I ended up deleting 3 at a time during editing, or storing 3 images every time. Another issue was creating 3 high resolution images every time I took a single shoot. I would have to think about what I was shooting and then constantly change which 3 simulations I would use. However, I often struggled to choose only 3 of my 4 favourite film profiles (Provia, Astia, Classic Chrome and Pro Neg. To be even more ‘efficient’ I started to use film simulation bracketing for every image, imagining I was simultaneously shooting 3 rolls of film at one time. I always reserved one custom function button to adjust film simulations, thinking it the fastest way to change my ‘film’ while shooting mid-roll. There is one major reason why those who love Fuji’s film simulations should shoot RAW: You can apply film simulation profiles after you take the picture! Until I was forced to do it, I did not think about the advantage of shooting this way. How would I prepare my review without being able to at least take a quick peek at the RAW files? I contacted Fujifilm Canada and they made a humble suggestion: ‘Why don’t you just use the in-camera RAW conversion?’ I thought about it for a second, and then another second. While reviewing the pre-production X-Pro 2 there was no RAW support at the time. In general when shooting Fujifilm cameras, I stuck with JPEGs. Why would I bother shooting RAW? Perhaps if I was shooting in tricky lighting or was on a commercial shoot, I would shoot both RAW and JPEG as extra insurance. If I want a variety of looks, I would use the Film Simulation Bracketing feature. On the other hand I love the colours coming from Fujifilm’s JPEGs, especially the unique film simulations. I’ve always known the feature is there waiting in the menus ready to be used, but I could not see how to integrate it into my workflow. My cat, who likes to sprawl on my keyboard, is responsible for all typos, misspellings, factual errors, and faulty logic in my posts.I never paid much attention to the in-camera RAW conversion capabilities of the Fujifilm X series cameras. Some ambitious and enterprising person may create and post one to mimic the X100's Velvia film setting, for example. Another option is to keep an eye out on the web for a custom color profile. If you want to simulate X100 film settings with raw files using LR, you have to do it yourself, but once done, you can save your settings as a preset. LR does not use the camera's film simulation setting, so the image will usually look different from the JPEG that was initially displayed. Once LR has rendered the raw file, it displays the rendered image in place of the JPEG. The image you see when you first open a raw file in LR is the JPEG that is embedded in the raw file. Lightroom uses ACR, so I assume that the processing is the same. I suggest you do as I just did, and try it yourself with your choice of image processing program. Naturally being Fujifilm, they attached film names to these settings. My D700 has a similar feature, but since Nikon is not Fujifilm, the settings are like standard, vivid, neutral and monochrome. Where setting the camera to Velvia tarts up the colours a bit, processing in ACR gives you ultimate control with the HSL tab, saturation and vibrance controls.įilm simulation is a feature that Fuji developed long ago, and I suspect it is wildly inaccurate, but cute to include and production costs have long since been paid. On the other hand, once in ACR, you can dial in anything you want and Photoshop itself has extremely powerful monochrome conversion tools. Of course, you can use the RAW converter in the camera to lock in these settings, but then you are stuck with a JPEG. So the best conclusion I could draw is that it depends upon the application. Opening the folder in ACDSee, choosing the sepia shot and opening it in ACDSee's processing module it opened in sepia, unlike ACR. Viewed in Bridge, Directory Opus, ACDSee Pro4, and MyFinePix, the previews matched the camera settings. The same was true with the RAW file converter bundled with the camera. However, I also tested with monochrome, and they came through in colour. This worked with the camera set at standard and vivid-vivid was clearly more saturated. If you are using Photoshop, the default setting with Adobe Camera RAW is "As Shot". Shooting RAW the X100 appears to transfer it's "film" setting to the RAW preview file, anyone know a way to open a RAW file with that as the baseline?
0 Comments
Leave a Reply. |