Correcting Shots - The Art and Technique of Digital Color Correction - page 270

After switching back and forth between his current correction and
the uncorrected source, Kassner determines that he needs to soften the
vignette on the lamp even more. “I don't want to go too far, because I don't
want it to affect his face particularly. Now I'm going to cut back and forth
between them. It's still there if you know what to look for, but if you're not
doing a side-by-side comparison, it looks better. I like that. There's still a
little bit of yellow left in his shirt . . . well, a little more green and yellow.”
Fig. 7.8 Kassner's primary
correction.
Fig. 7.9 Data from the Primary room.