Classic Chrome Grain effect weak DR auto White Balance auto / R -7 B -4 Sharpness +1 NR -4 Thanks for sharing! Reminds me of Children of Men the movie 🎥
That is a really nice setting! Thank you! One thing I would suggest, if you shoot video with this set up, I would set the SS to a hard 60 on the dial, then use the wheel to dial in 50 if you're shooting 23.97 fps. If you don't do this the high shutter speeds will cause the camera to use a much higher ISO setting, which will only cause grain in the video.
Just want you to know I dialled your recipe to my almost 14-year old X100 OG. Used Astia as basis, max cranked up the H/S/Sh and minimized NR all the way.
Thanks for the menu breakdown and insights, very helpful. You could probably devote an entire channel to showing menu case studi study examples showing specific photos and their menu settings. For example; grain, white balance, LUTS, and work your arounds. Concerning aspect ratios I found this... 1. 4:3 or 1.33:1. The earliest films were presented in a 4:3 ratio, and until the advent of widescreen HDTV, 4:3 was the normal ratio for standard-definition television sets. Today, the 4:3 aspect ratio primarily serves artistic purposes, such as mimicking a style of filmmaking before the widescreen aspect ratio became the norm. 2. 16:9. The standard size for high definition widescreen televisions and most computer monitors, 16:9 is the most common aspect ratio used today. It is generally associated with video shot for TV and the Internet since film aspect ratios are typically wider in order to achieve a more cinematic look. Outside of movie theaters, most viewers watch content on 16:9 screens, so unless you're shooting content that will be shown theatrically, shooting in the 16:9 ratio is a wise decision. 3. 1.85:1. One of the two standard aspect ratios in modern cinema, 1.85:1 is regarded as the normal widescreen format and is actually quite similar in size to 16:9. It is slightly wider than 16:9, meaning content you shoot in 1.85:1 and display on widescreen televisions and computer monitors will appear with thin black bars on the top and bottom of the screen. Though this ratio is most common for feature films, many TV shows striving for a cinematic look also shoot in 1.85:1. 4. 2.39:1. Known as anamorphic widescreen format, 2.39:1 is the widest aspect ratio common in modern cinema. It creates an aesthetic customarily associated with premium dramatic feature films, and its wide field of view makes it the ratio of choice for shooting scenic landscapes. 5. 2.76:1 (70mm). Today, auteur directors like Christopher Nolan, Quentin Tarantino, and Paul Thomas Anderson have propelled the reemergence of the 70mm film format, which has a humongous aspect ratio of 2.76:1 (and is often projected on gigantic IMAX screens). 70mm initially rose to prominence in the late 1950s, partially due to its use in the Best Picture-winning film Ben-Hur, but the format gradually faded out of use. Now, just like in the 1950s, Hollywood is using 70mm to lure audiences back to the theater by providing them with a unique experience that can't be duplicated at home on TV. 6. 1.37:1 (Academy ratio). Only slightly wider than the 4:3 ratio used throughout the silent film era, Academy Ratio became the standard film ratio in 1932 when talking pictures became the norm. Contemporary filmmakers like Andrea Arnold and Paul Schrader still occasionally use this ratio. 7. 2.59:1 to 2.65:1 (Cinerama). To compete with the exploding popularity of television in the early 1950s, film distributors decided they needed to create an added incentive for the public to go to the theater. This resulted in the creation of Cinerama, a super widescreen format involving three standard 35mm film cameras that simultaneously project a film onto a curved screen. 8. 2.35:1 to 2.66:1 (Cinemascope). Debuting in 1953, Cinemascope was a super widescreen format developed by the head of research at 20th Century Fox. Since it used anamorphic lenses for the first time, Cinemascope only required one projector, which made it much less complex than Cinerama. Soon after the emergence of Fox’s Cinemascope, Paramount introduced its own widescreen format called VistaVision, but it couldn't compete with less expensive anamorphic systems like Cinemascope and soon became obsolete.
Very helpful. After years of tinkering with Fuji cameras including a gfx50r which was nice but just too big, I chose to go back to the xpro2 (not 3) and I’m loving it. I was in a hurry for a holiday so for the 35f2 but this lens doesn’t have the same feel as the f1.4 so will probably swap over and buy an umbrella!
I've played around with some R B white balance shifts before but always in the + for R and - for B realm. The R -7 and B -4 is a really interesting look. I just tried that for the video settings on my X-T3 and, at first glance, I like the look of it. I mostly photograph in black and white these days and I've been struggling to find a look I like for when I do want to take photos in color. I'm going to give this a try on my next photo walk. II wonder how this will look for nighttime photography?
I also use the wb shift, But how I get the same look back in Lightroom with a RAW? I change the WB or I add colors to the shadow and highlights? Any tips?
6400 would have been an ultra fast film ISO (probably not even commercially available!) so what makes digital different? And why not set you ISO to somerthing like 800 and leave it, just as if it were a roll of film?
I’d love it too but it wouldn’t be true xpan so maybe it’s for some purity reason? You’d need a sensor that’s twice the width of full frame for true xpan. Most wouldn’t be able to tell either way though.
@@Station9.75 I don’t think anyone expects a sensor dedicated to that aspect ratio. If Fuji can give their GFX line of cameras that cropped aspect ratio, then they can do it for their X line. Also, Panasonic offers that aspect ratio for their S5 lineup.
I really like these settings. So many film recipes increase red and decrease blue white balance shift, so this is refreshingly different.
Thank you so much for supporting the video!
Classic Chrome
Grain effect weak
DR auto
White Balance auto / R -7 B -4
Sharpness +1
NR -4
Thanks for sharing! Reminds me of Children of Men the movie 🎥
Thank you so much for supporting the video!
@@henrymediagroup I will have lots of fun with this! Reminds me of Children of Men the movie, which is a top 3 favorite movie of mine! Thanks again!
That is a really nice setting! Thank you! One thing I would suggest, if you shoot video with this set up, I would set the SS to a hard 60 on the dial, then use the wheel to dial in 50 if you're shooting 23.97 fps. If you don't do this the high shutter speeds will cause the camera to use a much higher ISO setting, which will only cause grain in the video.
Xpro2 user here - more Xpro2 stuff please
Thank you so much for supporting the video! Stay tuned for more!
Just want you to know I dialled your recipe to my almost 14-year old X100 OG. Used Astia as basis, max cranked up the H/S/Sh and minimized NR all the way.
Your settings and your reasoning is very good. Keep up the good work.
Thank you so much for your kind words and support on the video!
this is epic beautiful but not overdone.. love the strong color shift, but this works with normal colors too.... classic chrome is so great
Thank you so much for your kind words and support on the video!
Thank you. I’ve set both my Pros 2 & 3 to your setting. Loving the images that come out of them.
You are very welcome! I'm happy that you like our X-Pro2 settings! Thank you so much for supporting the video!
Thank you! I just bought a X100v and put these settings in it, gonna try some street photography here in Stockholm tonight. 😃
You are very welcome! I hope you will enjoy the camera settings!
That was a wonderful video presentation. Thank you for sharing this wonderful photographic lesson.
Thank you so much for supporting the video!
Thanks for the menu breakdown and insights, very helpful. You could probably devote an entire channel to showing menu case studi study examples showing specific photos and their menu settings. For example; grain, white balance, LUTS, and work your arounds.
Concerning aspect ratios I found this...
1. 4:3 or 1.33:1. The earliest films were presented in a 4:3 ratio, and until the advent of widescreen HDTV, 4:3 was the normal ratio for standard-definition television sets. Today, the 4:3 aspect ratio primarily serves artistic purposes, such as mimicking a style of filmmaking before the widescreen aspect ratio became the norm.
2. 16:9. The standard size for high definition widescreen televisions and most computer monitors, 16:9 is the most common aspect ratio used today. It is generally associated with video shot for TV and the Internet since film aspect ratios are typically wider in order to achieve a more cinematic look. Outside of movie theaters, most viewers watch content on 16:9 screens, so unless you're shooting content that will be shown theatrically, shooting in the 16:9 ratio is a wise decision.
3. 1.85:1. One of the two standard aspect ratios in modern cinema, 1.85:1 is regarded as the normal widescreen format and is actually quite similar in size to 16:9. It is slightly wider than 16:9, meaning content you shoot in 1.85:1 and display on widescreen televisions and computer monitors will appear with thin black bars on the top and bottom of the screen. Though this ratio is most common for feature films, many TV shows striving for a cinematic look also shoot in 1.85:1.
4. 2.39:1. Known as anamorphic widescreen format, 2.39:1 is the widest aspect ratio common in modern cinema. It creates an aesthetic customarily associated with premium dramatic feature films, and its wide field of view makes it the ratio of choice for shooting scenic landscapes.
5. 2.76:1 (70mm). Today, auteur directors like Christopher Nolan, Quentin Tarantino, and Paul Thomas Anderson have propelled the reemergence of the 70mm film format, which has a humongous aspect ratio of 2.76:1 (and is often projected on gigantic IMAX screens). 70mm initially rose to prominence in the late 1950s, partially due to its use in the Best Picture-winning film Ben-Hur, but the format gradually faded out of use. Now, just like in the 1950s, Hollywood is using 70mm to lure audiences back to the theater by providing them with a unique experience that can't be duplicated at home on TV.
6. 1.37:1 (Academy ratio). Only slightly wider than the 4:3 ratio used throughout the silent film era, Academy Ratio became the standard film ratio in 1932 when talking pictures became the norm. Contemporary filmmakers like Andrea Arnold and Paul Schrader still occasionally use this ratio.
7. 2.59:1 to 2.65:1 (Cinerama). To compete with the exploding popularity of television in the early 1950s, film distributors decided they needed to create an added incentive for the public to go to the theater. This resulted in the creation of Cinerama, a super widescreen format involving three standard 35mm film cameras that simultaneously project a film onto a curved screen.
8. 2.35:1 to 2.66:1 (Cinemascope). Debuting in 1953, Cinemascope was a super widescreen format developed by the head of research at 20th Century Fox. Since it used anamorphic lenses for the first time, Cinemascope only required one projector, which made it much less complex than Cinerama. Soon after the emergence of Fox’s Cinemascope, Paramount introduced its own widescreen format called VistaVision, but it couldn't compete with less expensive anamorphic systems like Cinemascope and soon became obsolete.
Super helpful. Thanks for sharing your techniques. The photos look fantastic!
Thank you so much for your kind words and support on the video!
Very helpful. After years of tinkering with Fuji cameras including a gfx50r which was nice but just too big, I chose to go back to the xpro2 (not 3) and I’m loving it. I was in a hurry for a holiday so for the 35f2 but this lens doesn’t have the same feel as the f1.4 so will probably swap over and buy an umbrella!
What's the reason go to for xpro2 not xpro3?
@@hendrawijaya8199- Not enough new features and the screen on the 2 is better.
very creative ideas!
Thank you so much for supporting the video!
I've played around with some R B white balance shifts before but always in the + for R and - for B realm. The R -7 and B -4 is a really interesting look. I just tried that for the video settings on my X-T3 and, at first glance, I like the look of it. I mostly photograph in black and white these days and I've been struggling to find a look I like for when I do want to take photos in color. I'm going to give this a try on my next photo walk. II wonder how this will look for nighttime photography?
Thank you so much for supporting the video and sharing your experience! Definitely keep us updated when you try the white balance shift!
I'll consider this when I'm using my Leica Q and Lightroom.
Very useful. Thanks!
Thank you so much for supporting the video!
For street what lens do you use most? Good tips. I had never really considered changing the picture ratio for street!
That's a great question! Currently my favorite lens is the Fujifilm 35mm F1.4. Thank you so much for supporting the video!
Does changing the aspect ratio to 16:9 in camera also changes the franelines in the optical viewfinder?
Fujifilm is really amazing though I don't own one! I shall, I mean to say, in the future try have one if possible.
I will try this ! 👍 Thanks a lot 😊
You are very welcome! I hope you will like this white balance shift setting! Thank you so much for supporting the video!
Hi. Nice work. Wich Program are you using in this video to crop?
Thank you so much! We were just using the Photos app on Mac to crop the photo, hope it helps!
I have just gotten an x-e2, could you do some x-e2 content? Do you still use it in relation to your x-pro2?
awesome simulation. what is the dynamic range? I'm on a fujifilm xt3, i assume it will work as well right? thanks!
WOW dude finally updated
Hahaha, sorry for the delay, thank you so much for always supporting our videos!
I also use the wb shift, But how I get the same look back in Lightroom with a RAW? I change the WB or I add colors to the shadow and highlights? Any tips?
SUPER!
6400 would have been an ultra fast film ISO (probably not even commercially available!) so what makes digital different? And why not set you ISO to somerthing like 800 and leave it, just as if it were a roll of film?
Nice Content 👌
Thank you so much for supporting the video!
I love how he says he didn’t use a recipe, then proceeds to tell us his recipe. 😂😂😂.
Hahaha, that's kind of true, but I just don't consider my settings as recipe because it is just a simple white balance shift adjustment.
Its hard work being a UA-cam pro
@@DarrylHebbes it actually is. To be a good one.
@@henrymediagroup- But you made other changes aside from the white balance shift. You clearly show this. It's a recipe.
@@henrymediagroupClassic Chrome, Grain Effect, Sharpness, Noise Reduction, White Balance, ISO, Exp. Compensation...
Good video,but isn’t this a home made recipe? And I’d really recommend watching this in 1.25X playback. 😵💫
I’ll never understand why Fuji doesn’t provide the 65:24 aspect ratio in all X cameras.
I’d love it too but it wouldn’t be true xpan so maybe it’s for some purity reason?
You’d need a sensor that’s twice the width of full frame for true xpan. Most wouldn’t be able to tell either way though.
@@Station9.75 I don’t think anyone expects a sensor dedicated to that aspect ratio. If Fuji can give their GFX line of cameras that cropped aspect ratio, then they can do it for their X line. Also, Panasonic offers that aspect ratio for their S5 lineup.
Keep the HYPE ALIVE.
IM GOING the OTHER WAY. NOT FUJI.
OK GIORGIO THANKS FOR LETTING EVERYONE KNOW
Get on with it. This could have taken 9minutes
Buy an attention span.
you talk to much
Have you considered buying an attention span?