Improved calibration.
Taking liberties with the calibration, having discovered discrepancies with the screen uniformity, I've tweaked my calibration a little to make a big difference.
Firstly, use my calibrated settings from page 111. These are for SDR.
Lower red gain to +4 and blue gain to +8.
Set colour to default 0s all the way.
For dark room viewing use these settings in Cinema with backlight at 12. Then set Gamma 2.4 and more detailed adjustments to
10 = +12
20 = -2
30 = -24
40 = -25
50 = -25
60 = -23
70 = -12
80 = -18
90 = -11
100 = -4
If you set is like mine you will have a near perfect gamma, better greyscale and industry standard dark room viewing 100 nits luminance. (100 nits with bias lighting of 5 nits for rec709 is what studios use for their monitors during editing. It's also the standard for Netflix).
For brighter room viewing, use the tweaked settings in True Cinema with backlight at 20.
Gamma 2.4 more detailed adjustments at:
10 = +12
20 = -1
30 = -23
40 = -24
50 = -22
60 = -20
70 = -9
80 = -14
90 = -8
100 = +2
You should have a better greyscale and 120 nits luminance using the min Adaptive Backlight. Use min or mid adaptive backlight control. I'm tending towards mid especially for the True Cinema mode as backlight bleed is very noticeable on some movies, but this skews the gamma and reduces the luminance a little too - it's a trade off.
The lower Cinema mode has less bleed and so min may be preferable. This is extremely accurate on my set. Again, using mid will skew the gamma a little and reduce the luminance a little too.
Remember it sometimes takes a few days for settings to bed in on these tvs.
(I edited this with some very minor tweaks to bring the luminance to as close as possible 120 nits in day mode with min abc rather than 120.7 with min abc and 120 with mid)