(relaxing music) (doors clattering) - If you're looking for a
color film simulation recipe that you can use for any situation, look no further than Reggie's Portra. (relaxing music crescendos) There you go. (child cheering) (wind roaring) (car engines roaring) It has never failed me, and I'm very certain
that it won't fail you. (relaxing music stops) While this film cumulation
recipe started out as a way for me to replicate the look of film, after tweaking and testing
it for over two years, I feel that it has evolved
into the perfect balance of the film aesthetic and digital clarity. Before I walk you through all the settings for Reggie's Portra, I
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for sponsoring this video. (relaxing music) I am gonna walk you through the settings using the Fujifilm X100V, which has the X-Trans IV sensor, and these are gonna be the same settings if you use any camera
that have the X-Trans IV, or any of the newer cameras
like the Fujifilm X-T5, which has the X-Trans V sensor. If you'd like to use this
film simulation recipe on an older Fujifilm camera,
like the Fujifilm X-T3, just use all the available
settings that are there. Just ignore the ones
that are not available on your particular camera. So I start off my film simulation recipe having my image size set
to large, three by two, and this is gonna give me
the largest JPEG possible, and I can always downsize from there. If I do wanna shoot anything specific like an Instagram story
or a YouTube thumbnail, I will change my aspect
ratio to 16 by 9 in camera. Or if I'm gonna photograph
something that's one-to-one, like an Instagram post,
I will also change it, and the main reason for this is so that I can actually preview
the composition in camera. I will always still have the raw to be able to reapply
the crop differently, but when it comes to
photographing in a JPEG workflow, I like to make sure
that I'm already working within the confines of the composition. And I'm gonna set the
image quality to fine+raw. I don't actually use any
of the raw files at all. This is more for the archival process, or to be able to use FUJI X RAW STUDIO to adapt and change the JPEG to a different setting later on. Typically, I only use
the fine JPEG coming out, and the raw is just something extra that I never really
look at after the fact. So for raw recording, I actually put this to
a lossless compressed. For me, I don't think I
need to maximize the quality by leaving it uncompressed. I would rather have a
little bit more space and leave it in lossless compressed. The film simulation is
probably the most crucial part that creates the look of Reggie's Porta, and for this, I use classic chrome. Fujifilm says that this is a soft color and enhanced shadow
contrast for a calm look, and that's really something that I really love about classic chrome. Off the bat, it does have
kind of a blue tone to it, so that's something
that we're gonna massage as we create this film
simulation recipe look. For grain effect, I actually turn this on, and I leave it on weak and small, and the reason for this
is I like to still have a little bit of a film aesthetic, and I feel that the grain structure within the Fujifilm camera
is a little bit more organic and less kind of digitized. I don't really like the algorithm that Lightroom uses to add green. For color chrome effect,
I leave this on strong, and color chrome effect
impacts kind of like the punch of the photo
in the midtone contrast, as well as the slight saturation bump, and this really lends itself
to be awesome for those photos that are a little bit underexposed for sunsets or anything
with bright direct sunlight. Next is color chrome FX
blue, and I set this to weak. The main thing that you'll
see with color chrome FX blue is that you'll see a shift in the skies from a more dark blue to
more of a pastel teal, and this gives it that film-like aesthetic that you'll see in Kodak
Porta or Lomography 400. Next important thing that
we have is white balance, and I set mine to auto, but I have a few specific
shifts that I tailor to my specific way that I photograph. So I set it to red two, so over here, so we're gonna move it over red
two, and blue negative four. And the reason for this
is I adjusted the recipe to utilize an auto white balance instead of a daytime balance, and I had to shift it
in a way that was tuned for kind of like the melanated darker skin of my Filipino family. And this is something that's very specific to my personal work, but I feel that this
gives a sense of warmth that isn't too orange,
but at the same time, is realistic to the
skin tones of my family, which is pretty much 85% of the
photos that I'm documenting. Feel free to tweak this as necessary, as I think this is where you can really personalize this film simulation. So next we have a dynamic range,
and I leave this onto auto, and the main reason for this
is I don't wanna be locked into a higher ISO if I don't want to. I basically leave it on auto so that it can adjust the
dynamic range as I'm shooting. And I have D range priorities set to off. I don't really know what
this specific setting does, but I just leave it on off. All right, so now the tone curve. I set the tone curve to
negative one highlights, which is going to be a little
bit of highlight saving. And then I'm gonna use
shadows negative one, which gives a little bit
of details in the shadows without being too much detail so it doesn't look overly HDR-y. All right, so color is set to plus two because classic chrome actually is a little bit muted by default, and what I wanted to do
was give a little bit of punch to it, so the
color chrome effect, as well as the color setting to plus two is really giving those types of saturation when it comes to sunsets or textures that have a lot of pop in it. And I have my sharpness to negative two, because I don't really like my
photos looking overly sharp, especially if I'm trying to
replicate film a little bit. If I set it to zero or
even to the positive side, it's gonna give a very crunchy look, which is something that
I'm not looking for when it comes to my work, because I can always add
a little bit of sharpness after the fact. Noise reduction, so noise
reduction on Fujifilm cameras, I think everyone should by default always set this to negative four. If you leave it on zero, that actually has a baseline
level of noise reduction. So when you put it to negative four, that's no noise reduction at all, and I find that the grain in the noise in the Fujifilm cameras,
even at higher ISOs, is still very film-like
rather than overly digital. So, as long as you're
exposing the photo correctly without relying it to be
pushed up a little bit in post, you'll find that setting
it to negative four is going to give you
actually very good results. And you'll see in the Fujifilm X Weekly film simulation recipes, a lot of the clarities are set to negative in order to give a soft look. I actually set my clarity to zero, and there's a specific reason for this. When you actually set clarity
to anything that's not zero, you'll notice that there's actually some sort of processing time. So if I put it to negative
three and I take a photo, it's gonna do this like storing thing where it's like trying to store the photo, and that only happens when
you have the clarity set to something other than zero. So now if I put it back to zero and I take another photo, it just shoots. And I set my clarity to zero, mainly because I don't
want to have that delay when I'm photographing moments. I'm by trade a documentary
wedding photographer, and I need to be able
to keep photographing. And even though I'm trying to emulate the film-like workflow,
I don't want this delay if there's something that
needs to be photographed in a speedy fashion, so I set it to zero. And the way that I end up
adding back kind of the softness and the halation to my photos is by using Moments CineBloom filters. I use, at the very least, a Moment CineBloom 5%
diffusion filter at all times to add a little bit of touch of softness, to get a little bit of
halation in the highlights. I also have been recently
using the CineBloom 10% filter for a lot of things. What you'll notice though,
is when you're indoors in a backlit situation,
there is gonna be sometimes a lot of highlight blooming, which you're gonna have to
figure out how to control. The best way to control that
is to shift your perspective, so like move a little bit
to the left or the right in order to get that under control. And I also use a 20% strength,
especially at nighttime, to give a dreamy effect to my photos. But I feel that a
CineBloom Diffusion Filter at any strength is such a great investment if you're going after this film look without having to sacrifice the speed of the photographing
frame rate of your camera. So next, I have long exposure
noise reduction set to on, and I set my color space to sRGB, and the main reason for
this is I transfer my photos over to my iPhone to
post straight to stories or do a little bit of editing. And if I had it in Adobe RGB, there would be a slight color shift from what I see on the
camera over to my phone. And then here you can
save this custom setting to your camera just right over here, and you can name it
Portra, or Reggie's Portra, or whatever you like. And with that, my name
is Reggie Ballesteros. If you like this video,
give it a thumbs up, and if you loved it, subscribe for more. Be sure to check out this video over here if you want to try out my go-to black and white
film simulation recipe next. (Reggie groaning)
