Why It Looks Like That
Article 18

TV White Level and Peak Brightness: Preserve Highlights Without Clipping

Separate SDR nominal white, reference-display luminance, HDR Reference White, content peak, and display peak before adjusting Contrast or Peak Brightness.

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Direct answer

In brief

For SDR, confirm the signal range, choose the intended white luminance for the room, and adjust the television so nominal white and the selected above-white range remain distinct without RGB clipping, banding, or grayscale error. For PQ and HLG, evaluate HDR Reference White, EOTF behavior, tone mapping, color clipping, and peak luminance under stated window-size and duration conditions. Peak brightness is not the same as SDR white level, and maximum is not a universal setting.

A bright object can contain detail.

Examples include:

When a television clips those encoded differences, several source values become the same displayed output.

The highlight becomes flatter.

That is one possible white-level problem.

A television can also:

The correct setup begins by identifying which process is involved.

The practical distinction

For SDR:

  1. Confirm the signal range.
  2. Choose the desired SDR white luminance for the room.
  3. Set the panel-light output and user gain as the model requires.
  4. Preserve the intended white and color distinctions.
  5. Check the entire grayscale and RGB channels.

For PQ HDR:

  1. Keep the intended HDR picture mode.
  2. Verify PQ EOTF behavior and HDR Reference White.
  3. Measure the display’s usable peak at several image areas and durations.
  4. Evaluate tone mapping and color-volume mapping.
  5. Do not adjust from an SDR clipping pattern.

For HLG:

  1. Use the intended HLG mode.
  2. Verify nominal peak luminance and system gamma together.
  3. Check HLG Reference White and highlights.
  4. Do not apply a PQ clipping rule.

White level and peak brightness are related.

They are not the same setting.

Five different white quantities

Nominal signal white

The digital code representing the nominal 100 percent video level in a given signal representation.

Reference-display white

The luminance assigned to that reference level in a defined monitoring environment.

HDR Reference White

A nominal HDR diffuse-white level inside the HDR range.

Content peak

The highest source value in the program under a stated definition.

Display peak luminance

The highest output a display can produce under stated conditions.

Those conditions include:

A useful calibration report never uses the word peak without stating what it means.

Five linked cards separate nominal signal white, SDR reference white, HDR Reference White, content peak, and display peak luminance. Nominal signal white is a code endpoint. SDR reference white is a luminance target under a stated viewing condition. HDR Reference White is an internal diffuse-white reference. Content peak belongs to a program. Display peak is a measured result under stated conditions.
White can mean a signal endpoint, a display target, a production reference, a program peak, or a measured display limit.

SDR nominal white

Narrow-range values

Recommendation ITU-R BT.709-6 uses:

8 bit

10 bit

These are narrow-range endpoints.

Full-range systems use different integer endpoints.

Values above nominal white

Code 235 is not the end of all permitted 8-bit video data.

BT.709 assigns video-data values through code 254, while 255 is a timing-reference value in its 8-bit representation. [1]

Values above nominal white may contain:

A consumer playback chain may clip them.

A professional workflow may preserve them.

A pattern can reveal what the path does.

Nominal white and clipping policy

There is no one universal home requirement for codes above 235.

Possible goals include:

Nominal-range goal

Preserve through code 235 and allow higher excursions to clip.

Full video-data goal

Preserve distinctions through code 254.

Managed-headroom goal

Preserve part of the excursion range according to a documented workflow.

The correct choice depends on the source and destination.

The important requirement is that values below the chosen clipping point remain distinct and correctly mapped.

A standards-based eight-bit narrow-range SDR code bar shows timing reference code 0, video-data codes 1 through 254, nominal black at code 16, nominal white at code 235, above-reference excursion codes 236 through 254, and timing reference code 255. The diagram states that excursion handling is workflow dependent.
Code 235 is nominal white in eight-bit narrow-range SDR, while permitted video data can continue through code 254.

SDR reference white

The BT.2035 reference

Recommendation ITU-R BT.2035-0 specifies:

That value belongs to a professional HDTV programme-evaluation environment.

It is a strong reference for dark- or dim-room SDR calibration.

Home SDR can use another luminance

A home may need more or less output because of:

A brighter SDR mode is an adaptation.

It should not be called identical to the BT.2035 condition.

The target should be recorded in cd/m².

A slider number is not a luminance specification.

The user gain control

The legacy Contrast control

Recommendation ITU-R BT.814-4 calls the setting the user gain control, with Contrast identified as the legacy name.

For SDR, the formal procedure is:

Adjust the user gain control so the center of the 100 percent video-level white area reaches the desired display luminance. [4]

That statement includes two decisions:

  1. the signal level to display
  2. the luminance target

Contrast is not a universal function name

A television can use labels such as:

The control may interact with other settings.

Use the exact manual and measurements.

What changing gain can affect

A digital gain or Contrast control can alter:

The result is not necessarily confined to the brightest two or three code values.

Panel-light output

A separate light-output control

Many televisions also provide a control that changes the panel’s available output.

Examples can include:

LG documentation provides one manufacturer example in which OLED Pixel Brightness adjusts overall OLED display brightness. [11]

That description is not a universal naming rule.

Signal mapping versus available output

Conceptually:

A well-designed television may let the user lower SDR luminance while preserving code distinctions.

Another model may change EOTF or clipping as the control moves.

Measure the actual behavior.

Setting SDR luminance

A defensible procedure is:

  1. Choose the target luminance for the room.
  2. Start from the verified reference-oriented mode.
  3. Use the panel-light control when it changes output without damaging EOTF or clipping.
  4. Use the gain control as required to preserve the intended white range.
  5. Recheck grayscale, color, and clipping.

Do not set Contrast high and then assume the remaining output control is neutral.

Do not lower Contrast when another control can set luminance more cleanly.

A conceptual two-panel comparison shows a signal-gain or legacy Contrast control changing signal mapping and clipping, while a panel-light-output control changes the available screen luminance. A note states that real television controls can interact and use different names.
Signal gain and panel output are separate concepts even when a television combines or renames the controls.

The highest non-clipping method

Spears & Munsil procedure

For its SDR Contrast pattern on a fixed-pixel display, Spears & Munsil recommends:

  1. Raise Contrast until the highest visible bar disappears.
  2. Lower Contrast until the bar reappears. [8]

Its help text says the goal is the highest setting that does not clip the brightest whites and colors. [9]

That is a useful consumer pattern method.

What else the pattern checks

The pattern also includes:

A setting can preserve the white bars and still:

The final setting is the lowest value required to eliminate all relevant artifacts, not only luma-bar disappearance.

A conceptual clipping-pattern comparison shows four achromatic near-white steps remaining distinct while the red channel has merged into one flat block. A reconstructed highlight changes from neutral white toward cyan because red is clipped. The diagram states that white bars alone do not verify RGB channel headroom.
White bars alone can miss an RGB channel that clips early and changes highlight color.

Why it may not be the final SDR setting

The highest non-clipping setting can produce more luminance than the chosen room target.

If the television has a clean separate panel-light control, that output can be reduced there.

If the controls interact, the entire grayscale must be remeasured. [2]

The ITU objective remains the desired white luminance, not the largest possible slider value.

Two panels compare the ITU-R BT.814-4 objective, which sets the 100 percent video-level patch to a chosen display luminance, with the Spears and Munsil pattern method, which finds the highest setting that preserves required white bars, RGB channel detail, and smooth ramps. A footer explains that a television with a clean separate output control can use both methods.
A clean SDR setup can combine a chosen luminance target with a verified non-clipping signal-gain setting.

SDR contrast patterns

Use the SDR pattern

A valid SDR pattern should identify:

Do not use an HDR pattern while the television is in SDR.

Do not use an SDR pattern while the television is in HDR.

Spears & Munsil explicitly distinguishes the SDR and HDR Contrast patterns. [8]

Pattern delivery matters

The pattern can be changed by:

Use the path being calibrated.

A practical SDR pattern sequence

  1. Display all available above-white bars.
  2. Raise gain until clipping or color shift is visible.
  3. Lower gain until the intended bars and channels return.
  4. Check the grayscale ramp for banding.
  5. Measure the white patch.
  6. Set the chosen cd/m² output.
  7. Recheck clipping.
  8. Recheck black level.

Above-reference white

Preserving excursions

Preserving values above nominal white can help with:

Clipping excursions

Clipping above nominal white can be defensible when:

Avoid accidental clipping

A conversion chip or source mode can clip above-reference values before the television.

Spears & Munsil notes that some player conversion paths can hard clip luma above reference white. [8]

Changing the television cannot recover those lost values.

Test the source path before adjusting the television.

Three documented workflow branches show clipping above nominal white, preserving all video-data excursions through code 254, or preserving selected headroom. Each branch keeps nominal white at code 235 and states a different handling choice for codes above it. The figure does not identify one policy as universally correct.
Above-reference SDR values need an explicit clipping or preservation policy for the actual workflow.

HDR Reference White

Definition

Report ITU-R BT.2408-9 defines HDR Reference White as the nominal signal from a 100 percent reflectance white card producing:

It is also called diffuse white in the report’s operational context.

Signal levels

BT.2408-9 gives:

Those percentages refer to normalized nonlinear HDR signals.

They are not 8-bit code values.

HDR Reference White is inside the HDR range

The report explicitly allows brighter whites and highlights above HDR Reference White.

Examples include:

The point of HDR is not to make all whites reach peak.

It is to provide controlled range above diffuse white.

Creative variation

BT.2408-9 notes that real content can place diffuse objects above or below the nominal reference level according to creative intent.

Do not recalibrate a television because one program places white differently.

Use known test content and measurements.

A conceptual PQ signal scale places black at the left, ordinary midtones below the HDR Reference White marker, HDR Reference White at 58 percent PQ and 203 candelas per square metre, brighter highlights above it, and the SMPTE ST 2084 endpoint at 100 percent PQ and 10,000 candelas per square metre. The figure states that it is not to scale and that the endpoint is not a required consumer display peak.
HDR Reference White is a diffuse-white reference inside PQ, not the PQ endpoint or the television’s peak.

PQ

PQ luminance relationship

SMPTE ST 2084 defines a reference EOTF with a nominal range through 10,000 cd/m². [7]

That endpoint is a system capability.

It is not a requirement that every:

reach 10,000 cd/m².

The television’s target is smaller

A consumer television may produce:

Display mapping is therefore required for source values outside the target color volume.

White clipping versus PQ mapping

A PQ highlight can become compressed rather than hard clipped.

Several source values can remain distinct while their displayed luminance spacing becomes smaller.

A basic white clipping pattern does not fully characterize:

Use the Article 13 tone-mapping workflow.

A conceptual two-panel highlight-step diagram compares hard clipping, where several high source steps merge into one displayed output, with tone-mapping roll-off, where the same steps are compressed into a smaller output range but remain separated. The figure states that actual tone mapping depends on the format, display, metadata, mode, and content.
Hard clipping merges source steps, while tone-mapping roll-off can compress them and preserve some separation.

HLG

Relative peak relationship

Recommendation ITU-R BT.2100-3 defines HLG user gain as the nominal peak luminance of the display for achromatic pixels.

It also defines system gamma as a function of nominal peak luminance and viewing environment. [5]

Changing HLG peak is not simply turning a brighter lamp on.

It can change the intended system relationship.

HLG Reference White

On a 1,000 cd/m² nominal-peak HLG reference display:

On a display with another peak and gamma, the displayed luminance of that same signal changes.

The signal level remains 75 percent HLG.

Two columns compare HDR Reference White. PQ uses a 58 percent signal that corresponds to 203 candelas per square metre on a PQ reference display. HLG uses a 75 percent signal that corresponds to 203 candelas per square metre on a 1,000-candela-per-square-metre nominal-peak HLG display. A note states that HLG displayed luminance changes with nominal peak and system gamma while the 75 percent signal marker remains the reference level in the report.
PQ and HLG use different system relationships even when the stated reference condition produces 203 cd/m².

HLG setup

A formal HLG workflow considers:

Do not set HLG from a PQ luminance table alone.

HDR user controls

Contrast in HDR

A television can load a different Contrast behavior when HDR begins.

The control may alter:

The SDR setting cannot be copied blindly.

Peak Brightness

A control named Peak Brightness can:

The name is not a standards definition.

Should it be maximum?

There is no universal answer.

Use the setting that:

On some televisions that will be the highest available value.

On others the picture mode selects it automatically.

On another implementation, a manually selected maximum may create a brighter preference presentation.

Measure the exact mode.

Dynamic Tone Mapping

Dynamic Tone Mapping is separate from the Peak Brightness slider even when both affect highlights.

A mode can:

Evaluate it separately.

Measuring peak luminance

A central measured peak-luminance result is surrounded by seven required interpretation fields: pattern area, duration and stabilization, picture mode and tone mapping, white or saturated color, panel temperature or state, meter and profiling, and model, screen size, firmware, source, and date. No generic peak number is supplied.
A peak-luminance value is interpretable only with its area, duration, signal, mode, display, and measurement conditions.

State the measurement

A peak result should include:

A statement such as “the television reaches 1,000 nits” is incomplete. [13]

Window area

Measure more than one bright-area size.

A useful sequence can include:

The exact percentages should match the selected test standard or workflow.

Duration

Record:

A display can have a short peak and a lower sustained output.

A conceptual four-stage sequence shows a small bright window, a medium window, a large window, and a full field. A corresponding illustrative output line varies downward as bright area increases. No numerical luminance values or universal curve are shown, and the figure states that actual responses can rise, fall, step, delay, or depend on color, mode, duration, and temperature.
Measure several bright-area sizes and durations because actual output behavior is display specific.

Color

Measure:

A high white peak does not prove high saturated-color luminance.

Pattern history

A bright pattern shown after another bright pattern can produce a different result from one shown after black.

Use a controlled sequence.

Real scenes

Patterns explain the display.

Real scenes expose:

Use both.

Brightness limiting

What ABL means

Automatic Brightness Limiting is a name used for behavior that reduces output when a display reaches a design limit.

A Sony professional OLED monitor documents an ABL indication that appears when its limiter activates. [10]

That proves one implementation.

It does not define every consumer television.

Why output can be limited

Possible design constraints include:

The manufacturer can balance them differently.

Area dependence

A small highlight can reach more luminance than a large bright field.

The transition can be:

Do not assume one percentage threshold.

Duration dependence

The display can reduce brightness after:

That behavior can be mistaken for a bad Contrast setting.

Static-content dimming

Static-content protection can lower a mostly unchanged picture.

It is not the same trigger as area-dependent power limiting.

A pause screen can dim while a moving scene at the same average luminance does not.

Ambient and energy controls

Samsung documentation gives examples of controls that can change output:

Those are user-selectable or adaptive controls.

They are not automatically ABL.

Control them during measurement.

Tone mapping

Tone mapping can reduce the encoded highlight before the panel limit is reached.

That is not ABL.

It is a source-to-display mapping decision.

Local dimming

An LCD can change bright-area output according to:

That is not the same physical mechanism as OLED panel-current limiting.

A diagnostic decision diagram separates area-dependent limiting, static-content dimming, ambient-light adaptation, energy saving, tone mapping, local dimming, and thermal management. Each branch lists the trigger or observation that distinguishes it. The diagram warns against assigning one label before the trigger is identified.
Brightness can fall for several different reasons, so identify the trigger before calling the behavior ABL.

Display technologies

OLED and QD-OLED

Emissive pixels draw power according to their output.

Possible behavior includes:

The exact curve is product-specific.

LCD and mini-LED LCD

Samsung’s overview provides one manufacturer example: OLED pixels emit their own light, while mini-LED LCD uses a controlled backlight. [14]

The backlight can have:

A mini-LED television can sustain a different pattern of luminance from an OLED.

Neither architecture is described by one peak number.

Projection

Projection peak white depends on:

The legacy Contrast control should not be used to compensate for insufficient projector light when it creates clipping.

Two conceptual architecture panels compare OLED, where each pixel emits light and output can depend on pixel drive, bright area, time, and temperature, with mini-LED LCD, where backlight zones, the LCD panel, local dimming, and full-screen backlight power shape output. Neither technology is ranked, and no universal luminance curve is assigned.
OLED and mini-LED LCD use different light-control mechanisms and therefore need different diagnostic tests.

A five-minute SDR workflow

A quick visual setup can establish an SDR baseline.

1. Confirm the signal

Record:

2. Prepare the television

Use:

3. Display a valid SDR Contrast pattern

Use the actual path being calibrated.

4. Find the clipping threshold

Raise Contrast until:

Lower it until the artifact disappears.

5. Set luminance

Measure the 100 percent patch.

Set the chosen cd/m² target using the control that preserves the response most cleanly.

6. Recheck

Confirm:

Five minutes can prevent obvious clipping.

A complete calibration requires measurements.

A seven-step workflow moves from confirming signal range, selecting a stable reference-oriented mode, loading a valid SDR contrast pattern, finding the clipping threshold, checking white and RGB channels, measuring the chosen display luminance in candelas per square metre, and rechecking black level. A note says to document the policy for values above nominal white.
SDR white-level setup separates signal range, clipping, RGB headroom, target luminance, and the black-level recheck.

PQ workflow

1. Activate the intended PQ mode

Confirm HDR10 or HDR10+ and metadata.

2. Reset and stabilize

Control:

3. Measure HDR Reference White

Check the applicable 58 percent PQ signal and the television’s EOTF behavior.

Do not force one exact result when the mode intentionally maps for a non-reference room.

Document the target.

4. Measure several PQ levels

Include:

5. Measure area and duration

Record small, medium, large, and sustained results.

6. Check color clipping

Measure saturated highlights and RGB channels.

7. Check real scenes

Look for:

HLG workflow

1. Activate the HLG mode

Confirm that the source is truly HLG.

2. Record nominal peak and room

HLG rendering depends on them.

3. Check system gamma

Use the BT.2100 relationship or the manufacturer’s reference-oriented implementation.

4. Measure 75 percent HLG

On a 1,000 cd/m² reference display it corresponds to the 203 cd/m² HDR Reference White target in BT.2408-9.

Another target peak produces another displayed luminance.

5. Check highlights and large-area output

Do not use PQ code-to-luminance expectations.

A seven-step HDR workflow moves from activating the intended HDR mode, measuring HDR Reference White, checking PQ or HLG tracking, measuring several bright-window areas, recording initial and sustained duration behavior, checking achromatic and saturated-color volume, and validating with real scenes. The figure says PQ and HLG require separate targets and procedures.
HDR setup requires separate PQ or HLG targets plus area, duration, color-volume, and real-scene checks.

Troubleshooting

SDR white bars clip

Check:

  1. source range
  2. player conversion
  3. Contrast
  4. panel-light control
  5. RGB channel clipping
  6. dynamic contrast
  7. local dimming
  8. AVR processing
  9. pattern validity
  10. picture mode

SDR looks too dim

Check:

  1. chosen cd/m² target
  2. panel-light control
  3. energy saving
  4. ambient sensor
  5. room light
  6. picture mode
  7. source output
  8. full-field limiting
  9. projector light output

Do not raise Contrast automatically.

SDR looks too bright

Lower the clean panel-light output control where possible.

Recheck the EOTF and clipping.

A higher room luminance can justify more output.

It does not require a clipped image.

Highlights are white but not detailed

Possible causes include:

Compare with a known pattern.

Do not assume the television caused it.

HDR looks dim

Check:

  1. correct HDR mode
  2. energy and ambient controls
  3. HDR Reference White
  4. EOTF
  5. tone mapping
  6. metadata
  7. panel capability
  8. area-dependent limiting
  9. room conditions
  10. source grade

Maximum Peak Brightness is not the only diagnostic.

HDR looks bright but flat

Check:

A higher average luminance can reduce perceived HDR separation.

Small highlights are bright but large scenes dim

Check:

Record the behavior.

Do not lower Contrast until the mechanism is identified.

Brightness falls after a pause

Check:

Resume moving content and observe recovery.

Brightness changes with room light

Check:

That is not proof of ABL.

What correct white setup looks like

SDR

Under the chosen room target:

PQ HDR

HLG

What calibration can fix

Calibration can reduce errors in:

What calibration cannot fix

Calibration cannot:

For every white or peak result, record:

Where this leaves us

White level is not simply “the brightest the television can get.”

For SDR:

For HDR:

The useful question is not:

Is Contrast as high as possible?

It is:

Does this mode reproduce the intended signal range, white luminance, grayscale, color, and highlights without unintended clipping or unstable limiting?

Once white and black are established, the next step is white balance and color temperature.

That adjustment determines whether the grayscale from black through white is neutral.

Sources and standards

Primary ITU and SMPTE white-level and HDR recommendations, calibration-pattern guidance, measurement methods, and manufacturer brightness documentation used in this article. The original source ledger was verified July 31, 2026; source versions and diagram additions were verified August 6, 2026.

  1. International Telecommunication Union Radiocommunication Sector. Parameter Values for the HDTV Standards for Production and International Programme Exchange. Recommendation ITU-R BT.709-6, June 2015.
    https://www.itu.int/dms_pubrec/itu-r/rec/bt/r-rec-bt.709-6-201506-i%21%21pdf-e.pdf

    ↩↩

  2. International Telecommunication Union Radiocommunication Sector. Reference Electro-Optical Transfer Function for Flat Panel Displays Used in HDTV Studio Production. Recommendation ITU-R BT.1886-0, March 2011.
    https://www.itu.int/dms_pubrec/itu-r/rec/bt/r-rec-bt.1886-0-201103-i%21%21pdf-e.pdf

    ↩

  3. International Telecommunication Union Radiocommunication Sector. A Reference Viewing Environment for Evaluation of HDTV Program Material or Completed Programmes. Recommendation ITU-R BT.2035-0, July 2013.
    https://www.itu.int/dms_pubrec/itu-r/rec/bt/R-REC-BT.2035-0-201307-I%21%21PDF-E.pdf

    ↩

  4. International Telecommunication Union Radiocommunication Sector. Specifications of PLUGE Test Signals and Alignment Procedures for Setting of Brightness and Contrast of Displays. Recommendation ITU-R BT.814-4, July 2018.
    https://www.itu.int/dms_pubrec/itu-r/rec/bt/R-REC-BT.814-4-201807-I%21%21PDF-E.pdf

    ↩

  5. International Telecommunication Union Radiocommunication Sector. Image Parameter Values for High Dynamic Range Television for Use in Production and International Programme Exchange. Recommendation ITU-R BT.2100-3, February 2025.
    https://www.itu.int/dms_pubrec/itu-r/rec/bt/R-REC-BT.2100-3-202502-I%21%21PDF-E.pdf

    ↩

  6. International Telecommunication Union Radiocommunication Sector. Guidelines for operational practices in high dynamic range television production. Report ITU-R BT.2408-9, March 2026.
    https://www.itu.int/pub/R-REP-BT.2408-9-2026

    ↩↩↩

  7. Society of Motion Picture and Television Engineers. High Dynamic Range Electro-Optical Transfer Function of Mastering Reference Displays. SMPTE ST 2084:2014, reaffirmed 2017.
    https://pub.smpte.org/pub/st2084/st2084-2014.pdf

    ↩

  8. Spears & Munsil. Setting the Contrast Control, Ultra HD Edition. Official calibration documentation, reviewed July 31, 2026.
    https://spearsandmunsil.com/portfolio-item/setting-the-contrast-control-3/

    ↩↩↩

  9. Spears & Munsil. Pattern Help Text, 2nd Edition. Official calibration documentation, reviewed July 31, 2026.
    https://spearsandmunsil.com/portfolio-item/pattern-help-text/

    ↩

  10. Sony Corporation. BVM-E251/BVM-E171 Professional Video Monitor Operating Instructions. Public manual, reviewed July 31, 2026.
    https://www.sony.com/electronics/support/res/manuals/4688/ed695ff16fdc232898271d0a3c85c6bd/46886451M.pdf

    ↩

  11. LG Electronics. Basic Picture Settings. Updated August 2, 2023.
    https://www.lg.com/ca_en/support/product-support/troubleshoot/help-library/cs-CT20098005-1399369668332/

    ↩

  12. Samsung Electronics. How to Troubleshoot When the Screen Brightness of Your Samsung TV Changes Automatically. Updated January 15, 2025.
    https://www.samsung.com/levant/support/tv-audio-video/2022-how-to-troubleshoot-when-the-screen-brightness-of-your-samsung-tv-changes-automatically/

    ↩

  13. European Broadcasting Union. Methods for the Measurement of the performance of Studio Monitors. EBU Tech 3325 v2.0, January 28, 2022.
    https://tech.ebu.ch/publications/tech3325

    ↩

  14. Samsung Electronics. Mini LED vs. OLED: What’s the difference? Official television-technology overview, reviewed August 6, 2026.
    https://www.samsung.com/us/tvs/tv-buying-guide/mini-led-vs-oled/

    ↩
Related reading: What Nits Mean in HDR, and Why PQ Uses Absolute Luminance Connect SDR white level and HDR peak output to the luminance concepts behind nits, PQ, and display capability. Next step: Set Color Temperature and White Balance Continue from black and white level into D65, color-temperature presets, grayscale tracking, 2-point and multipoint white balance, and separate SDR and HDR verification.