatic look, with highly-saturated color, especially in greens and reds. ASTIA is particularly intended for naturally-lit, spontaneous portrait photography. This also illustrates that it's not entirely about color saturate, but also tonal response. It’s much faster than starting from scratch with the Raf files! A red filter is like yellow, only more so. I find this kind of chart super-handy handy, because it lets me simultaneously see changes in both hue and saturation very easily. These show how the light-sensitive layers react to different colors or wavelengths of light. (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.). As with other Film Simulations, the camera lets you choose three levels of grain with ACROS, ranging from Off (on the left) to Strong (on the right). 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. Writing this article, I was struck again and again by how much some of the film simulations matched my memories of shoeboxes full of photo prints and box after box of color slides from my childhood. (As well as continuing to improve and refine the look of its existing simulations, something it has already done more than once as newer cameras have been announced, and more powerful image processors become available.). The flowers are still pleasingly bright and snappy, but notice how much more detail is present in the ASTIA version. Really? Film Simulation Fujifilm names its colour modes after some of its most iconic film emulsions. One of the things that I was also hoping to achieve by shooting jpg was to get a more consistent look in my photos, but looking back that never really happened because I kept changing back and forth between all of those recipes! Grain Off. Sure, I might want to bump the saturation on a sunset shot, or dial back the contrast and saturation for portrait shoots, but I never had a good sense of exactly what the average scene mode would do for me outside of its usually very narrow definition. To understand why, let's take a deep dive into the details of how color film emulsions work. It’s nothing short of amazing the range you get when editing Fujifilm’s raf files, especially when it comes to recovering shadows and highlights. 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. (I have to admit I'm not much of a street photographer; I don't have the brass to walk up and shove a camera in someone's face. Film simulation options can be combined with tone and sharpness settings. While highly saturated, Fuji nonetheless designed this film with the intention of representing scenes as photographers remember them. I was in a similar situation because the custom WB that the Portra recipe mentions may not have any previously set value. That being said, as much as I appreciated the quality of the jpgs, I almost always ended up working on the raw files for the added post-processing flexibility and to get a more stylized look. 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. Just got the X-T2 and have been taking it everywhere the last couple of days documenting everything going on around me. Meanwhile, the medium and dark blues are desaturated and shifted more towards cyan. One film might produce a fairly neutral, technically-accurate color rendering, while another might simultaneously: - Saturate dark greens more than lighter ones Here's the same comparison, PROVIA on the left and Velvia on the right. Cameras like the X-Pro2, X-T2, the new X-H1, and even the less expensive models, like the X-E3, all feature 15 different Film Simulations, as they’re called. Highlight -1. For example I have C1 set to Acros. The film scanners in those machines were tasked with converting any kind of film into a digital format for printing and saving, a very tall order for 1990's technology. 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. (Think wedding or street photography, for example.). While ASTIA offers excellent color accuracy coupled with the vivid look you'd expect of a reversal film, it provides softer, more pleasing skin tones than PROVIA or some of the other profiles. The ability to so easily get entirely different looks from the same image is just too compelling to miss. Both are optimized for portraits. That said, I've found plots showing how the various Film Simulations render various subject colors really helpful in understanding what to expect out of them, and to compare one against another. 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. In a more subtle direction, while I tend to use PRO Neg.Hi for portrait shots, I also often want to try something like Astia, depending on the lighting and the subject's skin tone. Fujifilm told me that their focus was also on very accurate color as well, with less hue shift than many other film simulations. Here are the settings you need: The sensitivity curves for Provia are on the left, Velvia on the right. Fuji's "Film Simulation" modes do just what their name implies: They simulate the look of classic color and black-and-white films. CLASSIC CHROME is a complex mix of different saturation and hue shifts in various parts of the spectrum. Sigh. But I really like some of the unique looks available, and especially love the gorgeous tonality of the ACROS black & white profile. 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. X-Trans IVX100V, X-Pro3, X-T4, X-T3 &… This works particularly well with older legacy lenses, because of their natural imperfections compared to current lenses. Velvia was a favorite of mine back in the film days. It's as though the color gamut was squished, to avoid greens and magentas, but then ballooned out in the reds. ), Fuji particularly talked about the handling of sky colors in. (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.) 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. Fujifilm says it's meant for pros wanting excellent skin tones, but in situations where they want a bit more contrast because they don't have as much control over the lighting. This is a good example of what ETERNA can do with a contrasty scene. Fuji says that they aimed to reproduce the ambiance of documentary-style photographs and magazines with CLASSIC CHROME. When I compared images converted by X RAW Studio using various cameras' own processors with those from Photoshop, the differences were immediately obvious. Shadows are darker, though, so the overall contrast of the image is still fairly high. Thank you Solomon! ASTIA has a flatter tone curve in highlight areas, which you can see in the highlights on the model's face as well as in the water behind her. They describe is as “ideal for a wide range of subjects.” “Safe” could be another good way to describe it. I generally apply the same settings for each, with a few variations. Shooting in a studio and want to control the contrast with your lighting? I love its look and it’s the one I currently use on my x100F: Since the first-generation X cameras didn’t have Classic Negative or Classic Chrome, I had to try out different alternatives to get close to the look of my original color recipe. When used in the high situations, this black and white recipe is just gorgeous! This shot from Fuji shows how beautifully ACROS can render skin tones in portraits, and illustrates the difference between the muddy look that results from a black and white conversion that just removes the color information and the gorgeous tonality you can get with ACROS. Below you’ll find the different iterations of my recipe for the different camera/sensor generations (there is no X-Trans II version, but you can easily use the X-Trans III recipe for those cameras with some minor adjustments). For the seventh episode of the Film Simulation Challenge, I chose Ritchie's Fujicolor Pro 400H Film Simulation Recipe. 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. It's particularly worth noting that the tone curve varies more between colors in this profile than any of the others. (This is why the gradation between the colors there seems so smooth.). Here, the peaks show how much light is absorbed as a function of color/wavelength. The numbers along the bottom of the graphs are the wavelength of light, ranging from blue (short wavelengths) on the left to red (long wavelengths on the right). 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. Photoshops version is appealing, but it leans towards the bright rosy skin tones of consumer cameras, and has a much harder, more contrasty tone curve, losing (or at least obscuring) a lot of highlight detail preserved by Fuji's ASTIA Film Simulation. But even when the individual silver particles are completely turned to silver, they're generally too small to be noticed on their own. ), From our discussions with them, we'd expect to see Fujifilm continuing to add even more film types in the years to come. Compared to PROVIA it has much lower saturation -- lower than most other Film Simulations -- but with somewhat harder tonality. The X100S' FIlm Simulation modes are now pretty good. It's a great choice for studio shooting, but I find the increased contrast of Pro Neg.Hi much more useful for the kind of shooting I do. Looking at ETERNA's color mapping, it has a similar squashed color palette to CLASSIC Neg, desaturating greens, magentas and purples more than other parts of the spectrum, although it doesn't do so nearly as strongly, and its tone curve is way, way flatter. It's exactly as advertised, with much flatter contrast and relatively neutral color desaturation. Thank you for the quick reply will definitely be trying these settings out this weekend. Based on the comparison below, it does seem to be the case. Below are my go-to settings for the ACROS film simulation in my X100F (and previously, the X-Pro 2).My goal with these settings is to create immediately usable files that I can use straight off the card for sharing. Notice how far out from center the lines extend for most colors in the spectrum. This would not be the first Film Simulation mode comparison ever done, there are many out there. The image on the left (PROVIA) looks like any random snapshot, but the one on the right (Classic Neg) could have been pulled from a 40 year-old shoebox. This shows the PROVIA version on the left and the Velvia one on the right. 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. The 2D a*b* plot tells essentially the same story; it's pretty much what you'd expect from a "standard" film emulsion. (Velvia has long been a favorite of landscape photographers, for its vivid rendering of foliage.). (Interesting; this illustration must have been made before they settled on the all-caps branding for it :-) Note the differences in the sky colors between the different renderings, and the starker, higher-contrast look of the wheat in the foreground. The swatches themselves are made using specially-formulated and very tightly-controlled paints, with pigments that are very resistant to fading. This is very common in digital camera color management; I've seen it to one extent or another in pretty much every camera I've tested. The Classic Negative film simulation also seems to warm the highlights and cool the shadows. Wow, Velvia is all about saturation! The dark room, bright image, and the smell of the hot projector bulb transport me back to another time. It's not just a matter of changing a tone curve, or individually tweaking the tone curves for red, green and blue channels separately, since the red or blue layers for a particular emulsion might also have some level of sensitivity to various shades of green, and vice versa, and the dyes involved can have even more complex spectral profiles. The full extent of its effect isn't immediately apparent on a computer monitor, but it holds onto much more detail in both highlights and shadows than the default PROVIA profile does. We'll get into the specifics of what goes into the particular "look" of various film types below, but I wanted to give some sense of just how complex the color responses of different films can be. 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. Looking at the 2D a*b* plot, it's easy to see how dramatically different Velvia is. I still have my slide projector and screen tucked into a corner of my basement somewhere. With darker tones, though, the saturation is increased. As appealing as the "film look" might be though, few photographers care to spend the time, money and effort that's part and parcel of film photography. Fuji film simulation profiles for your camera (updated to 3.2) (for a brand new project please go here ) I always loved the mood of the different films profiles (simulations) included in any of the Fuji cameras released since the first X-Pro, the famous Fuji simulations. Imaging Resource © 1998 - 2021. The "Film Simulation" modes in Fujifilm cameras are a major Fuji feature that I've wanted to write about for years now. The full story goes way beyond what we can cover here, but check out this excellent, detailed and surprisingly understandable description of how black and white film chemistry works, by Tim Johnson of the University of Wisconsin, if you're interested in the details. 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. As with ACROS, though, you can opt for yellow, red or green filters, and can give the resulting image a warm or cool color cast on cameras since the X-T3 and X-T30. Both of Fujifilm's black and white Film Simulations let you apply yellow, red or green filters to the image before the conversion to black and white, replicating their effects with black and white film. 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? For your black and whites do you use the above Acros+R setting as well? I also shoot 35mm film and usually have a roll of Fujifilm Superia 400 in my Nikon FE. 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. I’m a fan of contrasty, grainy images when it comes to B&W, so I experimented a bit and discovered that the Acros film sim when shot at high ISOs produces some very film-like grain, which looks much more natural than the grain effect in the film sim settings. Film Simulation: Acros; Highlight Tone:-2; Shadow Tone:-2; Pro Neg LaRoque. We'll talk about color reversal (slide) films here, but the same concepts apply to color-negative films as well. 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. Differences between film emulsions went way beyond just high vs low contrast or color saturation, though. The initial set of films that could be simulated by the F200EXR included Fuji's PROVIA, Velvia and ASTIA, as well as more generic B&W and SEPIA looks. As we'll see below, the sensitivity curves are just part of the story. 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. They've drawn on this background and extremely detailed characterizations of different film types to create camera modes that simulate the analog look of various types of both color and black and white films. It was love at first sight as soon as I saw Jonas Rask’s images with this film sim, as it seemed to fit my “film-look” aesthetic right out of the box. It's almost hard to believe that both these images came from the same exposure(!). The uniformly low color saturation of ETERNA is only part of its story: Its very flat contrast curve makes it very appealing for videographers, providing lots of latitude for color grading in post production work. But the greatest thing about working in raw quickly became my biggest problem: the endless possibilities provided by editing these files means it’s a never-ending task. The pattern of the simulated grain also has a somewhat serpentine pattern to it, but the way that the grain "clumps" in denser areas is more structured and film-like than what you get from Photoshop. That said, though, PRO Neg.Std's tone curve is quite different, being much less contrasty. 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. - But I enjoy capturing people in candid moments with a longer lens, and CLASSIC CHROME is my favorite look for it.). The original was shot using the Velvia Film Simulation, which brought out the soft, pastel hues in the snow. I was a little... perturbed. Unlike most other Film Simulations, ETERNA isn't intended to produce results that would be used as an end product, but rather to provide a very neutral starting point, with a lot of latitude to take the tone and color wherever you need it. 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. As it's name suggests, SEPIA replicates the look of sepia toning, which was popular back in the late 19th and early 20th centuries. If you ever did shoot black and white film, there's a good chance you had at least one or two color filters in your bag. The shifts of cyans and light blues more towards pure blue is more pronounced, and darker blues are noticeably more saturated. Bottom line, while various RAW processing programs may appear to offer the same film simulation options as found in Fujifilm cameras, the only way to reproduce what the camera is actually doing is to use the camera’s processor itself, whether in-camera or through Fuji's X-RAW STUDIO. Colors that look very similar are close to each other, while ones that look different are further apart. Rather than comparing it to PROVIA, I thought it would be more useful to compare PRO Neg.Hi (right) with PRO Neg.Std (left). The optional yellow, red or green filters we've just previewed are available in both the ACROS and standard Monochrome Film Simulations. The JPEGs are ephemeral. As with the film it's simulating, it's definitely for studio use, where you can control the contrast through your lighting. PRO Neg.Hi is my personal go-to for casual portrait shots. Here's a classic example of Fujifillm's Velvia look - and a classic use case for it. The 2D a*b* plot shows that Astia's color mapping is quite different from Provia. Look how differently the cool hues from cyan through purple are handled. At two screen pixels per original camera pixel, this is pixel-peeping carried to an extreme(!) Step 7. I like the muted color and contrast it brings to this shot, but truth be told, I'd be more likely to use CLASSIC CHROME here. Fuji X100T Film Simulation Modes - tonality settings Dec 18, 2015 1 In general the use of the Film Simulation Modes on my Fuji X100T is clear for me, nevertheless I still struggle reg. (It turns out third-party RAW converter programs don't precisely match what the cameras do, even if they appear to offer the same options for simulating film. Sepia toning was a big thing back in the earlier days of photography, but it wasn't just an aesthetic choice back then. Overall, though, for this shot, I'd go with PRO Neg.Std as the starting point and then work from there. I really wish Fuji would create a Superia simulation on the X series cameres! These shots compare Photoshop's rendition of "Astia" with Fujifilm's own ASTIA Film Simulation. It's described in the Film Simulation menu as "soft", but I find that a bit misleading. When it comes down to it, Scene Modes and various Creative Filters have always felt like gimmicks to me. The crop on the left was processed using the "fast" demosaicing algorithm in the RawTherapee program, the one on the right from Photoshop. Note that very bright reds can easily end up out-of-gamut for the sRGB color space, leading to a loss of detail that you can see here in the most intensely saturated parts of the red flowers. Actually, one article contained three different recipes, so technically we’re up to 14. I like the PROVIA film simulation as a default; its color-handling is good, neither too over- nor under-saturated, and the contrast level is what most people would consider "normal". I have a X Pro-1 and Ive been experimenting for about a year now and really love all these simulation recipes but the white balance never seem to come out remotely close, any suggestions? The point of all this is that film's rendering of color is an enormously complex process that's virtually impossible to mimic with simple slider adjustments in an image editor. The Fuji’s are indeed the perfect cameras to carry around with you everywhere, I think that’s one of the main advantages of the system. It's a natural for shooting street scenes. Those two simulations in particular take me back to the shoeboxes of prints we had around the house when I was growing up. This is where Fuji's Film Simulations come in. I myself don't expect to use it often, but I really like its raw, grungy look for urban scenes, and it's an interesting choice for what would otherwise be highly-colored subjects like the flowers above. (Notice in particular how much the curves for green and red overlap.) 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. The goal of the challenge is to use the same settings for 24 or 36 exposures, similar to shooting a roll of film. Check, The X-Rite MacBeth ColorChecker is a common standard used for measuring color accuracy. The color swatches are actually paints with very carefully-controlled color characteristics. Most still photographers would probably be better served with one of the other color Film Simulations, that will be more likely to give results closer to the final intended result. 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 :-). Thanks for sharing with us , Thank you for the feedback, glad you liked it!

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