Secondary Color Correction Primer - The Art and Technique of Digital Color Correction - page 186

Fig. 5.32 DaVinci Resolve UI showing Circular window with softness on a shot.
and no one crosses in front of the lion or even gets near it, so that shot is a
great candidate for a spot correction or for use of a garbage matte to further
isolate the color vector correction. (We'll discuss that in the next tutorial.)
There are a couple of reasons to use a spot color correction. One of
the ways is to use it very globally to darken the corners of the image and
focus attention on the subject in the middle. This method is usually done
with a very soft oval shape placed right in the middle of the image. With
this use, you don't really have to worry too much about shot movement
because the “spot” is supposed to look more like an in-camera effect, any-
way. Another technique for a spot correction is to pick a portion of the
frame and affect it in much the same way as the color vector secondary
would be used—to pick an area to enhance or fix a problem with the
primary correction. The third way to use spot correction is almost as a
“post-lighting tool.” You can add this kind of selection to almost spotlight
certain regions of the frame. If you are familiar with making prints in a
darkroom, this can be similar to dodging and burning.
Let's do a tutorial for each of these reasons.
The Vignette
Vignette is Color's term for spot correction. One of the meanings of the
English word “vignette” means a photograph whose edges fade off gradu-
ally. The following tutorial is about—not Color's meaning—but the cre-
ation of a “vignetted” image.
The vignette is often used to focus the audience's attention in the mid-
dle of the screen. It can also create the point of view (POV) feeling that