Secondaries with the Pros - The Art and Technique of Digital Color Correction - page 224

Fig. 6.27 Pepperman starts out with a primary correction.

Fig. 6.28 Data from FinalTouch Primary room UI.

I want to almost see the curvature of the vignette because I want to
put some texture in the sky.

- Chris Pepperman, NASCAR

Because of these issues, he backs off the more extreme correction
that he was trying to do before continuing. “So the next thing I'm going
to do is soften that out. But I want to almost see the curvature of the
vignette because I want to put some texture in the sky. I want it to be
almost organic. I don't want it to look flat like you're keying something
in. I like having it darker to lighter. It gives it more of a true appear-
ance.” I comment that the vignette he's created looks like something
a DP might have done with a filter. He'd been working outside of the
vignette he created, but switches back to the inside to work on the lower
part of the frame.
“Now inside the vignette, I might bring up the black levels a little bit.
I'm going to push a little more blue to give it a perception more of night.