Four film-simulation recipes loaded from the Fuji X Weekly app, plus the settings and habits that go with them. Checked against the recipe pages on 27 Sep 2026.
tap a slot for full settings
▉ published range · [ ] starting point · not saved per slot, check it every time you turn the mode dial
default 640 · max 6400 · min shutter 1/125 · saved per bank, so set it in all four
640 is the floor because every recipe uses DR400, which needs ISO 640 or higher. Below it the camera drops to DR200 and the highlights change. Use 1/250 if you shoot a lot of walking people. For the darkest tents, a second preset with max 12800 on C3 or C4 trades noise for sharp people.
| scene | first | backup |
|---|---|---|
| Marienplatz, Altstadt facades | C1 | C4 |
| Englischer Garten foliage, golden hour | C2 | C1 |
| Beer garden by day, food, people | C2 | C1 |
| Beer hall or tent interior | C3 | C4 |
| Fairground, neon, blue hour, night streets | C3 | C4 |
| Fast crowd moments, parade, rides | C1 / C4 | – |
| Alps day trip, big skies | C1 | C4 |
| Rain, overcast, ugly mixed light | C4 | C1 |
| Faces under LEDs when C3 looks wrong | C1 | C4 |
any non-zero clarity shows "storing" after each frame · for bursts, parades and rides use C1 or C4
Neutral, faithful colour with Auto WB and no save lag. The all-weather default for Munich's switches between sun, overcast and shade, for stone facades, and for faces under mixed light.
REALA ACE · X-Trans V · needs firmware 3.00+ · no adaptation
Clean tonal separation for the ochre and white Baroque facades, the Neues Rathaus stonework and Alpine views where you want true colour rather than a look. Auto WB and DR400 cope with changeable weather without fiddling.
The least film-like of the four, and it can look plain on flat grey days. C2 adds character, C4 rescues dull light, C3 takes over after dark.
The slot that makes the trip look like autumn on 1990s film. Fixed Daylight WB with a warm shift, strong colour, soft highlights and visible grain.
Classic Chrome · X-Trans V entry, 2023-10-24 · no adaptation
Yellow limes and chestnuts in the Englischer Garten, late sun on beer-garden tables, pretzels and Schweinshaxe all glow in this one. Pull back to +⅓ or 0 for backlit leaves, beer foam or sunlit faces.
Fixed Daylight WB goes flat and cool in shade and heavy overcast, and orange under tungsten. Clarity -2 adds a short pause after each frame, so this is the slot for things that don't move. C1 takes grey days and fast moments, C3 takes interiors.
A tungsten-balanced motion-picture look. Fluorescent 3 with its shift sits around 4000 K, so beer-hall lamps stay amber and golden while blue hour goes teal and cinematic.
Eterna · X-Trans V entry, 2024-04-16 · no adaptation
Hofbräuhaus, Augustiner, the Wiesn tents at night, fairground neon, blue hour on the Isar. Use -⅓ for neon and rides so the highlights keep their colour, and up to +⅔ in dark beer-hall corners.
Cool and teal in daylight, so keep it for after dark. Clarity -5 adds a save pause after every frame, which is why C4 is the fast option in crowds. No red halation around lights without a diffusion filter. If skin looks wrong under tent LEDs, C1 gives honest colour.
Middle-grey monochrome, "never as black as Tri-X". Holds bright skies and dark wood at the same time, and with Clarity 0 it is instantly ready for candid moments.
Monochrome · no filter · X-Trans IV recipe, carries over unchanged
Rain-wet cobbles, Oktoberfest crowds, wood-panelled halls, and any scene where tent LEDs and daylight clash too badly for colour. Expose for the face. Use -⅓ or -⅔ with a bright sky in frame.
Always grainy, even at low ISO, and it discards the colour that makes autumn foliage and festival decoration special. C1 and C2 cover colour, C3 keeps the colour of lit night scenes.
The X-S20 has an X-Trans IV sensor but the newer X-Processor 5, and the processor renders the film simulations. Ritchie Roesch of Fuji X Weekly tested this and says the X-S20 should use X-Trans V recipes. The one X-Trans IV recipe here, HP5 Plus, is Monochrome-based, and his adjustment rule only touches Classic Chrome, Classic Neg., Eterna and Eterna Bleach Bypass. So: load all four exactly as published, change nothing.
ticks are remembered on this phone only
Not part of the recipe research, so this is general X-S20 practice. Recipes only govern rendering. AF settings are stored per bank, so each slot can carry its own.
| setting | C1 | C2 | C3 | C4 |
|---|---|---|---|---|
| focus mode | AF-S | AF-S | AF-C | AF-C |
| af mode | single point | single point | zone | zone |
| area size | 3 of 6 | 2 of 6 | 3×3 | 3×3 |
| af-c custom | set 1 | set 1 | set 2 | set 1 |
| release / focus | focus | focus | release | release |
| face / eye | on · eye auto | on · eye auto | on · eye auto | on · eye auto |
AF-S single point for the daylight pair, AF-C zone for the night and street pair. Set 2 on C3 ignores hands and glasses crossing the frame.
When fast night crowds matter more than palette. Same job as CineStill with Clarity 0, so no pause. Classic Chrome, X-Trans IV recipe with FX Blue reduced one step.
For an overcast forecast or portrait-heavy days. Warm but with Auto WB and Clarity 0. Classic Chrome, X-Trans IV recipe with FX Blue reduced one step.
For gritty, dramatic B&W. Acros, or Acros+R for skies. No adaptation. Clarity +4 means a pause.
For a sunny architecture week and a crisper look. Classic Chrome, X-Trans V entry, no adaptation. Clarity +3 means a pause.