Secondaries with the Pros - The Art and Technique of Digital Color Correction - page 215

Fig. 6.15 Final correction.
just add richness to the whole image. We brought it down from what the
original was. Now we're going to add even more richness. The interesting
thing is going to be to see what happens when the ultralight flies. If you
do the vignette soft enough, then the vignette doesn't become an issue
with the motion. You don't really sense the vignette there. You just sense
richness. The brighter center is just sort of a natural feeling which is what
I'm after.”
Vignetting the “Kiss” Bedroom Scene
Of all of the colorists who used vignettes to focus attention on the subject,
the most intricate example was probably done by Mike Matusek of Chi-
cago's Nolo Digital Film. Matusek worked with several vignettes to shape
the bedroom scene from “Kiss Me In the Dark” ( Figure 6.16 ) . We'll walk
through the entire correction, including the vignettes he creates at the end
of the grade.
“I don't use the vectorscope much,” Matusek mentions, before he
starts grading the image. “Before I start any shot, I quickly glance at the
waveform. See where the whites and the blacks are? I noticed that the
blacks are a little warmer, so I thought I'd balance them. Sometimes I'll
whack out the blacks just to give it a look, but I'll always try to start by
balancing it. Overall I thought it looked a little washed, so I'm bringing
the midtones down a little bit as opposed to crushing the blacks.
“On the Nucoda system that I work on, I'll zoom in and sample an
area. So now I'm going to work on gain. The midtones are a little warmer