Fujifim GFX 100S an Film Simulation settings

davidevans1 · Mar 24, 2022

I take RAW + JPG and set the Film Simulation in camera.

My understanding is that doing this affects the preview in the EVF/ on the LCD and when I open the image in LR the film simulation (profile) is the starting point of the raw file (although it can easily be changed for other profiles) in processing.

I discard the JPG once the raw file is in Lr.

First question - am I correct that in camera Film Simulation and Lr Camera Matching Profiles are the same thing, or are they different?

The GFX 100S manual says 'film simulation options can be combined with tone and sharpness settings' and there are also grain settings, color chrome effect settings, color chrome FX Blue settings, Smooth Skin effect settings, Dynamic Range settings and D Priority settings. I really don't know properly what all these settings do yet and need to do some research.

Second question - do these settings affect the initial raw file that's imported to Lr also?

What I'm trying to achieve is a black & white Acros simulation starting point in the raw file imported to Lr, that is set as much as possible to my liking in camera, so that I'm starting off in Lr with less processing to do manually.

Final question - does anyone have recomendations for these settings for different scenarious, for example landscapes and street shots? Or can you point me to where I would find knowledgeable recommendations?

Thank you.

--
David

Rob de Loe · Mar 24, 2022

davidevans1 said:
I take RAW + JPG and set the Film Simulation in camera.

My understanding is that doing this affects the preview in the EVF/ on the LCD and when I open the image in LR the film simulation (profile) is the starting point of the raw file (although it can easily be changed for other profiles) in processing.

When you open LR and import the file, you'll see that LR briefly applies the film simulation to the RAW, and then discards it. It is not the starting point.

davidevans1 said:
I discard the JPG once the raw file is in Lr.

First question - am I correct that in camera Film Simulation and Lr Camera Matching Profiles are the same thing, or are they different?

The GFX 100S manual says 'film simulation options can be combined with tone and sharpness settings' and there are also grain settings, color chrome effect settings, color chrome FX Blue settings, Smooth Skin effect settings, Dynamic Range settings and D Priority settings. I really don't know properly what all these settings do yet and need to do some research.

Not correct. Adobe tried to match the Fujifilm simulations, but they're not a perfect match. In my careful side-by-side, they're close enough so that the difference doesn't matter, but that's me.

Think of Adobe's version of Fuji's film simulations as profiles, because that's what they are. You can apply "Acros" in the same way that you apply Adobe Standard, or Cobalt Neutral (a third party package).

davidevans1 said:
Second question - do these settings affect the initial raw file that's imported to Lr also?

What I'm trying to achieve is a black & white Acros simulation starting point in the raw file imported to Lr, that is set as much as possible to my liking in camera, so that I'm starting off in Lr with less processing to do manually.

Again, no. If you set your film simulation to Acros in camera, and shoot JPEG, Fuji creates a JPEG with Acros applied. In LR, you can apply Adobe's version of "Acros" to your RAF.

Do you know that you can process the RAF in your camera to create a JPEG or TIFF that uses the Fuji film simulation? You can do the same thing with Fuji X-RAW Studio, the desktop application that uses the camera body to develop the RAF.

This is an option if you really really like the Fuji film simulations, but want the flexibility to decide what simulation to apply after you create the RAF, rather than before. For example, if you like Acros but want to see what it looks like with Acros Y or Acros R, you can do it this way.

Personally I wouldn't bother because I start with RAW. Plus Adobe's versions of Fuji's film simulations are close enough for me.

davidevans1 said:
Final question - does anyone have recomendations for these settings for different scenarious, for example landscapes and street shots? Or can you point me to where I would find knowledgeable recommendations?

Thank you.

I don't use any of the film simulations so I can't help you. I shoot for black and white and I start with Adobe Monochrome.

spilla · Mar 24, 2022

davidevans1 said:
I take RAW + JPG and set the Film Simulation in camera.

My understanding is that doing this affects the preview in the EVF/ on the LCD and when I open the image in LR the film simulation (profile) is the starting point of the raw file (although it can easily be changed for other profiles) in processing.

Correct

davidevans1 said:
First question - am I correct that in camera Film Simulation and Lr Camera Matching Profiles are the same thing, or are they different?

They are extremely close, not identical but no meaningful difference.

davidevans1 said:
The GFX 100S manual says 'film simulation options can be combined with tone and sharpness settings' and there are also grain settings, color chrome effect settings, color chrome FX Blue settings, Smooth Skin effect settings, Dynamic Range settings and D Priority settings. I really don't know properly what all these settings do yet and need to do some research.

This refers to what you can do to the jpeg generated in camera. If you're editing the raw, or the raw with LR profile applied, this is not relevant to your final image.

davidevans1 said:
Second question - do these settings affect the initial raw file that's imported to Lr also?

What I'm trying to achieve is a black & white Acros simulation starting point in the raw file imported to Lr, that is set as much as possible to my liking in camera, so that I'm starting off in Lr with less processing to do manually.

When LR opens your RAW file, it will apply the preset you selected in camera briefly, and then go to Adobe Color -- you have to select it from the dropdown menu if you want it. If you mess around with other jpeg settings in camera (like the skin smoothing, etc.) these won't be applied. The exception is the Dynamic Range setting -- that does get baked into the RAW file. You don't want this to happen, so set your camera to DR100.

https://blog.kasson.com/gfx-100s/gfx-100s-dr-setting-affect-raw-files/

davidevans1 said:
Final question - does anyone have recomendations for these settings for different scenarious, for example landscapes and street shots? Or can you point me to where I would find knowledgeable recommendations?

Thank you.

Are you talking about the jpeg settings (like skin smoothing, etc.)? If you're editing RAW, these settings will only affect your jpeg preview, not your final image. I like my preview to be pretty flat to get closer to what the RAW will look like. For this, I use Eterna film sim, highlights -1, shadows -1, everything else set to 0/off. When shooting BW, I use Acros.

goodbokeh · Mar 24, 2022

davidevans1 said:
I take RAW + JPG and set the Film Simulation in camera.

My understanding is that doing this affects the preview in the EVF/ on the LCD and when I open the image in LR the film simulation (profile) is the starting point of the raw file (although it can easily be changed for other profiles) in processing.

I discard the JPG once the raw file is in Lr.

First question - am I correct that in camera Film Simulation and Lr Camera Matching Profiles are the same thing, or are they different?

The GFX 100S manual says 'film simulation options can be combined with tone and sharpness settings' and there are also grain settings, color chrome effect settings, color chrome FX Blue settings, Smooth Skin effect settings, Dynamic Range settings and D Priority settings. I really don't know properly what all these settings do yet and need to do some research.

Second question - do these settings affect the initial raw file that's imported to Lr also?

What I'm trying to achieve is a black & white Acros simulation starting point in the raw file imported to Lr, that is set as much as possible to my liking in camera, so that I'm starting off in Lr with less processing to do manually.

Final question - does anyone have recomendations for these settings for different scenarious, for example landscapes and street shots? Or can you point me to where I would find knowledgeable recommendations?

Thank you.

David in response to your questions, in the I.Q. Menu:

- The "Dynamic Range" setting can affect your Raw file, I think for the better. I set it on "Auto". It can sometimes push up your ISO a stop to protect highlights. I avoid "D Range Priority" because it affects exposures in more unpredictable ways.

- The "Color Chrome" settings are Fuji proprietary controls for red and blue colors which are quite nice but are for Jpeg only.

- The "Clarity" setting also just affects Jpegs but it also introduces a processing time delay of 3 seconds +/-, so you may want to avoid that.

Fuji says that Acros is designed with the camera's internal processor programing involved, much like their Color Chromes. Using Fuji's XRaw Studio program may be the superior Raw solution for your in-camera liking. It's clunky though, having to hook up that camera model you took the photo with to the computer. I've found the Adobe Camera Raw profiles are good enough for me.

davidevans1 · Mar 25, 2022

Thank you Rob de Loe , Spilla and Goodbokeh , your explanations answer all my questions and I understand how it works now.

I think the way forward for me is to make the in camera adjustments that Goodbokeh suggests and then use the Adobe Acros profile (s) which is what I've been doing up to now.

I'm possibly looking for the impossible - a smooth grain, black and white look that I can use for virtually everything, that doesn't involve much post processing time. Adobe Acros comes very close. I've had some sample edits of their B&W presets from Mastin Labs but don't think that's the way for me. altough their Pan F is nice but I don't want the grain effect (which with their B&W pack is baked in and needs to be removed, rather than added if you want it). I think Pan F is a 50 ISO fim so I wouldn't expect any noticable grain. DXO Film Pack is also nice, likewise Silver Efex , but no real gain over Adobe Acros for me.

Anyway thanks again for your time and advice.

spilla · Mar 25, 2022

davidevans1 said:
Thank you Rob de Loe , Spilla and Goodbokeh , your explanations answer all my questions and I understand how it works now.

I think the way forward for me is to make the in camera adjustments that Goodbokeh suggests and then use the Adobe Acros profile (s) which is what I've been doing up to now.

I'm possibly looking for the impossible - a smooth grain, black and white look that I can use for virtually everything, that doesn't involve much post processing time. Adobe Acros comes very close. I've had some sample edits of their B&W presets from Mastin Labs but don't think that's the way for me. altough their Pan F is nice but I don't want the grain effect (which with their B&W pack is baked in and needs to be removed, rather than added if you want it). I think Pan F is a 50 ISO fim so I wouldn't expect any noticable grain. DXO Film Pack is also nice, likewise Silver Efex , but no real gain over Adobe Acros for me.

Anyway thanks again for your time and advice.

Rob de Loe · Mar 25, 2022

davidevans1 said:
Thank you Rob de Loe , Spilla and Goodbokeh , your explanations answer all my questions and I understand how it works now.

I think the way forward for me is to make the in camera adjustments that Goodbokeh suggests and then use the Adobe Acros profile (s) which is what I've been doing up to now.

I'm possibly looking for the impossible - a smooth grain, black and white look that I can use for virtually everything, that doesn't involve much post processing time. Adobe Acros comes very close. I've had some sample edits of their B&W presets from Mastin Labs but don't think that's the way for me. altough their Pan F is nice but I don't want the grain effect (which with their B&W pack is baked in and needs to be removed, rather than added if you want it). I think Pan F is a 50 ISO fim so I wouldn't expect any noticable grain. DXO Film Pack is also nice, likewise Silver Efex , but no real gain over Adobe Acros for me.

Anyway thanks again for your time and advice.

The camera makes lovely black and white images David so I think you'll be happy.

Your plan sounds reasonable. If you like seeing black and white in the viewfinder or screen when you're working you can set it to Acros in camera and then convert to LR's Acros when you're post processing.

The downside of this approach is using the Acros camera profile in Lightroom means you lose the ability to adjust tones using the colour channels. This means giving up a powerful tool for (in my view) very little benefit.

Almost all of my photography is black and white , so I've been down the path you're on for a while now, and I've tried everything, including the LR version's of Fujifilm's Acros camera profile, LR's presets, third-party presets, and all the various ways to get to monochrome (e.g., desaturating instead of converting to black and white).

After all of that, I've landed on the most basic approach of all: convert to Adobe Monochrome, global adjustments (including colour channels) and local adjustments. Adobe Monochrome. When they released the update that provided Adobe Monochrome, Julieanne Kost wrote on her blog, "This profile slightly shifts colors as they are converted to grayscale – brightening the warmer colors and darkening the cooler colors. It also adds a small amount of contrast but allows lots of headroom for editing." It's exactly as she described -- an excellent starting point for black and white.

It was more effort to learn how to do it from the ground up, but it was worth the time to figure out each link in the chain. I understand that you're trying to minimize post-processing time, so feel free to ignore me.

However, with some time learning at the front end, you can achieve your goal of quick processing with minimal effort, but with a lot more control.

RHWeber · Mar 25, 2022

If you are shooting RAW in Capture One you can apply any Fuji film profile you like regardless of the one you shot with. I recently posted a reference to this article with a very thorough discussion of Fuji film settings. It really clarifies things.

https://www.imaging-resource.com/news/2020/08/18/fujifilm-film-simulations-definitive-guide

Adam007 · Mar 25, 2022

If you discard the JPG *as soon as* you import the RAW, then you don't actually need to shoot JPG.

This comes up a lot, and I find it interesting. If you shoot RAW, you can still set the JPG preview to whatever simulation you want. When you take a picture, or review it later in camera, it will display the simulation settings. When you import that RAW file, it will briefly appear as the JPEG, before "reverting" to RAW (i.e., no simulation applied).

As I think you indicate, this process can work to help you realize your shot goals in camera. However, if one wants the simulation as a guide to editing the RAW, then it makes sense to shoot RAW+JPEG.

davidevans1 · Mar 25, 2022

Adam007 said:
If you discard the JPG *as soon as* you import the RAW, then you don't actually need to shoot JPG.

This comes up a lot, and I find it interesting. If you shoot RAW, you can still set the JPG preview to whatever simulation you want. When you take a picture, or review it later in camera, it will display the simulation settings. When you import that RAW file, it will briefly appear as the JPEG, before "reverting" to RAW (i.e., no simulation applied).

As I think you indicate, this process can work to help you realize your shot goals in camera. However, if one wants the simulation as a guide to editing the RAW, then it makes sense to shoot RAW+JPEG.

I hadn’t realised the film simulation is in the EVF/LCD regardless of whether a JPG is taken, I’ve just changed my settings. Thank you.

davidevans1 · Mar 25, 2022

Rob de Loe said:
davidevans1 said:

Thank you Rob de Loe , Spilla and Goodbokeh , your explanations answer all my questions and I understand how it works now.

I think the way forward for me is to make the in camera adjustments that Goodbokeh suggests and then use the Adobe Acros profile (s) which is what I've been doing up to now.

I'm possibly looking for the impossible - a smooth grain, black and white look that I can use for virtually everything, that doesn't involve much post processing time. Adobe Acros comes very close. I've had some sample edits of their B&W presets from Mastin Labs but don't think that's the way for me. altough their Pan F is nice but I don't want the grain effect (which with their B&W pack is baked in and needs to be removed, rather than added if you want it). I think Pan F is a 50 ISO fim so I wouldn't expect any noticable grain. DXO Film Pack is also nice, likewise Silver Efex , but no real gain over Adobe Acros for me.

Anyway thanks again for your time and advice.

Click to expand...

The camera makes lovely black and white images David so I think you'll be happy.

Your plan sounds reasonable. If you like seeing black and white in the viewfinder or screen when you're working you can set it to Acros in camera and then convert to LR's Acros when you're post processing.

The downside of this approach is using the Acros camera profile in Lightroom means you lose the ability to adjust tones using the colour channels. This means giving up a powerful tool for (in my view) very little benefit.

Almost all of my photography is black and white , so I've been down the path you're on for a while now, and I've tried everything, including the LR version's of Fujifilm's Acros camera profile, LR's presets, third-party presets, and all the various ways to get to monochrome (e.g., desaturating instead of converting to black and white).

After all of that, I've landed on the most basic approach of all: convert to Adobe Monochrome, global adjustments (including colour channels) and local adjustments. Adobe Monochrome. When they released the update that provided Adobe Monochrome, Julieanne Kost wrote on her blog, "This profile slightly shifts colors as they are converted to grayscale – brightening the warmer colors and darkening the cooler colors. It also adds a small amount of contrast but allows lots of headroom for editing." It's exactly as she described -- an excellent starting point for black and white.

It was more effort to learn how to do it from the ground up, but it was worth the time to figure out each link in the chain. I understand that you're trying to minimize post-processing time, so feel free to ignore me. However, with some time learning at the front end, you can achieve your goal of quick processing with minimal effort, but with a lot more control.

Rob, yes I’ve noticed I can’t adjust the colour channels with the camera matching profiles and it can be restrictive, compared with the Adobe Profiles.

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Fujifim GFX 100S an Film Simulation settings

davidevans1

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Rob de Loe

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spilla

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goodbokeh

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davidevans1

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spilla

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Rob de Loe

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RHWeber

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Adam007

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davidevans1

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