Voy a contestar ahora ya que por la mañana no tenia tiempo,estamos hablando sobre un tutorial es decir consejos generales luego en cada pantalla hay que afinar segun el como funcionen los controles en ella.

Sobre la luz de celda,en tu mismo enlace ya tienes la contestacion dada por blackburn que es la misma que me dio a mi otro calibrador,para mi mas fiable que la que ha dado un usuario antes que es la que tu pusiste.

The only right setting for Samsung's cell light control is the highest setting. All other settings cause more pixel flickering, especially at lower luminance levels. It's a "baloney" control, like Sharpness. It is completely non-useful for anything. The only reason cell light even exists is so that Samsung can have the same menu structure for LCD and plasma TVs. The cell light control simply occupies the space for the LCD backlight control. If it NOT a control that will improve the image, but it does degrade the image if you set it below the maximum setting.

This comes from someone who knows the function of the cell light control who is an "insider" at Samsung. The only right setting for the Sharpness control is the one that turns it off (and that may or may not be zero, you have to use a pattern to know). When Samsung plasmas had no cell light control, they operated as if there was a cell light control set to the maximum setting -- as do all brands of plasma panels that don't have a cell light control. In the early years of the cell light control, setting it below maximum seriously compromised gamma, but Samsung finally tuned that defect out and now the control isn't completely evil, but it doesn't do anything useful either so just set to max and leave it alone, never to be thought about again.
Mi ingles es de nivel basico o sea que tambien me puedo confundir en la interpretacion,pero creo que esta bastante claro

En cuanto al backligth y a las contestaciones que te han dado

Primero la del moderador

Brigh
tness and Contrast are the setting that effect the video signal. Backlight is just that, it is a light behind the LCD crystals that allow you to see the image. The source of the light is CCFL or LED. There are probably several variances on the process since not all Displays respond the same, but the general idea is to reduce back light to 30% or 50% of it's adjustment range.
Then adjust Brightness and contrast to achive the highest light output without discoloration or clipping. Then use the backlight to fine tune the light output.
Recheck brightness and contrast after backlight is set.
De acuerdo al cien por cien,simplemente te recomienda tener la luz de fondo entre el 30% y el 50%(en algun punto tiene que estar)pero primero ajustar brillo y contraste para que no haya decoloracion o clipping y posteriormente ajustar la salida de luz con el backligth,exactamente lo mismo que yo habia dicho.

La contestacion del calibrador.

Lower backlight settings produce darker blacks. In a perfect world, you'd set the backlight at it's lowest possible setting and get the light level you need (30-35 fL in a dark room is fine) with Contrast.
En mi opinion esto se refiere a que despues de ajustar brillo y contraste de manera que no se produzca ni la decoloracion ni el clipping,lo ideal es ajustar el backligth tan bajo como sea posible manteniendo el detalle en las zonas oscuras(para visionado con luz controlada),esto debido a que el backligth afecta tanto a la parte baja de la escala como a la alta hara que la salida de luz en la referencia blanca sea inferior y si esta se situa por debajo de nuestro objetivo(de objetivos numericos hablaremos despues)podemos utilizar el contraste para intentar recuperarla,pero...

In the real world, the Contrast control may blow-out highlight detail if set too high so you have to check bright steps with a test pattern that will show if you are crushing highlight steps (say digital 220-254). A lot of people think it's blasphemy to crush steps in the range of 236-254, but, honestly, there's no image detail at those levels, you only get "specular highlights" up there... reflections from chrome, water, crystal chandeliers, etc. I doubt there are many people who can "see" any difference in images where steps above 235 are crushed. But you DO NOT want to crush any steps below 235, ever
Esto puede traer aparejado problemas como la perdida de niveles,sean estos 235-254,lo que en su opinion no es un gran problema,eso es mas o menos discutible(por ejemplo el patron de clipping de spears and munsil esta precisamente para decirte si la pantalla conserva esos niveles o no)me gustaria conservarlos si pudiera,aunque como el dice es posible que existan muy pocos datos en ese rango(en algunos materiales es posible que por exceso de celo ninguno)pero obviamente nunca recortar niveles del 235 hacia abajo,de producirse eso tendras que conformarte con menos salida de luz o subir el backligth.

The other real-world issue is that on some TVs when you use very low backlight settings, the color balance can get very odd because the backlight (LED or fluorescent) has a significant color shift at low output levels, so you have to watch out for that also. I often calibrate 100% white with the backlight set in the middle of it's range, then decrease the backlight to it's lowest setting and remeasure 100% to see how much of a shift there is. If the shift is minor and can be corrected with the TV's CMS controls, the lowest setting could be usable if Contrast goes high enough to get you to 30-35 fL. It's a balancing act. You may find you have to increase the backlight setting 1 or 2 or more steps to get Contrast into a usable range. There's a lot of variation from brand to brand and model to model.
Aqui si nombra una cosa interesante y de la que no habiamos hablado antes y es la respuesta no muy lineal del color a la variacion de valores del backligth(que al fin y al cabo es la luz que incide sobre los filtros para generar este)la segunda parte habla de lo ya hemos comentado y de que como habiamos dicho cada modelo y marca puede reaccionar de manera diferente,o sea que la experiencia es la mejor aliada.