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Education

Digital Kodacolor 200 is Here. And It’s Beautiful

Chris Gampat
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Last updated on 11/21/2025
12/06/2025
3 Mins read
Overgrown grass and weeds in front of a house with pale green siding and barred windows.
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There are tons of ways the digital tries to emulate the look of film — and often some options do it much better than others. No one, I think, will ever really be able to get the look of Cinestill film straight out of the camera. We all know that it’s impossible with digital unless you do a lot of post-production. But I never expected someone to get the look of Kodacolor 200 this soon after the film’s release. However, if you own a Panasonic LUMIX camera, then you can do it pretty easily using the Real Time LUT feature.

This is something that I really love about the Panasonic LUMIX community — they’re often more inventive on the way things look than Fujifilm’s community is. In this case, you should head over to the website of Ross and his JPEGs. There you’ll find a tutorial all about stacking LUTs to get the specific look of Kodacolor 200.

Typically, I hate the idea of stacking LUTS. But in this case, there really is no other way to do it — and sometimes the end result is more important than the journey. I say this, because setting everything up is a bit of a pain. Here the recipe:

Kodacolor 200

[by rossandhisjpegs]

  • Photo Style: Vivid
  • Contrast: -5
  • Highlights: 0
  • Shadows: -4
  • Saturation: -0.5
  • Hue: 0
  • Grain: STD.
  • Color Noise: OFF
  • Sharpness: -5
  • NR: -5
  • i.Dynamic Range: LOW
  • White Balance: AWB (A:7)
  • LUT 1: Summer by rossandhisjpegs
  • LUT 1 Opacity: 50%
  • LUT 2: Daisy by rossandhisjpegs
  • LUT 2 Opacity: 60%

Trust me when I say that I don’t want to bother shooting in RAW with this LUT. Those tend to make for my favorite kinds of shoots to be honest with you. I loaded this setup on my LUMIX S9 with the TTArtisan 40mm f2. At first, the images looked nice but I really wasn’t convinced. So I went through the LUT settings to ensure that everything saved correctly. I then made the necessary adjustments according to Ross’s recipe, and the images came out insanely pleasing.

Ross, with this Kodacolor 200 recipe, nailed the look perfectly. I’d argue that to really get said look, shoot at ISO 200 or overexpose by a stop or so to get the actual film look and process. This will mean that even if you’re in low light, you’ll shoot images that will actually act like old-school film. It may mean that you need to use a flash, and that’s perfectly fine.

When I say that Ross got the tones, white balance, grain, and even the highlights perfect, I’m not kidding. Ross is pretty brilliant.

An elderly person in a blue suit walks on a city sidewalk with a cane on a sunny day.
Kodakcolor 200 Render on LUMIX S9
A wristwatch with a textured band rests on a box by a cluttered windowsill with scattered items.
Kodakcolor 200 Render on LUMIX S9
A plate with a burger cut in half and thick potato wedges on a white table, with a salt shaker and a small plant nearby.
Kodakcolor 200 Render on LUMIX S9
A small potted plant and a salt shaker on a white table, with cups on either side.
Kodakcolor 200 Render on LUMIX S9
A sandwich with shredded cabbage, chips, a fried item, and sauce on a white plate next to a small plant.
Kodakcolor 200 Render on LUMIX S9
Two potted plants on a windowsill with sunlight streaming through partially open dark curtains.
Kodakcolor 200 Render on LUMIX S9
Tree branches with sparse yellow leaves against a blue sky and a peach-colored building in the background.
Kodakcolor 200 Render on LUMIX S9
Tall, green snake plant leaves by a window with sunlight and a monstera plant in the background.
Kodakcolor 200 Render on LUMIX S9
A blue car with painted wheels parked on a street in front of a brick apartment building.
Kodakcolor 200 Render on LUMIX S9
A white SUV is parked in front of a graffiti-covered garage between two buildings in an alleyway.
Kodakcolor 200 Render on LUMIX S9
Sunlit cluttered desk by a window with books, electronics, glass, and scattered items in warm light.
Kodakcolor 200 Render on LUMIX S9
A man in a blue cap and glasses looks down, wearing a black jacket outdoors on a sunny day.
Kodakcolor 200 Render on LUMIX S9
A cozy room with large leafy plants by a sunlit window and a patterned couch.
Kodakcolor 200 Render on LUMIX S9
Large monstera plant near a sunlit window with dark curtains and patterned pillows on a sofa.
Kodakcolor 200 Render on LUMIX S9
Large window with dark curtains, potted plants on the sill, and sunlight streaming into a cozy room.
Kodakcolor 200 Render on LUMIX S9
A cluttered coffee table with gadgets, keys, comics, a drink can, and other miscellaneous items.
Kodakcolor 200 Render on LUMIX S9
A wristwatch and a smartwatch placed together on a dark, striped fabric with light and shadow.
Kodakcolor 200 Render on LUMIX S9

Granted, I want to say this: I don’t think that this will really replace film. When I shoot in digital, I often want to see the images right after because I’m so excited at how they look. But when I shoot film, I know that I won’t be able to see the images until after development so I’m often more present. If presence isn’t important to you and you’re smart enough to have moved over to the Panasonic system from the big three, then I recommend trying this out.

I tend to use this along with Thomas Fransson’s options. Thomas’s are loaded on my Canon cameras, but I rarely touch them these days. So I brought the same look to LUMIX and I’m pretty happy.

40mm f2 digital kodacolor 200 Kodacolor 200 lumix lut real time lut rossandhisjpegs s9 ttartisan
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Chris Gampat is the Editor in Chief, Founder, and Publisher of the Phoblographer. He provides oversight to all of the daily tasks, including editorial, administrative, and advertising work. Chris's editorial work includes not only editing and scheduling articles but also writing them himself. He's the author of various product guides, educational pieces, product reviews, and interviews with photographers. He's fascinated by how photographers create, considering the fact that he's legally blind./ HIGHLIGHTS: Chris used to work in Men's lifestyle and tech. He's a veteran technology writer, editor, and reviewer with more than 15 years experience. He's also a Photographer that has had his share of bylines and viral projects like "Secret Order of the Slice." PAST BYLINES: Gear Patrol, PC Mag, Geek.com, Digital Photo Pro, Resource Magazine, Yahoo! News, Yahoo! Finance, IGN, PDN, and others. EXPERIENCE: Chris Gampat began working in tech and art journalism both in 2008. He started at PCMag, Magnum Photos, and Geek.com. He founded the Phoblographer in 2009 after working at places like PDN and Photography Bay. He left his day job as the Social Media Content Developer at B&H Photo in the early 2010s. Since then, he's evolved as a publisher using AI ethically, coming up with ethical ways to bring in affiliate income, and preaching the word of diversity in the photo industry. His background and work has spread to non-profits like American Photographic Arts where he's done work to get photographers various benefits. His skills are in SEO, app development, content planning, ethics management, photography, Wordpress, and other things. EDUCATION: Chris graduated Magna Cum Laude from Adelphi University with a degree in Communications in Journalism in 2009. Since then, he's learned and adapted to various things in the fields of social media, SEO, app development, e-commerce development, HTML, etc. FAVORITE SUBJECT TO PHOTOGRAPH: Chris enjoys creating conceptual work that makes people stare at his photos. But he doesn't get to do much of this because of the high demand of photography content. / BEST PHOTOGRAPHY TIP: Don't do it in post-production when you can do it in-camera.
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