When we are watching programs the white is so bright that its hard to make out images, we have tried adjusting the color, brightness, sharpness, chroma etc but only seem to make it worse. What are the ideal numbers for perfect color or reset to factory color settings?

The TV's Brightness setting only affects the intensity of the color white. The easiest way to see changes is to pause a movie or TV show that has clouds in the image. Then change your Brightness setting to your preferred video.

What about the TV reception? Is it alright?

Excess brightness will cause blloming of the image. Reduce brightness.

BRIGHTNESS. Your owner's manual probably says that the brightness setting is used to control "brightness" or "picture intensity" or something other fuzzy non-descript term. The truth is that brightness is used to set the BLACK level in the picture.
On most TVs and projectors in use today, brightness is set too high. That's because people think "a bright picture is good, so I will set it as bright as I can get." Well, that's nice in theory, but entirely wrong in practice. Setting the brightness level too high makes a black tuxedo look gray rather than black. It muddies up the shadow areas, and reduces the overall snap and crispness that the picture would have if properly calibrated.
To find the right setting for brightness, go to the image in your movie that has textured blacks and hopefully some shadow/low light areas in which there is detail. Then freeze on that frame. As you move the brightness control down, the intensity of the blacks will increase, and shadows will get darker. As you move the control all the way to zero, you will (hopefully) see that the low light shadow areas will also go to solid black and lose their detail.
The optimum setting for brightness is achieved at just the point where true black objects appear as black as your system will make them while retaining as much visible detail in the shadow areas. Above this point the blacks appear to go grayer. Below this point you lose detail in the shadows. On many video systems, this optimum point is toward the lower end of the brightness scale. But find the point that looks correct to you regardless of where it is on the scale.
CONTRAST. The contrast control is similarly confusing. It is also often set too high on the theory that contrast is good, and therefore we might as well get the most we can out of our set by turning it all the way up. In fact, the contrast setting is used to control the intensity of the brightest highlights in the picture, so it is (oddly enough) the opposite of brightness control.
First, find your test scene in which you find textured whites in bright light, and freeze that frame. You are looking for the brightest elements in the picture in which you want to retain visible detail.
Let's assume you have a whitewashed fence in sunlight. If you start with the contrast set low, the fence will appear light gray rather than white. As you move the contrast control up, the fence will get whiter. Eventually details in the texture of the fence will begin to disappear.
If you continue to push contrast past the optimum point, the wood-grain texture of the fence will go solid white and all visible detail will be obliterated. Push contrast up even a little further, and our fenceposts might actually appear to expand very slightly due to a glow around the edges. This phenomenon, called "blooming" is a definite sign that your contrast setting is overcooking the image (and maybe your picture tube as well—don't ever leave the contrast control set this high!!!)
Find the point at which whites look white while retaining as much texture detail as possible. This is your optimum contrast setting. On most video systems, this setting is toward the higher end of the scale, but it can be anywhere. Find the point that looks correct to you. (By the way, unlike TV's, digital projectors will not bloom)
Now…note the following: brightness and contrast can be to some degree interactive. Your new contrast setting may have affected your brightness. So return to the brightness scene and verify that your blacks are still black, and you still have maximum detail in the shadows. Adjust it if necessary, then return and adjust the contrast setting once again if necessary. (You can see that this is much easier if the black and white elements you are testing all appear in the same image!)
COLOR. The color control on your set determines the level of color intensity in the image. One of the most common errors people make in calibrating their video systems is overdriving the color. That's what makes Larry King look reddish-orange on the TV at the gym. Overdriving color is common because once again, people naturally think, "I want to get as much color as I can out of this color TV, so I will crank it up some to make sure I get the most out of it!" No. Bad mistake.
If you move the color setting down to zero you will notice that your picture will turn into a black and white image. The optimum setting for color is achieved by increasing the setting just to the point where colors look natural and not a bit more! Flesh tones should look natural and without any hint of an unnatural glow. Grass should look naturally green rather than screaming spray-paint green.
When adjusting color, make sure that your test image has relatively unsaturated colors. Flesh tones or natural landscapes are ideal. It is impossible to set color properly if you are using a brilliant red Ferrari as your test subject.
On the large majority of video systems, the optimum setting for color is somewhere near the middle of the scale. However, trust your eyes for the optimum setting and think "what looks like the most natural, accurate reproduction of reality?" Any overdriving of color will make the image look artificial.
TINT or HUE. The tint control adjusts color balance rather than color intensity. It is an easy control to set properly, but for some reason many people don't get it right. When flesh tones look either too green or too magenta, a phenomenon you see with amazing frequency, it is because the tint control is not set properly.
Find a human face and freeze-frame it. (In choosing your test subject, note that lighter skin tones will show errors in tint more readily than darker skin tones). As you move the tint control to one end of the spectrum, the face turns green; as you move it to the other extreme, the face turns magenta (red+blue).
The correct setting for tint is the point near the middle of the scale at which you can detect no hint of either green or magenta. It is the most neutral point between the two extremes. The flesh tone looks the most natural at this point.
SHARPNESS or DETAIL. The final setting is sharpness or detail. Now, pray tell, who in their right mind wouldn't want the sharpest, most detailed picture they could get? And since there is a control that lets you turn it up, why not turn it up? That's what many folks do, and of course it's exactly the wrong thing to do.
The sharpness control adds processed information to the picture that is NOT part of the original video signal. It adds artificially highlighted edges, and makes the picture look less natural than it otherwise would. This is most evident along the continuous edge of a dark object against a middle-toned background. When sharpness is overdriven the dark edge will be outlined by a white ringing effect that increases contrast just along the edge of your dark object. That edge "highlighting" effect is created by the sharpness control. It is an artificial manipulation of the image. It wasn't in the original scene, and it shouldn't be on your screen either.
On most televisions, the optimum setting for sharpness is zero. On many digital projectors, the optimum setting is either in the low or middle part of the scale. Picture tube televisions and digital projectors behave differently in this regard; on a digital projector it is often possible to fuzz the image by setting sharpness too low.
Now look at your picture with the sharpness turned down or off depending on what works best on your system. You will see a smoother, more natural image. It might take some getting used to, since you may be accustomed to viewing video with all the artificial edge enhancements that create the illusion of added sharpness.
However, when the interference and noise from the artificial sharpness enhancer is removed, you are seeing the most genuine reproduction of the video signal that your projector or TV is capable of. And if you view it for a while, you will gain an appreciation for just how smooth, natural, and satisfying the picture can really look.

the convergance board may need to be replaced or repaired. It is very possible that there is a bad capacitor on the board.

you can use the factorial reset,,,,,,,,from factorial menu,,,,,,,which provide a different internal settings,,,,,,,,this will adjust all the setting as ideal,,,,,,,modified

You can make several adjustments to improve your images such as lightening dark areas, changing the exposure, sharpening blurred edges, and changing the brightness and contrast.

• Exposure adjusts the overall intensity of light in an image.
• Adaptive Lighting improves only the dark areas in an image without affecting the bright areas.
• Brightness adjusts the amount of light in colors ranging from light to dark.
• Contrast adjusts the difference in brightness between light and dark areas of an image.
• Sharpness helps define edges and the smoothness of texture in an image. Use this tool to make a blurred image appear more focused.

Adjusting the image Follow the steps below to make adjustments:

1. Click the View tab and select the image you want to edit by either clicking the image, or by clicking the small box at the bottom left corner of the image. Figure 1: Select the image
2. Click the Edit tab and then click the Advanced tab.
3. On the Advanced tools tab, click Adjust Image .
4. Select an adjustment from the list on the left. Figure 2: Adjusting the brightness
   • The Exposure adjustment is automatically applied when the Adjust Image tool opens. Eight variations of the image are displayed on the left. The current image is displayed in the center. Each image represents a different level of adjustment. When you move the pointer over any of the images on the left, a large version of the image is displayed. Use Preferences to turn this large image preview on or off and to set the timing for the display.
   • If you want to use a different adjustment tool, select Adaptive Lighting , Brightness , Contrast , or Sharpness from the list.
5. Select one of the images on the left.
6. Do one of the following:
   • Click Accept to accept all changes and exit from the Color Toolkit.
   • Click Cancel to discard all changes and exit from the Color Toolkit.
7. If you have finished modifying the image, do one of the following to save your changes:
   • Click Save to overwrite the original image.
   • Click Save As to save the modified image with a different name.

Do you also have a glow around the projected image, try projecting on a white wall without any borders. The cause for this is dirt inside the lens elements diffusing the light.

I think the solution to your problem is adjustment, not of the brightness but either the `contrast' which is probably too high, or the `sharpening' if your set has this function. Too much sharpness will cause a shimmering effect, especially where you see an edge between colours.(due to ringing at a very high video frequency). Too much contrast can start to turn the video signal upside down, causing noise on the peak white in the picture. Another cause is if the RF signal into the aerial socket is too large, This can be corrected by an attenuator, costing about £2. 6dB or 10dB can be tried.

SHARPNESS - The function is to adjust sharpness of capturing images. CONTRAST - The function is to adjust contrast (distinction between light and dark) of capturing images. SATURATION - The function is to set color depth of capturing images. GRADATION - In this function, you can select the brightness of an entire image. It is suitable when you want to add a brighter effect to a bright object (Hi Key) and a darker effect to a dark object (Low Key).