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Process
A color lookup table applied as the last step of the look, after every other adjustment.
Film look chooses one of 296 film emulation LUTs that come with ILLUMinator, grouped as color negative, color slide, black and white, print film, instant film and Fujifilm X-Trans III looks. They are from the G'MIC Film LUTs Collection (MIT License). Import LUT… reads a 3D LUT in .cube format, as made by DaVinci Resolve, Premiere and most LUT packs (up to 65 × 65 × 65). The LUT is saved with the photo's edits, so it travels with the photo. Amount blends between the picture without the LUT (0%) and with it (100%); the trash button 
removes it.
Auto, or Temperature (kelvin) and Tint. The eyedropper 
picks the white balance from something in the photo that should be neutral (click it; Esc cancels).
Look sets how the picture starts out, before the other sliders:
- Lytro Desktop (the starting choice): the camera's exposure with Lytro Desktop's contrast curve and its color for each hue (rich reds, oranges and yellows, clear sky blues), so raw photos open looking as they do in Lytro Desktop, with deep shadows and rich color. Measured against Lytro Desktop's pictures of the same photos.
- Flat: an exposure picked for each photo (its brightest parts just below white) and no curve. A neutral start that keeps the most shadow detail, for grading from scratch.
With Lytro Desktop, Exposure acts before Lytro's curve, as in Lytro Desktop. The other tone and color sliders (Contrast, Highlights, Shadows, Whites, Blacks, the tone curve, Vibrance, Saturation and the colors) act on the finished picture, after the curve.
Exported pictures that Lytro Desktop finished already (.LFP files without a light field) keep their look.
Exposure (EV), Contrast, Highlights, Shadows, Whites and Blacks.
Blown-out highlights keep more detail than the sensor's middle pixels hold: the edge of each microlens image is darker (vignetting), so it often still holds a bright area the middle lost, and raw photos take those areas from there. Lower Exposure or Highlights to bring that detail into view.
A curve over brightness, from black (left) to white (right): click to add a point, drag it, double-click to remove it. The curve never reverses, so tones keep their order. Below it, Highlights, Lights, Darks and Shadows lift or lower each quarter of the range. Reset curve straightens it.
Saturation, Vibrance (boosts muted colors more than strong ones), and saturation for Red, Yellow, Green, Cyan, Blue and Magenta.
How the camera's colors become screen colors: Camera (the matrix the camera recorded), None (the sensor's colors as they are) or Custom, an editable 3 × 3 matrix that starts from the camera's (rows are output red, green and blue; columns camera red, green and blue).