To be honest, unless you have a thorough knowledge of what a broadcasting station is going to assess and have the test gear to inspect those things properly, you're paddling up sh*t creek...
If you turn up the brightness levels on FCP's scopes (or preferably Color's scopes as they're better IMO) you can make a fair stab at the levels on a shot by shot basis, then apply a broadcast safe filter to clip off what you can't see, you can get a long way along the path to TV safety. Have a good look at what's on Tektronix's site (it's actually very good) and check out a few others as well (Quantel also used to have some good info on it, but I haven't checked it for a while) - you need to know about black & white levels, saturation, gamut, blanking and PSE.
[Einstein was a clever man, but he never had his work fail a technical review by a pedantic broadcast engineer.]
Don't trust FCP waveforms that much. They have the tendency to show faint luma above 700mv which can get your tapes rejected by a picky QC department. If you are delivering masters to a TV network a hardware waveform and vector scopes are a must.
Alos, ask over and over again for the networks spec sheet. They all have one that exactly specifies not only the luma and chroma levels for the NTSC broadcast standards but also what other specific elements they what on a tape master such as length of bars, black, bars slate, 2-pop, etc, etc and the timecodes they should hit on the tape.
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