Focus Check podcast ep72: What are your ULTIMATE mirrorless camera features? - WATCH or LISTEN now!
Focus Check podcast ep72:The ULTIMATE mirrorless camera?
Education for Filmmakers
Language
The CineD Channels
Info
New to CineD?
You are logged in as
We will send you notifications in your browser, every time a new article is published in this category.
You can change which notifications you are subscribed to in your notification settings.
If you are new to FUJIFILM Film Simulations and think you could become a fan, FUJIFILM has now added a detailed webpage that might interest you. The website delves into the different types of Film Simulations, explaining their vision and a bit of the thought that goes into how they are put together (hint: they start with a PROVIA base standard), plus, when you might choose one over the other. Let’s have a look!
Something quite unique to FUJIFILM cameras is Film Simulations that copy their analog equivalent – for example, Velvia, Provia, and Classic Chrome, among others. The range of presets mimics the look of classic FUJIFILM film stock, and photographs/filmmakers can dial in one of these distinct color profiles and tonalities directly in-camera if they know the look they want. These simulations are so popular, in fact, that the new FUJIFILM X-T50 camera even has a dedicated Film Simulation dial.
FUJIFILM Film Simulations can be divided into two categories: All-Around and Individualistic. What does this mean and when would you use one over the other? As explained on the site, the All-Around type gives priority to enhancing the subject of the photo, whereas the Individualistic simulation identifies a mood. In other words, should your subject be clear, true to life, and the focal point of your picture, or are you more like me – it’s often about the feeling a scene gives you rather than exactly what you see in front of you.
Also explained is the use of the Grain Effect, the Color Chrome Effect, and the Color Chrome FX Blue. Starting with the Grain Effect, what we used to call ‘grain’ when we shot analog is now deemed necessary for the human eye to see texture in a photo, so we recognize a kind of dimensional depth through the tonal gradation. Just process one of your photos with an overdose of Adobe Lightroom’s AI DeNoise filter and you’ll see what I mean. The effect is plastic if you don’t tone it down or add some ‘grain’ aka ‘noise’. The Grain Effect can take care of that.
The Color Chrome Effect helps by adding detail to your photo if you use a Simulation like Velvia, or any of those that add vibrancy and (maybe a little too much) saturated color. It takes care of those overly saturated colors by deepening colors and creating a wider range of tones. The Effect was developed with the popular FUJICHROME Fortia film in mind, which gained a large fan base, and was, unfortunately, only available in limited quantity and only in Japan between 2005 and 2007.
You can guess what Color Chrome FX Blue concentrates on: the blues – for example, the blues in the sky and bodies of water, like the ocean. As air causes a certain whitening effect when we take photos like these, we can use FX Blue to bring back the blue we’ve lost. This functions similarly to how a polarizing filter works on your camera.
Have a look at their website for more details about Simulations and effects here. They also have a very thorough Compatibility section so you can easily see what hardware and software fits which camera, a Learning Center, and more.
Do you use a FUJIFILM camera, and if so, do you use Simulations or in-camera effects? Or do you use them in post-processing? Let us know your experience with them in the comments!
Stay current with regular CineD updates about news, reviews, how-to’s and more.
You can unsubscribe at any time via an unsubscribe link included in every newsletter. For further details, see our Privacy Policy
Want regular CineD updates about news, reviews, how-to’s and more?Sign up to our newsletter and we will give you just that.
You can unsubscribe at any time via an unsubscribe link included in every newsletter. The data provided and the newsletter opening statistics will be stored on a personal data basis until you unsubscribe. For further details, see our Privacy Policy
A camera was put in my hands at 16, and I’ve been taking photographs ever since. Before moving to Vienna, I worked as a photographer on film sets, telling stories as they unfolded behind the scenes. Since then, I’ve focused on immersive theater, both as a photographer and an actor. I am the photographer for the award-winning Nesterval ensemble, documenting the energy and atmosphere of their performances. I’m a teller of stories. Stories hold my interest. I’ll take on any project with a story to tell.