If you're asking is there a magic setting that if you match it you've done it right? No.

The first thing you should notice is the scope's markings match the color wheel markings on the Color Corrector filter. If for example you drag the included color bar chart onto the timeline and look at the vectorscope you should see a dot dead center and one dot between the green markings for Red, Magenta, Blue and so on. That's of little use real world.

How the pattern falls depends on how much of a particular color and what colors are in the image. So if you're looking at a sunset you'll typically have more towards yellows and reds, if looking at a scene that mostly has a blue sky then of course it will be shifted towards the blues.

The scopes can help you remove color shading you don't want. So if you image is too cool (blue shifted) then adjust using the various filters and the vectorscope will reflect the shift shwoing more towards blue's complement on the opposite side of the color wheel or into the yellow range if you make adjustments it in that direction. While of course it depends on the image, generally most of the pattern should be within the inner rings and rarely much into the outer rings and never outside of the outer ring.

I find it useful if you look at the three for one view where you have the vectorscope, histogram and waveform all showing at once. Use the waveform to see if you are in legal range. The graph should never get much above 105 and not below 0. Use a combination of gain and gamma (on Color Corrector) to tweak if they are out of range.

The lumanance choice for the histogram quickly shows if or not the image is balanced between shadows, midtones and highlights and will appear faded and dark if the majority of the pattern is towards the left. The reverse is true if it shifted to the right there is probably missing shadows and your image may be somewhat blown out and too bright.