Setup walkthroughDocument 11 of 21From the GFX 100S II field guide

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GFX 100S II · C6 · Setup Walkthrough

C6 Pixel Shift
— Menu Setup Guide

The C6 workflow — different from every other bank

C6 is configured differently from every other bank in one critical respect: the defining feature is on the DRIVE button, not in any menu. The Pixel Shift drive mode is what makes this bank what it is — the menu settings create the conditions for it to work, but the technique lives in the drive mode selection and the Fujifilm Pixel Shift Combiner software that processes the result. This walkthrough covers the menu configuration. For the complete technique — vibration testing, session execution, software workflow, and all eleven failure modes — refer to the C6 Pixel Shift Addendum.

The menu settings in C6 share more with C1 Landscape than with any other bank: Manual mode, base ISO, tripod, IS MODE OFF. The critical differences are three: Electronic Shutter (mandatory), IS MODE OFF (doubly mandatory — IBIS is occupied by the Pixel Shift mechanism), and every composition and focus decision must be made before switching to Pixel Shift drive mode.

Configure bankThis walkthrough

Vibration testBefore every session — Addendum Part V

Compose · focus · verifyIn normal M mode before switching drive

Switch DRIVE → Pixel ShiftFinal step before firing

Combiner → LRCSoftware round-trip — Addendum Parts IX–X

Set for C6 — act on this

Universal base — confirm it's correct

Critical — wrong value destroys the sequence

Skip / leave default

How to use this document

Use this while configuring the active bank directly on camera in menu order.

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Master index Settings overview Lightroom companion

IMAGE QUALITY SETTING

STILL PHOTO DISPLAY → MENU/OK → H IMAGE QUALITY SETTING

Page 1 / 4 Image size · quality · RAW · JPEG · simulation · monochromatic · grain · colour chrome 3 to act on

#	Setting	C6 Value	Action
1	IMAGE SIZE	Full · 102 MP	Skip
2	IMAGE QUALITY	RAW	Confirm
Universal base. Each of the 4 or 16 frames in a Pixel Shift sequence is written as a full individual RAF file. The Fujifilm Pixel Shift Combiner reads these RAF files directly — it requires RAW input. JPEG would produce inferior per-frame quality and is incompatible with the Combiner workflow.
3	RAW RECORDING Two sub-settings: compression + bit depth	LOSSLESS · 16-bit	Confirm
Storage planning is mandatory before any Pixel Shift session. A single 16-bit lossless RAF from the GFX 100S II is approximately 100–130 MB. A 4-frame sequence produces ~500 MB of source files. A 16-frame sequence produces ~1.6–2 GB — before the combined output file. Budget for a minimum of 10 GB free working space per extended session. Use fast UHS-II cards; V90 media is recommended for headroom, but the real requirement is reliable high-speed write performance without inter-frame stalls.
4	SELECT JPEG/HEIF	—	Skip
5	FILM SIMULATION	PROVIA / STANDARD	Set
Neutral preview for precision work. Provia/Standard is the most neutral simulation — accurate colour, moderate contrast, no saturation shifts. For C6 work (product, architectural detail, fine art reproduction), the preview must represent colours accurately rather than stylistically. The Pixel Shift Combiner processes the RAW files independently of the film simulation, but a neutral preview allows you to evaluate the subject's actual colour during composition. Classic Chrome, ACROS, and other character simulations are inappropriate here — they would misrepresent the subject's colour on the preview LCD.
6	MONOCHROMATIC COLOR	—	Skip
7	GRAIN EFFECT	OFF	Confirm
OFF without question. The purpose of Pixel Shift is maximum colour accuracy and resolution. Grain in the preview obscures the very qualities you need to evaluate — surface texture, tonal precision, material colour. The preview must be as clean as the sensor can provide.
8	COLOR CHROME EFFECT	OFF	Confirm

Page 2 / 4 Colour chrome FX · smooth skin · dynamic range · D-range priority · white balance · tone curve · colour · sharpness 3 to act on

#	Setting	C6 Value	Action
9	COLOR CHROME FX BLUE	OFF	Confirm
10	SMOOTH SKIN EFFECT	OFF	Confirm
11	DYNAMIC RANGE	100%	Confirm
Universal. DR200%+ raises the minimum ISO above the base — for C6 controlled studio work, base ISO is the non-negotiable starting point. Any forced ISO increase degrades the primary advantage of Pixel Shift: noise-free output from a perfectly controlled exposure.
12	D RANGE PRIORITY	OFF	Confirm
13	WHITE BALANCE Most precise WB setting of any bank	CUSTOM (grey card) or DAYLIGHT 5500K	Set
White balance precision is more consequential in C6 than any other bank. Pixel Shift produces actual measured RGB values at every pixel — the colour accuracy of the output is the highest achievable from this sensor. To fully realise that accuracy in the Lightroom processing stage, the WB starting point must be as precise as possible. For controlled studio and product work: take a Custom WB reading from a grey card placed at the subject position under the actual session lighting. This produces a reference that the Combiner and Lightroom can anchor the colour processing to. For daylight exterior work (geological, architectural): fixed Kelvin at 5500K. Never Auto WB for C6 — any drift between the 4 or 16 individual frames (which Auto WB can produce as the camera evaluates each frame independently) creates colour inconsistency that the Combiner's combination algorithm then averages incorrectly.
14	TONE CURVEHighlights and Shadows sliders	H: 0 · S: 0	Confirm
Zero on both. Any in-camera tone curve modification alters the JPEG preview used for frame alignment checking and reference. For Pixel Shift in particular, a neutral preview baseline ensures that what you evaluate during composition is what the RAW data contains. The Combiner processes the RAW data, not the preview — but zero tone curve keeps the preview honest as an exposure reference.
15	COLOR	0	Confirm
16	SHARPNESS	0	Confirm

Page 3 / 4 High ISO NR · clarity · long exposure NR · lens modulation optimizer · colour space · pixel mapping · edit/save custom · auto update 2 to confirm · 1 critical

#	Setting	C6 Value	Action
17	HIGH ISO NR	−4	Confirm
Universal base. At base ISO 100 in C6, the preview will show virtually no noise — this setting is almost entirely theoretical for Pixel Shift work. But −4 keeps the principle consistent: see reality, not in-camera smoothing. A preview that accurately represents the noise state of the RAW file is always preferable.
18	CLARITY	0	Confirm
19	LONG EXPOSURE NR	OFF	Confirm
20	LENS MODULATION OPTIMIZER	ON	Confirm
LMO applies GF-lens-specific corrections for diffraction and peripheral falloff. For C6 work at f/8 on the GF 80mm, LMO's corrections contribute to the corner-to-corner sharpness quality that Pixel Shift's full-colour data makes possible. The 80mm is the Pixel Shift prime precisely because of its flat field — LMO preserves that advantage across the full frame. Always ON.
21	COLOR SPACE	ADOBE RGB	Confirm
22	PIXEL MAPPING	—	Skip
23	EDIT / SAVE CUSTOM SETTING	← Use last	Later
24	AUTO UPDATE CUSTOM SETTING	DISABLE	Critical
Universal critical. With ENABLE, any adjustment made while in C6 — a temporary ISO change for a preview scout frame, a WB adjustment mid-session — is silently written to the bank permanently. DISABLE protects the bank. Save changes to C6 only when deliberately updating the configuration, never as a side effect of a session adjustment.

Page 4 / 4 Mount adaptor setting No action needed

#	Setting	C6 Value	Action
25	MOUNT ADAPTOR SETTING	—	Skip

AF / MF SETTING

STILL PHOTO DISPLAY → MENU/OK → G AF/MF SETTING

◈

Focus is set before entering Pixel Shift drive mode — not during. The AF configuration in C6 governs the composition and verification phase. Once you switch the DRIVE button to Pixel Shift Multi Shot, the camera fires the sequence automatically. All focus decisions must be final before that switch. The workflow: compose → focus with AF-S → verify with Focus Check at 1:1 → confirm IS MODE OFF → switch DRIVE to Pixel Shift → fire via remote release.

Page 1 / 3 Focus area · AF mode · zone custom · AF mode all · AF-C custom · store AF orientation · AF point display · wrap focus point 2 to set · 1 to confirm

#	Setting	C6 Value	Action
1	FOCUS AREAPosition with focus lever in live view	SINGLE POINT · subject	Set
2	AF MODE	SINGLE POINT	Set
Pixel Shift subjects are static — they do not move between frames and they will not move during the session. Single Point AF gives you exact, deliberate placement of the focus plane on the specific surface element that must be sharpest. For product and still life work at close range, place the single point on the nearest critical detail. For fine art reproduction, place it at the centre of the artwork. For architectural stone or detail work, on the primary surface plane. Zone and Wide/Tracking serve no purpose when the subject is perfectly static.
3	ZONE CUSTOM SETTING	—	Skip
4	AF MODE ALL SETTING	—	Skip
5	AF-C CUSTOM SETTINGS	—	Skip
6	STORE AF MODE BY ORIENTATION	ON	Confirm
7	AF POINT DISPLAY	—	Skip
8	WRAP FOCUS POINT	—	Skip

Page 2 / 3 Number of focus points · pre-AF · AF illuminator · face/eye detection · subject detection · AF+MF · MF assist · interlock MF 5 to set

#	Setting	C6 Value	Action
9	NUMBER OF FOCUS POINTS	425 POINTS (17×25)	Set
Maximum precision. Pixel Shift produces sub-pixel-level colour accuracy — the quality of the focus placement must be commensurate with that precision. The 425-point grid allows the focus point to be placed exactly on the primary surface plane. At the working distances typical of C6 (close-range product and fine art), the difference between a precisely placed point and one a few millimetres away can determine which layer of a three-dimensional subject is the critical sharp plane.
10	PRE-AF	OFF	Confirm
Pre-AF keeps the lens continuously adjusting focus. For the GF 80mm with its DC motor, continuous Pre-AF generates persistent motor activity that introduces micro-vibration into the optical chain — exactly what Pixel Shift's vibration sensitivity cannot tolerate. OFF means focus is engaged deliberately and the motor is still between focus acquisitions.
11	AF ILLUMINATOR	OFF	Confirm
12	FACE/EYE DETECTION SETTING	OFF	Set
No human subject in a Pixel Shift session. Face Detection adds unnecessary processing overhead and could compete with Single Point AF for the camera's attention during the composition and focus phase.
13	SUBJECT DETECTION SETTING	OFF	Set
14	AF+MF	OFF	Set
OFF for Pixel Shift — but the manual focus workflow is still available. For most C6 subjects at moderate distances, AF-S Single Point acquires focus accurately without manual refinement. For very close work (macro distances, under 0.5m) where the DC motor can introduce oscillation, switch to MF mode directly — use Focus Peak Highlight and the Focus Check magnifier to place the focus plane precisely without engaging AF at all. AF+MF with its risk of accidental focus ring contact is not needed in either case.
15	MF ASSIST	FOCUS PEAK HIGHLIGHT	Set
For close-range studio work in MF mode (the preferred approach when AF-S oscillation is a concern at macro distances), Focus Peak Highlight shows the precise plane of sharpness as you rotate the focus ring. Combined with the Focus Check magnifier, this two-stage protocol — peak highlights identify the zone, magnifier confirms the exact point — provides the focus precision that Pixel Shift's resolution capability demands.
16	INTERLOCK MF ASSIST & FOCUS RING	—	Skip

Page 3 / 3 Focus check · interlock spot AE · instant AF · depth-of-field scale · release/focus priority · AF range limiter · touch screen mode 3 to set · 1 critical

#	Setting	C6 Value	Action
17	FOCUS CHECK	ON	Set
Mandatory verification before switching to Pixel Shift drive mode. Focus Check magnifies the frame at 1:1 after each half-press or AF confirmation, allowing you to verify that the focus plane is exactly on the intended surface before you commit to the sequence. For a 16-frame Pixel Shift sequence, a soft focus error wastes approximately 2 GB of source files and 10 minutes of processing time. Focus Check catches the error when the setup is still intact. The cost is a few seconds before each sequence; the benefit is certainty. After verifying focus, switch to Pixel Shift drive mode — Focus Check does not activate during the Pixel Shift sequence itself.
18	INTERLOCK SPOT AE & FOCUS AREA	OFF	Confirm
19	INSTANT AF SETTING	—	Skip
20	DEPTH-OF-FIELD SCALE	—	Skip
21	RELEASE / FOCUS PRIORITY (AF-S) The AF-S row specifically	FOCUS	Critical
FOCUS priority for C6 — the same reasoning as C1 Landscape and C5 Architecture. If the camera has not confirmed AF lock, the Pixel Shift sequence must not begin. A 16-frame sequence initiated on an unconfirmed focus lock produces 16 frames of an unsharp subject. At Pixel Shift's resolution level, softness that would be marginal in a standard RAW file is amplified — the combined output makes the focus error more visible, not less. Confirm focus lock before switching drive mode. FOCUS priority enforces this.
22	AF RANGE LIMITER	Configure PRESET 1 per subject	Set
For studio and close-range Pixel Shift work, a range limiter prevents the DC motor from hunting through the full focus range when acquiring on a close subject — speeding up acquisition and reducing motor activity. Configure PRESET 1 to the typical working range for your most common C6 use case: 0.55m–2m for product and still life; 2m–∞ for larger subjects or architectural details. Toggle via a function button. The key principle: once focus is acquired and verified, the motor should be still.
23	TOUCH SCREEN MODE	OFF	Set
Accidental LCD touch during a studio session could silently shift the focus point. With the camera on a tripod and the focus lever used for deliberate point placement, touch screen introduces risk without benefit. OFF.

SHOOTING SETTING

STILL PHOTO DISPLAY → MENU/OK → A SHOOTING SETTING

Page 1 / 3 Self-timer · save self-timer · self-timer lamp · interval timer · interval smoothing · interval priority · AE BKT · film sim BKT 3 to set · 3 to confirm off

#	Setting	C6 Value	Action
1	SELF-TIMER	2 sec · or RR-100 remote	Set
The 2-second timer initiates the sequence, not individual frames. When the Pixel Shift drive mode is active, pressing the shutter button (after the 2-second delay) fires all 4 or 16 frames automatically in sequence without further input. The self-timer eliminates button-press vibration before frame 1; the camera then manages the inter-frame interval for all subsequent frames. The RR-100 remote release is the superior option — it eliminates button contact entirely. With the remote, the sequence starts immediately without the 2-second delay.
2	SAVE SELF-TIMER SETTING	ON	Set
Saves the 2-second timer across power cycles and bank switches. A Pixel Shift session may involve powering down the camera between setups. ON ensures the timer is always active in C6 without requiring re-confirmation each time the bank is re-entered.
3	SELF-TIMER LAMP	OFF	Set
The self-timer lamp blinks visibly on the front of the camera during the countdown. For studio work with controlled lighting, a blinking light source introduces stray illumination during the final moments before frame 1. OFF eliminates this variable entirely.
4	INTERVAL TIMER SHOOTING	OFF	Confirm
5	INTERVAL TIMER SHOOTING EXPOSURE SMOOTHING	—	Skip
6	INTERVAL PRIORITY MODE	—	Skip
7	AE BKT SETTING	OFF	Confirm
8	FILM SIMULATION BKT	—	Skip

Page 2 / 3 Focus BKT · photometry · shutter type · flicker reduction · flickerless SS · ISO · IS mode · 35mm format mode 4 to set · 2 critical

#	Setting	C6 Value	Action
9	FOCUS BKT SETTING	—	Skip
10	PHOTOMETRY	MULTI	Set
In Manual mode, metering is informational — the live histogram is the decisive exposure reference. Multi metering provides the most complete scene luminance analysis as a cross-check. For studio work with controlled light, the histogram is primary: expose so that the brightest meaningful surface tone rides near the right edge of the histogram without clipping any channel. The meter reading informs your starting point; the histogram confirms the final exposure.
11	SHUTTER TYPE	ELECTRONIC	Critical
Electronic Shutter is mandatory for Pixel Shift — not optional, not preferred: required. The mechanical shutter fires a physical curtain mechanism at each exposure, introducing a small but real vibration at the moment of actuation. For a single-frame exposure with a 2-second self-timer, this vibration fully dissipates before the shutter opens. For a 16-frame Pixel Shift sequence firing at minimum interval, the mechanical shutter fires 16 times — 16 mechanical shocks, each contaminating the frames that follow, accumulating misalignment that the Pixel Shift Combiner cannot repair. The Electronic Shutter reads the sensor progressively with zero moving parts — no mechanical shock, no vibration, no inter-frame contamination. Important: treat C6 as a continuous-light workflow. If supplementary light is required, use stable continuous LED, tungsten, or daylight-balanced continuous sources rather than flash.
12	FLICKER REDUCTION	OFF	Set
Flicker Reduction is automatically disabled when Electronic Shutter is selected. The two settings are mutually exclusive — Flicker Reduction requires Mechanical Shutter to synchronise the exposure to the light cycle. When Electronic Shutter is set, this setting has no effect regardless of its value. Leave OFF as the explicitly confirmed state. For C6 work under continuous studio light (LED panels, tungsten, daylight), flickering light is not a concern — the exposure is long enough relative to the light cycle frequency that any flicker averages out across the frame.
13	FLICKERLESS S.S. SETTING	—	Skip
14	ISO Fixed — never Auto ISO for Pixel Shift	ISO 100 (fixed)	Critical
Fixed ISO is non-negotiable for Pixel Shift. Auto ISO evaluates each frame independently and could select a different ISO value between frames of the sequence if it detects even a marginal change in scene brightness. Different ISO values across the 4 or 16 frames creates inconsistent exposure and noise levels that the Pixel Shift Combiner cannot correctly combine. Fix ISO at 100. The controlled lighting conditions of a Pixel Shift session — tripod, stable light source — make any ISO above 100 unnecessary. For maximum dynamic range, ISO 80 is available on the GFX 100S II and is the preferable setting when the light is sufficient.
15	IS MODE	OFF — mandatory	Critical
The most critical single setting in the C6 bank — and the most common cause of total sequence failure. The IBIS system physically moves the sensor on actuators. The Pixel Shift mechanism uses these same actuators to shift the sensor by precisely half a photosite between each frame. These two operations cannot coexist. With IS MODE ON, the IBIS system and the Pixel Shift mechanism issue conflicting commands to the same hardware — the sensor cannot achieve the correct half-photosite displacement while simultaneously compensating for motion. The result is systematic misalignment across all frames that no software can correct. The sequence must be discarded entirely. IS MODE OFF must be confirmed before every C6 session as a physical pre-shoot checklist item — not assumed from the bank state. Also: if the GF 45-100mm F4 or GF 100-200mm F5.6 is mounted for a Pixel Shift session, its barrel OIS switch must also be physically OFF. Two separate checks, both mandatory.
16	35mm FORMAT MODE	OFF	Confirm

Page 3 / 3 Wireless communication No action needed

#	Setting	C6 Value	Action
17	WIRELESS COMMUNICATION	—	Skip

⚠

Drive Mode is on the DRIVE button — and it is the last step before firing, not the first. Do not switch to Pixel Shift drive mode until: composition is final, focus is acquired and verified with Focus Check at 1:1, IS MODE is confirmed OFF, the vibration environment has been tested and cleared. Only then: DRIVE button → PIXEL SHIFT MULTI SHOT → select 4 or 16 frames → set interval → fire via remote release or self-timer. The drive mode selection is the point of commitment.

FLASH SETTING

STILL PHOTO DISPLAY → MENU/OK → F FLASH SETTING — 1 page

Page 1 / 1 Flash function · red eye · TTL-lock · LED light · commander · CH setting Confirm off — flash incompatible with Electronic Shutter

#	Setting	C6 Value	Action
1	FLASH FUNCTION SETTING	OFF — incompatible	Confirm
Flash cannot be used with Pixel Shift — this is a physical incompatibility, not a preference. The Electronic Shutter selected for C6 has a rolling readout time of approximately 1/3 second in 16-bit mode. Any flash unit fires its pulse in a fraction of a millisecond. The sensor is reading progressively from top to bottom — by the time the bottom of the sensor is read, the flash has long since fired. The result is that only the portion of the frame being read at the exact moment of the flash pulse is illuminated; the rest of the frame receives only ambient light. Confirm flash OFF and save to the bank. For C6 sessions requiring supplementary light: use continuous LED panels or tungsten sources, not flash.
2	RED EYE REMOVAL	—	Skip
3	TTL-LOCK MODE	—	Skip
4	LED LIGHT SETTING	—	Skip
5	COMMANDER SETTING	—	Skip
6	CH SETTING	—	Skip

SETUP — Relevant Settings

Setup settings are global across all banks — confirm before each session

D POWER MANAGEMENT Performance mode — Normal is correct for C6 1 to set

Sub-menu	Setting	C6 Value	Action
Power	PERFORMANCE	NORMAL	Set
Normal Performance for C6. AF speed, burst rate, and EVF refresh — the parameters High Performance maximises — are entirely irrelevant for Pixel Shift work. The camera fires one sequence, then processes and writes. Normal mode preserves battery for sessions that may involve extended setup and waiting periods between sequences, with no performance cost to the technique itself.

D SCREEN SETTING → DISP. CUSTOM SETTING Histogram and highlight alert — exposure reference for controlled lighting 2 to confirm

Sub-menu	Setting	C6 Value	Action
Screen	LIVE VIEW HIGHLIGHT ALERTInside DISP. CUSTOM SETTING	ON (blinkies)	Confirm
For Pixel Shift work, the exposure must be precisely correct before the sequence begins — there is no bracket coverage to fall back on. Blinkies confirm when the brightest meaningful surface tones approach the highlight ceiling. The ETTR principle applies to C6 exactly as to C1: expose as far right as possible without clipping. Blinkies fire at the JPEG preview point, 1–2 stops before actual RAW clipping — use them as a push indicator, not a stop sign.
Screen	HISTOGRAM DISPLAY (RGB)Inside DISP. CUSTOM SETTING	RGB HISTOGRAM	Confirm
The RGB histogram is particularly valuable for Pixel Shift because the technique's full-colour measurement capability means per-channel clipping is both more detectable in the output and more consequential to fix. A clipped red channel on a product photograph is visible at print scale in the Pixel Shift combined file in a way that a single-shot file might obscure. The RGB histogram reveals it before the sequence is committed.

NETWORK / USB SETTING

STILL PHOTO DISPLAY → MENU/OK → I NETWORK/USB SETTING

◈

Disable all wireless activity for C6 sessions. Frame.io, FTP, and Bluetooth background activity during a Pixel Shift sequence compete for processing resources and card write bandwidth at exactly the moment the camera is writing 4–16 large RAW files in rapid succession. Enable Airplane Mode before any Pixel Shift session. Re-enable for post-session file transfer. This is not a theoretical concern at 102 MP lossless 16-bit write speeds.

Pages 1 & 2 / 2 All network settings — one action needed 1 to set

#	Setting	C6 Value	Action
3	AIRPLANE MODE	ON for session	Set
All others	All other Network / USB settings	—	Skip

⊡

DRIVE Button — The Pixel Shift Mode

DRIVE BUTTON (top plate) → PIXEL SHIFT MULTI SHOT → select mode → set INTERVAL

This is the step that makes C6 what it is. The Drive Mode is not in any menu — it is on the DRIVE button on the top plate. This step is performed after all menu configuration is complete, after the composition and focus are verified, and immediately before firing the sequence. Once Pixel Shift Multi Shot is active, the camera fires all frames in the sequence automatically from a single shutter press or remote trigger.

Mode 1 · Preferred when conditions allow

HIGH RESOLUTION + ACCURATE COLOR

Sixteen frames across a denser sub-pixel grid. Full RGB measurement at every pixel, dramatically reduced noise (equivalent to ~4× noise reduction), and effective super-resolution output (~400 MP). The highest quality possible from this sensor. Requires: 4–8 seconds of complete stillness from environment and subject. Run the vibration test (Addendum Part V) before committing to 16-frame sequences. The preferred mode whenever the environment supports it.

Mode 2 · Fallback for marginal environments

ACCURATE COLOR

Four frames in the cardinal offset directions. Full RGB measurement at every pixel, zero colour moiré, maximum colour accuracy. Output resolution remains 102 MP; the gain is colour fidelity and micro-detail precision, not pixel count. The shorter capture window (~1–2 seconds) is more robust in environments with low-level vibration. Use when the 16-frame vibration test shows alignment failures — 4-frame may still succeed in the same environment.

DRIVE BUTTON → Pixel Shift Multi Shot — Full Configuration Press DRIVE → navigate to PIXEL SHIFT MULTI SHOT → confirm mode and interval

SELECT MODE First choice after selecting Pixel Shift Multi Shot

16-frame (preferred) or 4-frame

Choose based on the vibration test result. 16-frame is always superior in quality — choose it when the vibration test (Addendum Part V) shows all frames aligning cleanly. Switch to 4-frame if 16-frame shows alignment failures in the test sequence. Save the bank after selecting your default mode — the drive mode state is captured in the bank configuration.

INTERVAL Time between each frame in the sequence

SHORTEST (available light · continuous LED)

Always use the shortest interval for available-light and continuous-light studio work. The shortest interval minimises the time window during which environmental vibration can develop between frames — the most reliable path to a clean sequence. For C6, do not plan around flash recycle; if the subject needs supplementary light, use stable continuous light and keep the interval shortest unless a specific non-flash source requires otherwise.

SAVE ORG IMAGEIf this option appears in your firmware version

If your firmware version includes a SAVE ORG IMAGE option within the Pixel Shift menu: set to ON. This saves each individual frame as a separate RAF file alongside the combined output, giving you the full source files for re-processing if Fujifilm releases a future version of the Pixel Shift Combiner with improved algorithms. Treat the source RAFs as the permanent archive master. See the C6 Pixel Shift Addendum Part IX for the complete import sequence: card → Pixel Shift Combiner → combined file → Lightroom. Never import source RAFs into Lightroom before Combiner processing.

↳

Save to Bank C6

H IMAGE QUALITY SETTING → Page 3/4 → EDIT/SAVE CUSTOM SETTING → C6 → SAVE CURRENT SETTINGS

Exact save sequence

Writing C6 to the camera

Confirm you are in M mode on the dial with ISO 100, f/8 set. Confirm SHUTTER TYPE = ELECTRONIC · IS MODE = OFF · SELF-TIMER = 2s · SELF-TIMER LAMP = OFF. Press the DRIVE button and select PIXEL SHIFT MULTI SHOT → your preferred mode (16-frame recommended) → SHORTEST interval. Then navigate to H IMAGE QUALITY SETTING → Page 3/4 → EDIT/SAVE CUSTOM SETTING. Select C6. Select SAVE CURRENT SETTINGS. The drive mode state — including the Pixel Shift Multi Shot selection — is captured in the bank.

Then: EDIT CUSTOM NAME → C6 → PIXEL SHIFT.

To verify: EDIT/SAVE CUSTOM SETTING → C6 → EDIT/CHECK. Confirm: AUTO UPDATE CUSTOM SETTING = DISABLE · SHUTTER TYPE = ELECTRONIC · IS MODE = OFF · ISO = 100 · SELF-TIMER = 2s · RELEASE/FOCUS PRIORITY (AF-S) = FOCUS · FILM SIMULATION = PROVIA · WHITE BALANCE = DAYLIGHT or CUSTOM.

⚠

The C6 pre-session physical checklist — five confirmations before the first sequence. (1) IS MODE = OFF in the Shooting menu — confirm this every session, not just on first configuration. (2) The barrel OIS switch is physically OFF if an OIS zoom is mounted — GF 45-100mm F4 or GF 100-200mm F5.6. (3) Shutter Type = ELECTRONIC confirmed in the menu. (4) Airplane Mode ON — no wireless activity during the session. (5) Vibration test completed successfully — see Addendum Part V. Do not fire a Pixel Shift sequence without completing all five. Items 1 and 5 are the most commonly skipped and the most consequential.

◈

The complete C6 practice lives in the Pixel Shift Addendum. This walkthrough configures the bank. The Addendum covers everything else: the physics of Bayer interpolation and why Pixel Shift eliminates it; the 4-vs-16 frame decision in detail; subject selection (what earns C6, what doesn't); the six non-negotiable conditions; the vibration testing protocol with its three outcomes; lens selection (why the GF 80mm is optimal, why the GF 45-100mm is selective, why the GF 100-200mm F5.6 is prudent for distant static subjects, and why the GF 20-35mm is not recommended); the complete Fujifilm Pixel Shift Combiner software round-trip; Lightroom processing adjustments specific to combined files; and eleven failure modes with causes and remedies. Read the Addendum before the first C6 session.

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C6 Pixel Shift
— Menu Setup Guide

Writing C6 to the camera

This guide is free to read

C6 Pixel Shift— Menu Setup Guide

Writing C6 to the camera

This guide is free to read

C6 Pixel Shift
— Menu Setup Guide