Secondaries with the Pros - The Art and Technique of Digital Color Correction - page 220

Matusek then adds another vignette, bringing down the edges some
more. “When you go back and forth you kind of get a feel for the balance,
like 'That feels a little top heavy.'” To fix the “top-heaviness” of the image,
Matusek repositions the vignette lower in the frame, then toggles back
and forth to check the correction. “Here (without the vignette) it looks a
little bit overlit. Here (with the vignette) it's a little more dynamic. There's
more depth.”
Matusek continues to evaluate the image to see how it can be improved.
“Now that I'm happy with all this other stuff, this highlight (on the négli-
gée on her breast) is bothering me. So now there're two things I could do.
I can add a luma key on the highlights and defocus them. Or maybe just
put another window and bring it down.” Matusek adds another window,
on the négligée ( Figure 6.21 ), explaining, “By putting that window on
her hand and her breast, your eye goes to her face.”
Fig. 6.21 Vignette on négligée. Only Master Gain was brought down to about 70 percent inside the
vignette.
Fig. 6.22 An overall vignette was added to focus attention and give texture. The outside of the vignette
has the Master Gain lowered to about 50 percent.