Download [EXCLUSIVE] Chrome Blue

Download Chrome Blue

The question is whether you should use X-Trans IV Film Simulation Recipes or X-Trans V Recipes on the X-S20? The differences between the aesthetic output of these two sensor generations are pretty minor. The biggest distinction is how deeply blue is rendered on some film simulations; most notably, on X-Trans V cameras, Classic Chrome, Classic Negative, Eterna, and Eterna Bleach Bypass render blue more deeply than on X-Trans IV models.

I looked very closely at all of the different film simulations, and I noticed that this difference in blue is film simulation dependent. Not all film sims render blue differently, and some vary more than others. Here are my discoveries:

____________________ on X-Trans V renders blue a little darker than on X-Trans IV with Color Chrome FX Blue set to Weak.

1________________ on X-Trans V renders blue identically to X-Trans IV with Color Chrome FX Blue set to Weak.

2______________ and 3______ on X-Trans V renders blue just barely lighter than on X-Trans IV with Color Chrome FX Blue set to Weak.

4______, 5___________, and 6____________ on X-Trans V renders blue halfway in-between Color Chrome FX Blue set to Weak and Off on X-Trans IV.

7______ and 8_____ on X-Trans V renders blue identically to X-Trans IV with Color Chrome FX Blue set to Off.

9___________________ is an easy-to-use, two-component, single-dip trivalent blue chromate with high corrosion resistance. It produces the bluest passivation without the common yellowing problems of other passivations.

In the photo below, note how the textures in the blue paint stand out more with Color Chrome FX Blue applied. Processed with CLASSIC CHROME, the first image does not have any Color Chrome settings applied, while the image on the right has Color Chrome Effect and Color Chrome FX Blue set to STRONG.

Here are some before/after images of the same photo re-processed in-camera with VELVIA and CLASSIC NEG, and Color Chrome FX Blue OFF and STRONG for each one. The two film simulations render blues very differently, and so the Color Chrome FX Blue setting makes the comparisons look different.

But at the same time, in the next image of the threads, Color Chrome FX Blue set to strong makes the blue threads too dark, to where their brilliance is reduced. A setting of weak does work better for that photo.

It seems that the modifications are made uniformly regardless of the initial luminosity & saturation of the color. So if a blue in your photo is already dark, Color Chrome FX Blue is just going to make it even darker.

When I pull down the luminance of blue on an HSL panel the result is that the color appears less saturated with decreased luminance, not more. Also it doesn't seem like this effect can really be mimicked with HSL sliders.

I opened up both images as Layers in Affinity Photo, then sampled the same pixel in both images. For the regular image, the HSL value I sampled is 209, 66, 61. For the color chrome image, 213, 45, 51. That's about a 16% difference in luminosity, since 1 - (51/61) = 16.39. After a -16% luminosity adjustment to cyans and blues, the pixel was 209, 45, 55. Clearly Affinity Photo's HSL sliders aren't numerically precise. It did result in the correct saturation value at least. I didn't touch the saturation adjustment since S and L are not independent of one another in HSL so I expected adjusting luminance to affect saturation without adjusting saturation directly. Anyway, I adjusted until I matched the value of the pixel to the one in the color chrome.

What stood out to me is that the color chrome effect does not seem replicable using HSL sliders. The blues do not become nearly as dark overall, as the luminosity adjustment affects the hue uniformly. I tried playing around with some other methods (including global adjustments to the RGB luminance curve and masking that to blue hues) but I can't seem to crack how to accurately reproduce Fuji's color chrome blue effect! I might open up the normal image in rawtherapee to take advantage of the LCH curves in the LAB module later, but otherwise anyone have any suggestions?

10________________________________________________________________________. This is all thanks to its good balance features that lie between the reflective rate, along with heat and wear-resistant performance.

Thanks to its anti-glare blue tint coated on its surface, blue mirror glass is typically used as side view mirrors and rearview mirrors. This is to help lessen the reflection of dazzling rays and enhance rear vision throughout the whole day of driving. Another thing, it generally lasts long because of excellent wear-resistant and anti-fading features.

High Stretch Mirror Blue Chrome Vinyl Wrap Water, oils, intense heat, cold, and sunlight are all resistant to this Mirror Stretchable Chrome vinyl. This reflective chrome vinyl material is 3 mils thick, compared to 1.5 mils for our other mirror chrome car wrap material. This reflective vinyl covers your vehicle in a brilliant, bold light. Transform drab, lifeless automobiles into gleaming showpieces.

This sunglasses model has a transparent, polished, dark grey frame with a slightly oversized square design. The rims have a rounded bevel edge to soften the lines, and the mirrored blue chrome lenses also provide UV400 protection.

It was there that I spotted what I now know to be the Sheaffer 100, in translucent blue, with polished chrome section and a brushed stainless steel cap, featuring the trademark Sheaffer white dot. The pen, with cap posted, looked stunning with its vibrant blue barrel and contrasting silver coloured section and cap. The nib, with its decorative scroll work, harks back to the glory days of Sheaffer when they were made in Fort Madison, Iowa.

The pen comes in a decently made and typical, black gift box with a removable padded tray, underneath which is a Use and Care Guide and 1 year warranty leaflet. Whilst this is for a Sheaffer pen, the name on the back of the leaflet nowadays reads A.T.Cross Company. You also get two Sheaffer Skrip cartridges, one blue and one black but no converter.

In the case of the Sheaffer 100, I have been writing with it for a few weeks now and have become accustomed to holding the pen just above the join of the section and the barrel. In this way, I can hold the blue barrel between finger and thumb, whilst the cool and shiny section rests on my second finger. This works for me. It feels slightly higher than I would normally hold a pen, but not too much higher like chopsticks.

Whilst having a lovely ink flow, the blue Skrip did bleed through quite badly on a particular Paperchase notebook that was using such that when I finished the first cartridge I syringe-filled it with Graf von Faber-Castell Cobalt blue, which I am using now and without the bleedthrough.

I have adapted to holding the pen a little higher than I might otherwise, in view of the slippy no-go area of chrome section. But it is good to adapt and be comfortable with using different pens, rather like being able to drive different types of car. 5376163bf9

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