Fusion board HDMI white level wrong

I have never seen this on an LCD before. I have a brand new E350IA-E45. Windows 7 64 bit is the intended OS. Intended connection is HDMI to a Vewsonic N3751w. I can install the OS and everything looks fine, but anytime I install the video drivers, 'white' on the screen becomes yellow. It give me bad memories of old CRT monitors where you could set the color temperature to 3000K or the like. Very yellow.
First install was to install 7, then run the full install from the MSI disc. yellow.
Second try, I installed 7, downloaded the video drivers from AMD and installed them. yellow. I tried all the gamma, brightness, contrast settings I could find in ccc. No good. The computer thinks yellow is white. Apply all windows updates. No good.
Third try, install 7, install network driver, download video driver from windows updates. yellow. For grins I connected the screen by VGA. VGA does not have this problem. Withe both VGA and HDMI on, VGA is correct and HDMI is yellow. The HDMI cable, screen, and jack on the screen are known-good.
This has to be some form of driver issue, but if a solution cannot be found, I will have to return the board as defective.

I don't know if you found the right program or not as I have never read a privacy policy regarding the program as spyware or seen the website opencandy related to them as the program is made by one person - Ray Adams. Besides, plenty of overclocking/ATI users have always used ATI Tray Tools instead of Catalyst control center because its better and offers way more options. Here is a link to the real program just incase you got a fake page:
http://downloads.guru3d.com/download.php?det=733 Use link below
Don't click any fake banner ads that say download now, scroll down the page and select a download location, click the text link!
Here is a direct link, this is the only policy I've ever read regarding the tray tools! Click I Agree to download.
http://downloads.guru3d.com/downloadget.php?id=733&file=4&evp=7146bfba1282862ee2402cc1f8d2f7f9
This is the real policy of the real program:
ATI Tray Tools
You must agree to this license agreement to download ATI Tray Tools.
The software available here from Guru3d.com/HardwareGuru.com are provided "as is" with NO TECHNICAL SUPPORT. All software is to be used at your own risk; this site does not take any responsibility for any damage in whatever form or context.
"The materials on this Website ("WEBSITE") are provided by the Guru 3D ("also 3DGuru, Guru3D.com, Guru3D.info and Hardwareguru.com") as a service to its users and may be used for informational purposes only.
You may not copy, modify, sublicense, or distribute the downloaded software except as expressly provided under this License. Any attempt otherwise to copy, modify, sublicense or distribute the Program is void, and will automatically terminate your rights under this License. However, parties who have received copies, or rights, from you under this License will not have their licenses terminated so long as such parties remain in full compliance.
All materials available here are provided "as is" with NO TECHNICAL SUPPORT. Under no circumstances, including negligence, shall this WEBSITE be liable for any incidental, special, indirect or consequential damages arising out of or relating to this license and or download. You agree to indemnify and hold this WEBSITE harmless from any and all damages, risk and liabilities.
You expressly acknowledge and agree that use of the the downloaded software is at your sole risk. By downloading, installing, copying, or otherwise using the SOFTWARE, you agree to be bound by the terms of this LICENSE. If you do not agree to the terms of this LICENSE, do not download the SOFTWARE."
Basically its saying you can't hold guru3d responsible for clicking some tweaking settings you shouldn't have. There is nothing saying they track things you do and never has been. Its an overclocking program/CCC replacement and lots of people use it, just don't do something/mess with some setting you don't know what is and the software is a blessing.
As for reviews, I use www.newegg.com to purchase my goods though they don't ship to many other countries you can still use it as your information source.
The products they have get user reviews that allow you to see if anyone has issues with it and you can find the exact type of post you are looking for regarding your comment:
"I'm really looking for someone to post "I have this board, I have it set up like X, and I have no problems." OS, driver version, screen, etc."
I'd post a link to the product you are looking for but ehn everyone should do their own research.

Similar Messages

DNG SDK thinks 0xFFFFFFFF is invalid white level for 32 bit integers

As discussed in another message the DNG SDK does not seem to be able to write floating point DNGs. Since I need higher dynamic range than a 16 bit sample I instead went for 32 bit integers.
This works, and I manage to create a file but when I run dng_validate on it it says the white level is invalid. The white level I have of course set to 0xFFFFFFFF to make use of the full 32 bit range. Looking into the code in dng_ifd.cpp where this test is made it seems like the default max white level is set to 65535.0 and the file's white level is compared against that, regardless if the sample type is 16 or 32 bit. This means that I can only make use of 16 bits of the 32 bit integer which seems kind of strange. Looking into the DNG spec I don't see anything there that forbids using the full 32 bit range of 32 bit samples. So this looks like a bug to me.
This is with version 1.4
the created file can be opened in Lightroom 4, so the only problem seems to be that dng_validate does not think its valid.
Message was edited by: torger76, removed clipping issue, that was a fault in my code.

Hello Charles,
I would be concerned too if my MacBook Prowas running slowly. I found a couple of articles I recommend to help isolate and troubleshoot this issue.
I recommend reviewing this article first for possible causes of the slowness:
OS X Mavericks: If your Mac runs slowly
http://support.apple.com/kb/PH13895
You can further isolate the issue by determining if it is only happening in your user account or if it is happening system-wide:
Isolating an issue by using another user account
http://support.apple.com/kb/TS4053
Thank you for using Apple Support Communities.
Best,
Sheila M.

White level for HDV sequence

I am working on a series of shows shot with HDV (Sony Z1) and destined for broadcast in both HD and PAL networks.
I edit in HD and apply colour correction filters etc to the timeline and monitor the levels using the FCP toolbench levels and "excess luma" option on the canvas window.
So, the luma in HD is declared to be within tolerance - just some green lines indicating whites are OK. But when I convert the finished show to PAL for our UK broadcaster the same footage now regularly goes into illegal white levels - lots of red indicated "excess luma".
Anyone run into this before or seen anything that explains legal levels of HD versus PAL (or NTSC). I guess now that I see the whites declared illegal in PAL I am starting to worry they are to hot for HD as well. I just sent out our first PAL version done this way and just applied a "broadcast safe" filter to the whole timeline but this seems a bit crude.
Any ideas?
Paul Shard
Producer - Distant Shores
Dual 1GHz Mac OS X (10.4.3) 1.75GB ATI9800, FCStudio
Dual 1GHz Mac OS X (10.4.3) 1.75GB ATI9800, FCStudio

how are you doing the conversion? i'm not an
engineer - although i play one at work - so i can't
really speak to what is causing the luma level
shift.
I am exporting the HD sequence as a AIC 1080i50 sequence (it was shot natively in 1080i50) and creating a PAL Uncompressed 8-bit sequence. I put the AIC HD sequence in there and do the 14by9 letterbox there.
is it a global, uniform shift in luma or are you
seeing a luma shift in things like specular
highlights? can you post a screen shot anywhere?
It does seem to be a global increase in Luma. I must do more tests and see if a screen shot is possible.
Right now I'm off to teach a sailing seminar though back tomorrow. Thanks for your suggestions
Paul
Dual 1GHz Mac OS X (10.4.3) 1.75GB ATI9800, FCStudio

Why is my board triggering on the wrong edge?

I am using 3 PCI-6110 S Series boards to acquire several channels of analogue data. I have the same trigger signal connected to pin PFI0 of all of these boards which I wish to use to start my acquisition. Although I have configured this trigger to start acquiring on the falling edge, I see that it is sometimes starting on the rising edge - although the majority of the time it does start on the falling edge. It would also appear that when the first card triggers on the 'wrong' edge, the other 2 cards trigger on the correct edge despite the same signal being connected to all. I cannot tell if the other 2 cards ever trigger on the wrong edge when the first one doesn't.
Does anyone have any suggestions as to why this might happen? Optimally I would like the acquisition to start on the correct edge only but if all my cards would at least start on the same edge then I could get round that. To this means I am looking at perhaps using a RTSI cable between the cards. Should this do the trick?
The configuration I am using (for all 3 cards) is as follows:
siStatus = DAQ_Config(Device, 1, 0);
//although I believe that DAQ_Config() above actually calls this next line I have it in anyway:
siStatus = Select_Signal(Device, ND_IN_START_TRIGGER, ND_PFI_0, ND_HIGH_TO_LOW);
siStatus = AI_Change_Parameter(Device, ND_PFI_0, ND_AI_COUPLING, ND_DC);
siStatus = SCAN_Setup(Device, m_siNumberOfChannels, m_pasiChannels, m_pasiGains);
siStatus = SCAN_Start(Device,...);
One thing I was uncertain about was whether to use 'ND_IN_START_TRIGGER' or 'ND_IN_SCAN_START' in 'Select_Signal()' as I am unsure of the difference. But as my card didn't seem to trigger at all when I used 'ND_IN_SCAN_START' I removed it! I have also tried adding the line:
siStatus = Configure_HW_Analog_Trigger(Device, ND_ON, liLowLevel, liHighLevel, ND_HIGH_HYSTERESIS, ND_PFI_0);
where I had liLowLevel = 138 and liHighLevel = 154 to represent 0.8V and 2V respectively but my card did not at all. (It looked to me like perhaps there is an error in the NIDAQ help for Configure_HW_Analog_Trigger() in the calculation of these levels for a 12 bit bipolar device which uses:
level = (voltage/5 +1) * 128
so I used
level = (voltage/10 +1) * 128
- is this correct?)
I used this in case my trigger signal had some noise spikes on the rising edge that were being mistaken for falling edges although this looks unlikely.
I am desperate to get this fixed as am on a tight schedule so would appreciate any suggestions.

a shame that Apple Support Communities didnt answer to you yet.
I guess you CANT make a 16:9 ratio picture just because the software does not make you do so.

Mac 5.1 Audio HDMI In Premiere wrong channels

Hello
I'm trying to create a simple 5.1 mix and running into issues. I'm simply creating a new sequence and choosing 5.1 from the Tracks tab and from there I can drag a WAV onto either a stereo or mono track and in the mixer move the puck within the 5.1 area to send the audio to the desired speakers. It may seem like the front speakers and center are fine But if I move the puck to the the rear left surround speaker it'll come out of my front right speaker. Also If I were to move it to the right surround, it'll end up going to the subwoofer. I'm going audio HDMI out over a displayport to my amp. Amp is showing 7.1 multi channel in. I have also checked using the MIDI tool on the macbook as well and it's correctly mapped.
Just want to point out that the 5.1 channels work perfectly in Adobe Audition CS6 but the problem also persists in Premiere CS6. I must be doing something wrong for Premiere not to work, surely?
Any suggestions? Thanks in advance

I know it's nearly a year later, but I am having almost the exact same issue that you were having reconfig2501. It seems to still be present on Premiere Pro CC (2014) on Windows 8.1. It's great that Premiere is allowing 5.1 audio tracks, but how am I supposed to preview the 5.1 audio on my timeline? If I am editing for HD Broadcast that supports 5.1 channel audio, I shouldn't have to export to ac3 and burn a Blu-Ray/DVD just to preview the 5.1 audio.
See my new thread here with screenshots:
Output Mapping Preference for 5.1 Audio

Need to ID G4 part:socket came off logic board (blue & white power cable

In the course of disassembling a G4 iBook the socket for the blue & white power cable wiring harness broke off the logic board.
I am trying to learn the correct desciption of this part so I can find a replacement. The wires on the bottom which were soldered to the board broke off.
Even after it was broken off, and I had leverage, I had to use two pairs of pliers to get the plug out of this socket. It should never have been assembled so tightly.

Spud-- I'm going to use conductive epoxy; I don't have access to anyone with micro soldering skills.
re previous posts -- unfortunately the Search logic is not precise enough to ask about this particular connector. Any search containing "logic board" gets swamped with the famous failure issue.
I went to an electronics specialty store and they didn't have any connectors of that style, let alone size. I'd like to replace the socket so I can use the existing plug on the blue & white wire.
Last night I spend some hours surfing "connector" etc and didn't see any photos that matched it on any distributor/manufacturer sites. So I'm still wondering what the correct descriptive word is, as used in the trade.
My "backup" iBook G3/Panther is taking about 30 seconds to load an average web page though. Spinner locks it up while loading one at a time. Wonder if installing Tiger and a newer Safari would help? I just got a chip to max out the memory, still have to install it.
For those who haven't seen it, the plug is a solid rectangle with two holes; the socket has a rectangular single cavity with two prongs sticking up from the bottom. TINY, THIN prongs.
The socket bottom has no leads on it (anymore). They are broken off flush with the plastic on the bottom. I was thinking of using a dental burr to grind into them, creating a small cavity, and then using conductive epoxy. I don't know if the bottom plastic is thick enough; if I go too far then it would ruin the prongs sticking up in the cavity.
But I could epoxy a wire stub, as long as possible to still fit into the space above the board & below the top of the shield/case. Then epoxy each wire to the pad on the board. The pads are about 1 mm x 2 mm or less, and worse, the gap between them is under 1mm wide. I'll have to goop some insulating silicone putty in that gap before putting tiny dabs of epoxy on the pads.
I bought some larger socket/plugs at the store, the socket part has no leads in it though. These sockets are they type that use the wire lead of the style shown in your photo of the repaired plug. I also got some different ones with flat prongs.
I'd like to move the connection point from the board to under the case top -- the blue & white wire runs all the way from the other side of the case. I just need a thin enough connector. Worst case -- leave as much slack wire length as possible and solder a Western Union splice.
If I can epoxy leads to the board without shorting between the pads I can figure something out. Need to carefully estimate the space available. Or as you say, just make some prongs.
You say #26 is the right wire gauge -- that's vital data. I don't want to undersize the power leads !
I'm also going to paint non-conductive coating on the board around the pad area, so I can slop the epoxy without worrying about shorting a trace. I've had to do some scraping to remove the gummy gluey stuff -- I presume its silicone adhesive of some kind.
There is some sort of test connection right above this area, with two little prongs sticking up. Marked "J1." The traces look like they go to the socket. I wonder if they use that to use alligator clips to power up the board during assembly testing? That location is much, much larger than the pads for the socket.

White Levels Too High?

Hey Everyone:
I am sort of new here, but I have a question. I run a television station and through our broadcast equipment I receive static on some videos I produce that play on a Public Access Channel. In speaking with the cable company we experience problems with they told me that our video levels are too high. The levels are causing static reception on the audio of our video broadcast. It appears that the yellows and whites are causing the most problems. In Final Cut Pro 4.5, I having been playing with the 3-way color corrector and it seems to have calmed down a bit, but I want to eliminate it completely. Does anyone have any suggestions? I want to solve this problem with out sacrificing a lot of the video's quality. I shoot with a Canon GL2 and the video quality is superb. Any suggestions are appreciated.
Thank you,
Chris Steuber

Welcome to the forum Christopher,
I'm not an engineer and don't know proper terminology (though I'm quickly learning , but others on this forum may be able to provide better insight...mine may be a bit vague...
Continue to use CC3way, as it gives you the best control over your image levels.
Are you using a Waveform/Vectorscope, either inside FCP or externally. You should use these tools for proper setting of levels. (preferably externally)
Are you using the FCP 'Range Check' function? This will at least signal you that there are luminance or chrominance hot spots.
Ken Stone has some great info about using CC3way.
One additional thing to consider is the hardware that is in play regarding the distribution of your signal.
I've worked with our local Government Access and Public Access channels (on Adelphia Cable locally) and some of these issues had to be addressed at the head end and some at our end of the signal flow chain...depending on which channel...and we occasionally had to push the Cable ops to tweak their settings, or we had to tweak our hardware at times as well.
In addition to 'hot' video, you should be aware of 'crushed' black levels. As I understand it, digital is not nearly as forgiving as analog when dealing with A/V signals.
Bottom line is, it's your responsibility to make sure your product conforms to 'broadcast standards'.
K

890GXM-G65 on-board Audio white noise when shutting down ... Please Help

Just got this board on ebay. Runs great but when rebooting the following happens:
MSI 890GXM-G65 on-board Audio produces a second's worth of white noise (radio no-station-tuned static sound) when shutting down - about a second before the screen goes bank and the PC restarts
I don't mind the noise but is this normal or should I send the board back ?

I'm using the following hardware :
Athlon II x 3 440 AM3 (unlocked 4 cores @ 3.6GHz)
Thermaltake MaxOrb
MSI 890GXM-G65
2 x 2GB Kingston 1066 CAS 7 DDR3 KVR1066D3N7K2/4G
MSI N460GTX Cyclone 1GD5/OC
OCZ Fatal1ty 550W Modular (Dual Rails +12V@25A per rail)
WD 250GB 7200rpm SATA II
Thermaltake Gaming Cube VF6000BNS
Windows 7 x64 Home Premium
19" Sony Triniton CRT Monitor
All Windows Sounds are turned off except for Device Connect / Disconnect / Connect Failure. I have an Audigy 2 PCI card but I haven't tried it because the drivers always lock up the PC when I run MSI Afterbutner, eVGA Precision or almost any other hardware monitoring utility.
Since I flashed the BIOS to v1.B I feel I can't return it to the seller but I really like the board and it works well, except for this integrated audio issue. I won't return this board - it's a keeper.
Still, I'm hoping for a fix if possible.

Is cluster in fusion middleware for reports level

Hi All,
our company will do implantation for fusion middleware (forms & reports).
we set with consultant to design the proper structure, design contain one load balancer and 2 servers, and one server in duster recovery.
during explanation, he told us will be a cluster between reports in tow servers to reduce the hits.
I can not able to understand this point, and if this correct ,
why there is a cluster between forms in tow servers as well?
could you please advice in this matter.
thanks,
Ahmed.

Hi Maahjoor,
Try Starting Report Builder using the rwbuilder.bat found in the %ORACLE_INSTANCE%\config\reports\bin\ directory.
If you still getting issues
a)Backup the %ORACLE_INSTANCE%\config\reports\bin\ rwbuilder.bat file
b)Now modify rwbuilder.bat file from the %ORACLE_HOME%\bin\rwbuilder.bat file,by manually hard-coding the correct paths for:
$$Instance.directory$$\config\reports\bin\reports.bat
$$Instance.oracle_home$$\bin\rwbuilder.exeThat is, if your instance home is C:\Oracle\Middleware\as_inst1, then change the rwbuilder.bat to reflect:
C:\Oracle\Middleware\as_inst1\config\reports\bin\reports.bat
C:\Oracle\Middleware\as_inst1\bin\rwbuilder.exe
c)Then, re-execute the modified rwbuilder.bat file from the %ORACLE_INSTANCE%\config\reports\bin\ .
If it still doesnt work...
Follow these 2 metalink ID's ,They will be helpful
*REP-50125 "rwbuilder.conf:java.lang.NullPointerException" Trying To Open Reports Builder[Article ID 1532120.1]*
*Report Builder 11g on MS Windows Errors with: REP-50125[Article ID 1059638.1]*
Regards
Fabian

Way to adjust black/white levels using color checker card in FCP6?

When I shoot, I use a Gretag MacBeth white balance card for the camera, and also shoot a grey scale ColorChecker card with black, grey and white areas.
When I apply a 3 way color checker, sampling the black, then white, then grey in that order, I don't really notice any visible change (which I guess is good!).
But, I was hoping that it would also notice that the black in my video, is not really the blackest legal black - and make adjustments for that - and also the brightest whites.
I guess the 3-way color correction only does, who would guess?, color correction.
Is there a way to use the color checker card with some some included in FCP or 3rd party tools to make the blacks in my image closer to the blackest legal blacks, whites closes to the whitest legal whites - or am I totally missing the point?
The video actually looks great, but I was wondering if there was some way to further enhance it, using the color checker card - which seems to be a useful standard?

Zebulun - I seem to remember a few years back doing still photography - where I'd eyedropper a white point, and eye dropper a black point, to change the value Photoshop thought was white and black.
And, I guess I was hoping to be able to do something like that using the black, grey and white of that card.
Is there anyway the card could be used with the waveform? It just seems logical somehow that if you know for sure, here's what black is, here's what white is, that that info could be used for other purposes than color balance?

Capacity Leveling - wrong conversion of base quantity

Hello Everyone,
we have the following issue /question with respect to capactiy leveling using PDS (APO 5.0):
the base unit conversion does not seem to be correct in the capacity leveling view:
Our settings:
In our routing we have defined a base qty of 10 PC, no break, no set up time, only 2min. machine no labour.
Resource: Single mixed , 100% capacity consumption
Material Output BOM =100 PC
PDS activity conversion for 100 PC = 1200 seconds
However: when entering 100 PC as planned requirement, the system calculates a capacity consumption of 33,33 hrs, with 10 PC 3,33, 1 PC 0,33 hrs. not the expected 20 minutes. Can anyone help clearing the fog? Any setting missing?
Thanks a lot,
Toms Team

Hi Dibyendu,
In both the material order unit is not maintained.
Only the base unit of measure is maintained as EA and in additional data under units of measure the conversion factor of 1EA = 2 KG is maintained for both materials

Board-Level Vs Device-Level GPIB-USB-B

Hi,
Can anyone please tell me the difference between Board-level and Device-Level functions?
why and when is each used?
Thanks.

There are really three different styles of NI-488 calls: board-level, device-level, and 488.2 style(also known as multi-device).
Board-level calls can be used to do low level GPIB communication. Using these calls typically requires a bit more knowledge of GPIB. When using these calls, you can think that you're talking directly to the GPIB board(or box in the case of the GPIB-USB-B).
Device-level calls are typically used to communicate with a single device on GPIB. When using these calls, you can think that you're talking directly to the device that you're connected to over GPIB. These calls abstract away some of the low level GPIB details so that you can just worry about the messages that you need to send and receive from the device.
488.2
Style, or multi-device calls actually have some board-level and some device-level functionality. These calls were introduced to complement the IEEE-488.2 specification which specifies these routines. There is some overlap in functionality between these calls and the other calls. The 488.2 style calls add the ability to send data to multiple listeners on the bus simultaneously, which you could do with board-level calls if you know how to properly address the devices manually.
Which style calls you select is sometimes a matter of personal preference. It is reccomended that you do not mix 488.2 style calls with the Board or Device level calls. It is ok to mix board and device level calls.
Hope this helps.
Craig A.
National Instruments Engineer

Video levels filter

I'm curious if there's a filter that will analyze a clip and set a consistent level for the video. For example, we have several clips of a teacher at a whiteboard and as the teacher moves around the board the light level/intensity changes so that white on the board goes up and down. I'd like to try and even this out in the same way that you would use a compressor on an audio track to provide a more even range of amplitude. I guess I could keyframe it but that would really be a pain. Any ideas?

Get FCP-X. With one click you can match the shots. In FCP, you need to use the 3-way, and eye-dropper the white on both, and the black on both.

Setting white point in LR

I'm almost sure I'm missing something but I cannot find a solution. I'm using LR (currently 2.2) for quite a while (since 1.2) but I simply cannot find an easy, user friedly and predictable way how to set a white point of edited pictures.
In PS, CR, DPP and most other editing SW and RAW processors, there two typical easy tools how to set the white point.
1) a white point picker which (when used) defines a desired tone as white and the relevant SW then redistributes the tones accordingly;
2) in "levels" or "curves" dialog (or their equivalents it is possible to move the "White level" treshold below which the remaining tones are redistributed accordingly - the iterface varies (sometimes it is the border of the histogram or curve diagram that can be moved (DPP), sometimes it is the slider in histogram or curve diagram setting this limit
botw ways generally lead to the same and quite uniform result. I.e. I'm usually able to get almost identical result by setting white point in PS, DPP, CR, .... and other SW by such simple operation when working over identical picture data.
However in LR it is virtually impossible to achieve similar result in LR. No white point picker, no slider enabling setting the white limit, no chance to move borders in the histogram chart. The only available tools for this purpose are
"Exposure" and "Brightness". None of them providing for the desired functionality alone - their combination giving sometimes acceptable but hardly predictable results (definitely not as predictable as achieved e.g. in PS by simple and single move of white limit slider in "level" dialogue or equivalent step in CR.
Do I really miss something important (I hope so) in this respect or is LR completly lacking this (for me really core/basic) functionality present in all other photo and RAW editting SW I know - even from Adobe?
thanks

I agree with the original poster - I find it troublesome to set the white point in an image. In a situation where a traditional (PS, Aperture) levels control would make it convenient to push a particular tone to white, I find myself going back and forth between exposure and the tone curve a fair amount. Another description of what I want, effectively, is a 'recovery' slider that goes up as well as down.
(See end of post for replies to a few specific points.)
An example:
Here is the original image, with its histogram and tone curve - black to middle gray:
I want to push the small hatch/door to white, but that also overexposes my middle grays (I haven't yet touched the tone curve):
So now I go to the tone curve, and pull down both darks and lights:
However, at this point I've lost my whites (they are not quite clipped any more); and probably more importantly, since the tone curve is at the extreme low values, I have little working room or control.
Rather than working together or providing complementary functions, in this case exposure and the tone curve, to me, seem to be fighting; it requires back-and-forth to get the desired effect.
(To be clear, most of the time - that is, when my white point starts out more or less where I want it - being able to drag the histogram and smoothly-transitioned segments of the tone curve is brilliantly easy and useful. It's specifically the exposure control's nonlinear behavior/effect that I dislike, as it makes it difficult to adjust near-white tones.)
Responding to specifics:
> Also, hold the ALT key (David Edwards)
Cool! (However, not a fix for this issue.)
> the controls themselves are not linear (Lee Jay)
> attempts to preserve highlights (Lee Jay)
> the exposure slider is almost exactly equivalent to the white point slider in Photoshop's levels/curves (Joa V. L.)
I think this is the root of the issue, for me - the exposure control is being intelligent in a way to protect hilights, which is counter to my intent. My experience leads me to disagree strongly with Joa's comment (though I would be very happy to discover I was wrong) - my problem is specifically that adjusting exposure up (brightening the image with exposure) affects tones less, the brighter they are.
> I need to decrease the Brightness (Henry_Deer)
> you may need to generate a higher-contrast tone curve and work with that (Lee Jay)
The brightness adjustment seems analogous to my use of the tone curve, though it's an alternate approach I haven't tried. However, both seem to suffer from the 'several rounds' problem.
Edited to reply to a few specific points

What to do if it all goes wrong

what to do if it will not boot after you have overclocked it
CLEAR CMOS
Clear CMOS Guide
to what assaf has said i will add
after unplugging it and before moving the jumper press the pc's start button
this will run the fans and use up and storred power in the power supply capacitors
most boards will clear in seconds
but ive known some have come to life after having been left in clear with the cmos battery out 24 hrs later so dont give up in a hurry
NFORCE 2 SPECIFIC
these boards come with a funny jumper J10 thats in the middle left of the board
this is a life saver,if you set fsb to high and it no boot
unplug it
set J10 to the other 2 pins that force 100fsb
now boot it and go in the bios and lower the fsb back were it was
shut it down again ,unplug and move jumper back to user
WHY IT DOES NOT BOOT
overclocking is more an art than a science
the same set up with same settings you would think would overclock to the same level
wrong as no matter what they are not the same
one cpu will go faster than one seems on paper the same,and the same can be said for the ram,board and every thing in the box
WHAT YOU NEED TO OVERCLOCK
well no hard and fast rules
but it does not hurt to have
a good cooler
good case cooling
a good quality psu larger than you might normally have
a bit of luck,so they send you a good stepping on that cpu,good ram etc

If everything not work, RMA the board or get a new one, sorry .

Fusion board HDMI white level wrong

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