FujifilmCameraProfiles is a set of colour profiles, not a program

A repository of tables, with no code in it

FujifilmCameraProfiles is a set of camera profiles for use with raw images from digital cameras, based on the camera matching profiles available in Adobe Camera Raw and Lightroom for Fuji X-series cameras. The latest version of the set is based on an X-Trans 4 camera, which is the practical detail that determines how well the profiles match a given body, since the matching profiles in Adobe's software are themselves generated per body. The top level listing makes the shape obvious, with a directory for cube LUTs, a directory for dcp examples, a directory for PNG LUTs, a directory of conversion LUTs, a directory of XML tables and a screenshot. There is no source code, no build and no package to install. You download the files, put them where your raw converter looks for profiles, and apply them. The author also wrote a blog post on making linear camera profiles with a tool called dcpTool, which is linked from the readme and is the missing half of the picture for anyone who wants to adapt the profiles rather than just use them.

Eleven looks, three of them LUT only

The film looks list is the catalogue. It covers Provia, Velvia, Astia, Classic Chrome, Pro Neg Std, Pro Neg Hi, Eterna and Reala Ace as full profiles, and then three more that are marked as LUT only, Classic Neg, Nostalgic Neg and Bleach Bypass. The distinction matters when you are deciding which file to grab, because a look with only a LUT has no dcp counterpart, so it cannot be selected as a camera profile in Lightroom and has to be applied as a lookup table on top of another profile. The two negative looks and the bleach bypass are the odd ones out because they are not really camera profiles in the Adobe sense, they are grades you apply to a Provia image, which is exactly what the conversion LUTs are for. The November 2025 update is described as improving the accuracy and smoothness of the LUTs, especially for bright or saturated colours, and the dcp profiles are said to have increased precision so they match the LUT more closely, with a remaining small discrepancy in how Adobe applies the tone curve that affects only some very bright and saturated colours.

What each profile actually ships as

For each profile the repository includes a text file containing the XML LookTable and ToneCurve used by the dcp profiles, cube LUTs as three dimensional RGB lookup tables in both DisplayP3 and sRGB, and a PNG LUT in the HaldCLUT format in sRGB. The XML text file is the editable part, and the process of building a dcp profile from it is spelled out in the readme. You need a tool called dcpTool to convert between XML and dcp, so you start from an existing dcp profile for your camera, the example given being the Adobe Standard profile, convert it to XML, replace the LookTable and ToneCurve tags with the ones from the film look text file, set a default black render flag to one, set the profile look table encoding flag to one, change the profile name, and convert it back. That is a seven step procedure with a specific tool, and it is why the repository publishes the XML tables in the first place, since a dcp file on its own is awkward to edit.

The cube LUTs need a linear profile, and the readme is firm about it

The single most important technical note in the readme is that the cube LUTs are intended to be applied to an image with linear contrast, that a linear camera profile is required for a correct result, and that the author's blog post explains how to make one. This is the step where most attempts go wrong. A raw file developed with a tone curve already applied is not linear, and a LUT designed for linear data applied to non linear data produces a plausible but wrong image, with crushed shadows or a washed highlight roll-off. The readme walks through the Camera Raw procedure for using a cube LUT, and it is unusually specific because the order of operations matters. You open the image with default settings, everything at zero and the white balance set to as shot, you select the linear camera profile, you option or alt click the new preset button so the profile is created from the current state, you change the profile name, you tick the color lookup table checkbox, you choose the cube file, you set the space to Display P3, and you set the amount minimum and maximum to one hundred. The screenshot in the readme is the dialog with the result.

Conversion LUTs cover the photographers without a Fuji body

Three of the looks, Classic Neg, Bleach Bypass and Nostalgic Neg, are shipped as conversion LUTs that take an image processed with Provia and push it towards the target look. The readme is explicit about who they are for. They can be used with non-Fuji cameras using the dng tables provided in the repository, or with Fuji X-Trans cameras that do not ship with these profiles, using the Provia camera matching profile, and they can also be applied directly to camera JPEGs. The files live in a directory of their own for the Provia conversion LUTs, and again they come in both DisplayP3 and sRGB. The reasoning behind this design is that the three looks are transformations of a standard Provia rendering rather than independent capture profiles, so expressing them as a conversion from Provia keeps them applicable to hardware that never had them.

The licence is non-commercial, and the photographs are yours

The licensing section is short and it constrains what you can do with the files. The profiles are licensed under Creative Commons Attribution NonCommercial ShareAlike 4.0, and the readme spells out what that means in three parts. You may modify them, make derivatives, or distribute them, for instance for another camera make and model, but you must attribute the source, share under the same licence, and not sell them. That third condition is the one that decides whether you can use a set in commercial work, and it is worth reading as narrowly as the words require, since a set embedded in a paid product is a distribution. The readme also draws a line that many users ask about, stating that all photographs produced with these profiles are entirely your own work and are not derivatives, and that the licence applies only to the profiles. The trademark line is the other legal detail, noting that the names Fujifilm, Provia, Velvia, Astia and Adobe are used for identification purposes only and that no software from those companies is contained in the repository except for the included Adobe standard camera profiles.

Editorial conclusion

FujifilmCameraProfiles earns its place for a photographer who shoots raw on a camera body that does not offer Fujifilm simulations and wants the look without a second body, since the profiles are matched to the manufacturer matching profiles and can be applied in any raw converter that reads dcp files. It is the wrong choice for commercial work, because the profiles are licensed Creative Commons Attribution NonCommercial ShareAlike 4.0, which forbids selling them, and it is the wrong choice if you want a one click film simulation in a phone app, because these are table driven profiles for raw development. Verify three things before you rely on a set: that the cube LUT is applied to a linear profile rather than to an already developed image, since the readme is explicit that a linear camera profile is required for a correct result, which colour space the LUT is in, since the cube files come in both DisplayP3 and sRGB and a mismatch shows as a shift, and that the film look you want is actually covered, because three of the looks are marked as LUT only with no matching dcp profile. The licence is CC BY-NC-SA 4.0, the last push was on 2026-04-27, and the repository publishes no GitHub releases.

Frequently asked questions

Official sources

1. abpy/FujifilmCameraProfiles on GitHub
2. Issues
3. README