Assuming it's correctly set up, a legaliser should be only be effecting illegal pixels in your final output.
What those illegal values are, should be known by the post house (and the online/finishing editor & colourist) from the technical specs issued by the broadcaster. Once this is known, the final edit should be graded so that the levels are kept within these values. The odd, illegal pixels are always going to escape the view of traditional scopes and (say) Avid's safe colour settings, but the legaliser should pick these up. How it legalises these pixels will depend on how the soft clip, knee and ring suppression circuits are set-up, so in theory, an illegal group of pixels will start having their values reduced before they've reached their maximum value. In practice, you shouldn't be able to see these changes by eye as they should be quite subtle. If you do see discernible changes in areas of deep colour or highlighted areas (such as the sky) it would imply that the grade wasn't really done with sufficient care. Many models of Eyeheight legaliser also have 'picture' settings which allow you to change the luminance, lift, chroma etc of the whole picture irrespective of level, but unless there's some reason for doing this, these settings should normally be switched off. Many of the Eyeheight range of legalisers also have a monitoring output which allows you to see what pixels are being effected via superimposed red/green/blue highlighting. I have an Eyeheight legaliser in my edit suite purely for viewing the monitoring output on a separate LCD display and I find it gives me useful feedback when I'm grading.
Bruno
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