Hisense U7NQ vs TCL C7K / QM7K 55"-85"

The Hisense U7NQ 65 television showed impressive capabilities on the luminance chart, surpassing the 1000 nit barrier and achieving very high brightness scores effortlessly in the first, third, and fifth test scenes. However, just like before, in the second and fourth test scenes, such as from the film Sicario 2, there are significant issues with maintaining brightness, and results around 200 nits are very disappointing. Despite the large number of dimming zones, the algorithm in the television that controls these zones is unable to respond adequately — in this case, it strongly dims small elements like the moon or the light from a helicopter. Bright light that should dazzle us is too dim to be considered an HDR effect. Nevertheless, the television deserves praise for its high coverage of the DCI-P3 colour gamut, at 96%, which allows it to accurately render most film scenes.

In terms of brightness, the models ranging from 55 to 85 inches in the C7K series are truly impressive. Under optimal testing conditions, the 65-inch screen exceeded 1200 nits, which in practice means that the brightest scenes can dazzle with almost cinematic brilliance. These are not just dry figures from measurements – during screenings, bright skies, explosions, or reflections of light on water looked incredibly striking, often giving the impression that the television exceeds its price range. This is particularly effective in scenes with large areas of illumination, where the screen fills with intense brightness – for instance, in sun-drenched shots or during dynamic action sequences. Viewers looking for strong HDR will definitely be satisfied.

However, scenes that require precise backlight control – with tiny points of light against a dark background – prove to be more challenging. Here, the C7K, despite having over a thousand zones, can still dim brightness to maintain deep blacks. The effect is that in films like Sicario 2 or LIFE of Pi, some details, such as a distant lighthouse or single reflections, may appear less distinct or blend into the surroundings. This is a compromise inherent in MiniLED technology – it provides excellent image depth and blacks at a level not offered by standard LCDs, but this comes at the cost of limited visibility of the tiniest lights.

The Chinese manufacturer offers various picture settings in its televisions, but the best mode in this model is undeniably the Filmmaker Mode. Despite its name, this mode has its issues: the white balance, although roughly correct, is characterised by a strong dominance of warm tones due to the prominence of red hues, both in 4K and HD material. The Colour Checker test confirms these errors — deviations in samples can be seen in improper shades. As for brightness characteristics, the gamma responsible for HD material shows values below 2.4, which leads to some screen brightness. Meanwhile, the EOTF curve shows the television's problems with displaying small light elements, as confirmed by the previously described paragraphs.

The new feature in TCL TVs for 2025 is the long-awaited Filmmaker mode, which until now has been found in most competing brands. This is great news, as this mode is regarded as the one that best represents the original vision of the creators and is often recommended by enthusiasts of good picture quality. Unfortunately – as is often the case – the mere presence of it does not guarantee perfection. The Filmmaker mode in the TCL C7K is not without its flaws. One could critique the incorrect white balance, particularly the slight dominance of blue, which caused cool, slightly greyish skin tones. But that was not the biggest issue. The main complaint was the excessive brightness exposure, which is clearly visible on the gamma and EOTF graphs. The picture was simply too bright, at times even blown out, which affected not only the richness of the scenes but also the overall viewing experience. Some details were simply lost, and the whole image looked as if someone had overdone the brightness slider a bit. As always – we decided to see what could be squeezed out of this after calibration. And that’s where it started to get really interesting…

Hisense TVs offer a range of image correction tools that allow you to adjust settings to your own preferences, which is why we decided to use these capabilities to bring the image quality closer to reference standards. In terms of white balance, we were able to eliminate the dominance of red, resulting in more neutral colours, which allowed for a more realistic image in both 4K and HD content. We noticed a similar improvement in brightness characteristics. The gamma, which previously led to excessive brightness on the screen, has been corrected, contributing to better detail reproduction in darker areas of the image while maintaining natural tonal balance.

However, the biggest challenge was calibrating the EOTF curve, which is responsible for brightness in 4K content. At first glance, the EOTF value looked almost perfect, but detailed tests revealed somewhat different results. When we looked closer — especially using the filter on the right side of the EOTF chart — we noticed how the TV manipulated 4K film content, often significantly boosting brightness. This effect was particularly noticeable in scenes from films like Pan and Billy Lynn, where the TV attempted to artificially increase the brightness of elements, impacting their naturalness. Despite these imperfections, the calibration yielded positive results, especially in terms of tonal improvement. For most users, the end result should be satisfying, particularly if they are looking to bring image quality closer to professional reference standards.

After calibration, the TCL C7K put on a really good show, especially when it comes to SDR content. We managed to precisely tune the white balance, colour gamut, and brightness characteristics, resulting in colour errors on the ColorChecker palette dropping below a value of 2. For the uninitiated – this is an almost perfect score, meaning the image is very close to what the creators intended. Unfortunately, things didn’t look as good with 4K HDR content. While we managed to slightly calm down the white balance and correct its previous errors, it still shows that the TV has some "MiniLED traits," especially in brightness management. When we checked how the C7K handles the EOTF curve on actual movie scenes, rather than just synthetic test patterns, it turned out that the screen still has a tendency to slightly brighten the entire image. This affects the overall experience – blacks lose some depth, and the image becomes less contrasty than it should be. Despite these minor shortcomings in HDR content, the overall reception of materials – especially in SDR – is really very good. After calibration, the C7K can display an image that can successfully compete with much more expensive models. Good tuning of colours, natural skin tones, and pleasant brightness make movie sessions and everyday content viewing more than satisfying.

When it comes to smoothing tonal transitions, despite the presence of the "Smooth and Gradient Image" feature in the test sequence, we did not notice that the feature added anything — we recommend turning it off. As for upscaling, the television handled our model quite well, and the branches in the background are not overly jagged — the image appears quite plasticky. However, it has been slightly cropped by the so-called overscan.

TCL C7K comes with a feature that, according to the manufacturer, aims to smooth out unwanted colour transitions – something like a rescue for less successful tonal changes. It's called "Gradual Smoothing" and... well, it sounds ambitious, but in practice, it works very poorly. Regardless of whether we set it to low or high, the difference is minimal. And worse still – the feature can cut out elements from the image that should remain. Fortunately, film grain is left untouched, so at least it doesn't smooth everything indiscriminately, but even so – it's best to just turn this option off.

When it comes to upscaling lower resolution content, it's already better. SD and HD materials look quite decent, although at times we felt that the image loses sharpness and becomes too soft – as if something had taken away its clarity. Fortunately, with very low sources (e.g. 576p), there was no overscan effect, meaning the image wasn't artificially cropped – everything fit on the screen as it should.

Hisense U7NQ has a refresh rate of 144 Hz, which definitely enhances motion smoothness. For movie enthusiasts, there are two features available: judder reduction and motion blur reduction. The judder reduction function minimises the effect of so-called judder, that is, unpleasant image jumps, particularly noticeable at lower frame rates. Meanwhile, motion blur reduction helps to sharpen fast-moving objects, which is useful when watching dynamic action scenes.

When it comes to trailing, the television has a decent response time, which means excessive trailing is not visible, except in specific situations, such as the test with the alien on a dark background. In such cases, slight artifacts may appear, but overall the television handles dynamic images well, providing satisfying motion quality.

TCL C7K handles motion smoothness really well. The panel used in it offers a refresh rate of 144 Hz, which alone suggests that this TV is more than just a regular "60 Hz" panel. Moreover, if we connect the C7K to a computer and set the resolution to Full HD. But we will write more about this in the section for gamers and PC compatibility. Returning to everyday use – both sports and movies look very good here. Thanks to the quick panel and the well-functioning motion smoothening feature, the C7K is great for watching matches as well as for movie screenings. In the menu, we find two sliders – blur reduction and flicker reduction – that allow adjusting the smoothness effect to personal preferences. At lower settings, we get a more cinematic effect, with a slight judder. At higher settings – the image becomes more theatrical, smoothly even to excess. Whatever your taste, everyone can set it to their liking.

Hisense U7NQ offers everything a gamer might need for comfortable gameplay. The TV supports a refresh rate of 144 Hz, providing an extremely smooth image, especially in dynamic action games. The VRR (variable refresh rate) feature ensures the image adapts to varying frames per second, eliminating stuttering and tearing. Additionally, there is an ALLM (automatic low latency mode) function that automatically switches the TV into game mode, minimising input lag.

The TV also supports Dolby Vision, which is particularly important for gamers who value high contrast and rich colours in games that support this format. The Hisense U7NQ also features a Game Bar, allowing quick access to key settings during gameplay, as well as support for G-Sync technology, further reducing image tearing.

Unfortunately, despite its wide range of features, it lacks support for the most popular HDR format in gaming — HGiG. This may be disappointing for gamers who expect optimal detail reproduction in HDR scenes. Nevertheless, the remaining features make the Hisense U7NQ a solid choice for any console gaming enthusiast.

TCL C7K is a TV that on paper looks like the dream gear for a gamer – and most importantly, it also holds up in practice. First, the good news: we have two HDMI 2.1 ports with full bandwidth, so we can easily connect both a console and a computer, making use of all their capabilities. The panel itself supports a refresh rate of 144 Hz, which gives a considerable advantage in fast-paced games. On top of that, it comes with a full suite of gaming features: VRR (variable refresh rate), ALLM (automatic low latency mode), and Dolby Vision support in games. There’s also an HGiG mode that provides an HDR effect aligned with the creators' intentions. GameBar, which is an information bar for gamers. It operates quickly, looks clear (like a Nintendo console👌), and displays what matters most: the current frame rate, VRR status, and even HDR parameters.