BPsmith511 wrote:
Appreciate all the work you're putting into these.
It's a fun side project! Learning how all of the different settings in the recipes play with each other is the hardest part. Soooo much testing went into my shooting methodologies, such as having recipes use DR400, killing highlights on the tone curve, and then overexposing via EC to get output that needs way less tweaking to start looking like film.
Yesterday I did some extensive testing with Clarity, as I know a ton of recipes call for it. My main issue is that it drastically slows down the shooting experience, for me to a point where I find it frustrating. That said, I can see how a -2 to -3 setting can give you a more filmic file, but as I said in another thread, mist filters are the cheat code here if that's the look you want, and you get extra bloom which emulates color-neutral halation/bloom that you can get on film.
RoamingScott wrote:
It's a fun side project! Learning how all of the different settings in the recipes play with each other is the hardest part. Soooo much testing went into my shooting methodologies, such as having recipes use DR400, killing highlights on the tone curve, and then overexposing via EC to get output that needs way less tweaking to start looking like film.
Yesterday I did some extensive testing with Clarity, as I know a ton of recipes call for it. My main issue is that it drastically slows down the shooting experience, for me to a point where I find it frustrating. That said, I can see how a -2 to -3 setting can give you a more filmic file, but as I said in another thread, mist filters are the cheat code here if that's the look you want, and you get extra bloom which emulates color-neutral halation/bloom that you can get on film....Show more →
There is some additional processing time, but personally, I don't find it to be drastic. It's roughly equivalent to the time it takes for me to cock my film camera.
When shooting in raw format or relying on post-processing, I don't think using clarity makes much sense. However, when solely relying on a JPEG or HEIF output, I believe clarity is a powerful option. One trick is to change from single to continuous shooting which disables clarity. So, we can use it on the recipe and automatically disable it when changing the drive mode.
“Made in Japan” that’s it! I believe the boxes still call it “C200” vs the “200” of the US Kodak version. Might be some Made in Japan Superia 400 still around too.
The one annoyance of flying with film is you have to protect it from X-rays, I always throw mine in a ziplock gallon bag and hand to the agents. I won’t be pressed if you’d rather not!
BPsmith511 wrote:
I'm sure I'll be overwhelmed as it's my first visit but I can keep an eye out. Anything specific to look for packaging wise?
This looks like a fun recipe to give a try and certainly fits my style. Are the sample photos all using Reala Ace? Do you have any samples that use the Astia backup option? I have an X-T4 so won't have access to Reala Ace
All of the samples are with Reala. I haven’t played much with the Astia version since it’s not applicable to me but am interested in feedback or tweaks to it if you try it.
sherril8 wrote:
This looks like a fun recipe to give a try and certainly fits my style. Are the sample photos all using Reala Ace? Do you have any samples that use the Astia backup option? I have an X-T4 so won't have access to Reala Ace
Updated the article in the OP for X100V and previous cameras basing it off Astia...still looks better with Reala Ace as the base sim IMO however. Once I get my GFX I can tweak it a little more precisely comparing to each other.
Please fix the recipe link in the first post.
It's funny that in daytime white is white, although white balance shift is applied.
Have you tried adapting the recipe to the GFX?
Mister Chebak wrote:
Please fix the recipe link in the first post.
It's funny that in daytime white is white, although white balance shift is applied.
Have you tried adapting the recipe to the GFX?
Mister Chebak wrote:
Please fix the recipe link in the first post.
It's funny that in daytime white is white, although white balance shift is applied.
Have you tried adapting the recipe to the GFX?
All recipes adapt to GFX fine so long as the film sim is present.
This sim looks best with Reala Ace as the base, so that's just the 100Sii and 100ii. Fixed the link.
that’s it! I believe the boxes still call it “C200” vs the “200” of the US Kodak version. Might be some Made in Japan Superia 400 still around too. 