New Looks with LUTs: Look Up Tables in Cinema 4D Explored

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LUTs, or Look Up Tables, give you a one-click color-correction preset that can be pretty powerful and complex. Whether you're trying for a “film noir” look or a Michael Bay-esque orange and teal epic, LUTs can save you a ton of time and effort while delivering gorgeous looks.
In this tutorial, based on our advanced course Cinema 4D Ascent, EJ Hassenfratz goes through the basics of LUTs, where to find them, and how to use them in Cinema 4D, After Effects, and more.

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Auto-Generated Transcript Below 👇

EJ Hassenfratz (00:00): LUTs or look up tables can allow you to add color grades to punch up raw footage or add filmic looks. But where do you find new lots and how can you utilize them in your own renders? Let's find, Hey, motion, yours EGA here. This tutorial comes from our advanced course, cinema 4d assent. And in it, we're going to talk all things LUTs now to follow along. You'll need to have access to cinema 4d. Before we begin, don't forget to download the project file so you can join in on all the fun.

EJ Hassenfratz (00:41): If you're familiar with magic bullet or DaVinci resolve, you've probably heard of the term a lot before now, LUTs, or look up tables, not looking up at tables that makes zero sense or a table of numbers that convert color values in an image or a frame. You can basically think of them as color grades that you can save and share and utilize across many apps. So things like red shift after effects, you can use these same color grades, across many, many apps. And in 3d, it's becoming more and more common to add these lookup tables, these color grades, and bake them directly into your render or utilize them in your Redshift render view and kind of audition different color grades, adjust them and be able to try out a bunch of different looks.

EJ Hassenfratz (01:33): So we'll play a lot. We're going to go to our Redshift menu, head on down to red shift, render view, fire that up and to apply a lot and reveal some other color correction settings, really click this sneaky little gear. That's hiding all those settings from us. So we're going to quick it, and here you go. Here's our lot's controls our color controls. We have a different display mode. You can see what this looks like in linear mode. SRG B adjust the GAM, all that good stuff. I'm going to come back to let very shortly. I'm just going to cover all these other settings super, super quick now to activate something like color controls here. I'm just going to check that box to turn it on. You can see that basically this is your after effects, curve adjustment here, which is really cool, but it's just built into red shift.

EJ Hassenfratz (02:20): There's also an option like this inside of the cinema 4d picture viewer, which is really cool. Just the contrast exposure. So all that's in the color controls. I'll turn that off, twirl that up. Let's go to photographic exposure and check that on here. You can adjust your exposure based on photography, uh, values like f-stop and white point and, uh, vignettes. That's where you'll find vignetting in here, but I'll just throw that up. Uncheck that let's move on to bloom. Bloom is really fun. You can think of this as your like built-in after effects, glow effect, where it takes the over bright areas of your scene and applies some glow again, just like after effects, glow, get some super disco looking, uh, effects going on there. Really cool. I'll uncheck that let's go on to flare and you have to wear 18 pieces. Of course, what flare does if I bring this flare threshold down pretty far, is it also takes those over bright areas in ads, these lens flares, which is really nice.

For the full transcript visit: https://som.bz/3bRP6sg