Almost every Fujifilm film simulation recipe specifies a White Balance Shift, values like “+2 Red, -4 Blue” or “+3 Red, 0 Blue”. The shift axes on a Fujifilm camera aren’t simple Kelvin and tint sliders, the WB matrix is rotated roughly 45° from the conventional Kelvin-tint axes. This visualizer lets you drag a dot on the live R / B grid, watch the colour cast update on three reference subjects, jump straight to any popular recipe’s shift, and read the matrix axes so you can deliberately design your own.
To warm the image like dropping Kelvin by ~500K, increase Red by 2 and decrease Blue by 2 simultaneously. To cool by the same amount, decrease Red by 2 and increase Blue by 2. Pure Red or pure Blue moves change tint (magenta ↔ green), not Kelvin.
Drag to set R / B shift
R: +2 · B: -5
Live preview
What Fujifilm white balance shift does.
Fujifilm’s White Balance Shift is a 2D grid with axes labelled R (red) and B (blue). Each axis runs from -9 to +9. Crucially the grid is rotated about 45° relative to the conventional Kelvin/tint axes: a pure Kelvin change (warmer ↔ cooler) corresponds to a diagonal move on Fuji’s grid, not a single-axis nudge.
The diagonal that runs from top-left (R-, B+) to bottom-right (R+, B-) is the “white line”, moving along it approximates a pure Kelvin change. Moving along the opposite diagonal (top-right to bottom-left) shifts tint along magenta ↔ green. Pure Red and pure Blue moves are tint shifts, not temperature shifts, this is why Fuji users often see unexpected colour casts when they nudge a single axis expecting a simple warm/cool change.
Kelvin to WB shift conversion table.
Daylight (5500K) anchored. Shifts are approximate; the matrix is non-linear at the extremes.
| Kelvin | Light source | Shift from Daylight |
|---|---|---|
| 1800K | Candle / match flame | +9R / -9B (clamp) |
| 2700K | Incandescent bulb (warm) | +8R / -8B |
| 3200K | Studio tungsten | +6R / -6B |
| 4000K | Fluorescent (warm white) | +3R / -3B |
| 5000K | Cool morning sun | +1R / -1B |
| 5500K | Daylight (anchor) | 0R / 0B |
| 6500K | Cloudy | -2R / +2B |
| 7500K | Shade | -3R / +3B |
| 8500K | Heavy overcast | -4R / +4B |
| 10000K | Open blue sky | -6R / +6B |
Fujifilm WB shift chart by recipe.
A look-up table for every popular Fujifilm recipe. Updated 2026.
| Recipe | Base WB | Shift |
|---|---|---|
| Reggie's Portra | Auto | +2R / -4B |
| Kodak Portra 400 v2 | Daylight (5500K) | +3R / -5B |
| Kodak Portra 400 Warm | Kelvin 5500K | 0R / -7B |
| Kodachrome 64 | Daylight (5500K) | +2R / -5B |
| Vintage Kodachrome | Auto | +2R / -4B |
| Kodachrome II | Auto / Kelvin | +3R / -4B |
| Classic Chrome (Roesch) | Auto | +1R / -1B |
| Dramatic Classic Chrome | Auto | +1R / -1B |
| Fujicolor Superia 800 | Kelvin | -2R / -3B |
| Ektar 100 | Daylight | +3R / -2B |
| Ektachrome 100SW | Kelvin | +3R / -4B |
| Vintage Agfacolor | Auto | -3R / -4B |
| Aged Color | Auto | +5R / -3B |
| Fujicolor PRO 400H | Auto | +2R / +1B |
| Agfa Optima 200 | Auto | -1R / -1B |
| Jeff Davenport Night | Kelvin 2650K | -1R / +4B |
| Kodak Vision3 250D | Fluorescent 1 | -3R / -1B |
| Cross Process | Auto | -3R / -8B |
| Expired Eterna | Auto | +5R / +5B |
| X-T30 Eterna | Auto | +5R / -5B |
| Winter Gold (Emily Shaw) | Kelvin 6100K | +2R / -3B |
| Reggie's Superia | Auto | +2R / -2B |
| Pacific Blues | Daylight | -2R / +3B |
| Nostalgia Color | Auto | +4R / -3B |
| Winter Slide | Kelvin 5000K | -1R / -3B |
Why your WB shift isn’t saving.
The #1 question on the Fuji forums.
On the X-T3, X-T30 (the original, not II or III), X-T2, X-T20, X-Pro2, X-T1 and every body before them, WB shift cannot be saved inside a Custom Setting (C-slot). The shift is stored globally per WB type, change it once, every recipe using that WB type changes with it.
The workaround is to assign each of your recipes to a different WB type, one to Daylight, one to Cloudy, one to Kelvin 5000K, one to Auto, so each can carry its own shift. Annoying, but functional.
From X-Pro3, X100V, X-T4 (2019/2020) and every body since, WB shift is saved inside the C-slot alongside every other JPEG parameter, so multiple recipes can share the same underlying WB type with different shifts.
How to design your own WB shift.
- 01
Find a neutral subject under your target light, a grey card works, a white wall also works.
- 02
Set WB to whatever your recipe specifies (Daylight, Auto, Kelvin, etc.) with no shift, and take a reference frame.
- 03
Drift Red first in increments of 2. Note when the cast you want starts to appear.
- 04
Then drift Blue in increments of 2. Each axis affects different tonal bands.
- 05
Screenshot the JPEGs at each step (or shoot them at a single ISO so you can review them later).
- 06
Save the winning shift into a C-slot if your body supports it; otherwise note which WB type carries it globally.
Common questions.
The Kelvin temperature on Fujifilm's WB picker is precise, you can dial any value from 2500K to 10000K. What's quirky is the shift system underneath: the R/B grid is rotated about 45° from the Kelvin/tint axes most editors expose. So 'add warmth' on Fuji means moving diagonally on the matrix, not just changing Kelvin.
Yes, both the EVF and rear LCD show the shifted result in real time. The shift is applied to the JPEG only; RAW files store the unshifted sensor data along with the WB tag for downstream processing.
Slightly. WB shift on Acros and Monochrome changes the toning of midtones, particularly noticeable when shooting under tungsten. Many B&W recipes specify a Cool Kelvin to push shadows toward blue or a +R shift to subtly warm midtones.
Two reasons. First, the X-Trans V sensor renders Classic Chrome, Classic Negative, Eterna and Eterna Bleach Bypass with deeper blue than X-Trans IV, so the same shift produces a cooler image on X-Trans V. Second, X-Trans V bodies offer Color Chrome FX Blue, which interacts with the shift.
Fixed Kelvin gives you predictable, repeatable results, the cinematography standard. Auto WB is the safer pick when light changes mid-shoot, but it will fight you when shooting recipes that depend on a known starting WB (Kodak Portra 400 Warm assumes Daylight, for example).
Yes on X-Pro3, X100V, X-T4 and every body since, each C-slot saves its own WB type and shift. On earlier bodies (X-T3 / X-T30 / X-Pro2 / X-T2 and back), only one shift is stored per WB type globally, so you have to assign different WB types per C-slot to get the same effect.