Hisense U7Q PRO vs Samsung The Frame Pro

U7Q PRO is truly a bright television. In synthetic tests, it achieved over 1500 nits, which is an outstanding result for this price bracket. Such brightness – at least in theory – allows it to display HDR content as intended by the creators, even in more demanding scenes with strong lighting. In practice, it performs very well, but not always perfectly. In bright scenes with large areas – like the test screen with intense sunlight from the film "Pan" – the U7Q PRO makes a huge impression. It can even dazzle with its light, which is definitely an advantage in the context of HDR content. Unfortunately, it doesn’t always manage to maintain this when there are many small bright details on a dark background. In such moments, the local dimming algorithms tend to dim some bright elements to maintain good blacks – and the side effect is that some details simply vanish from the frame. This is a classic compromise in mini-LED televisions – and the U7Q PRO is no exception. With such a large number of dimming zones, however, one could have hoped for a slightly more mature algorithm responsible for their control. Fortunately, the overall perception of HDR content is very positive. The U7Q PRO is not only bright but also colourful, thanks to the PFS LED (QLED) coating, the coverage of the DCI-P3 colour palette is at 95%, and BT.2020 around 73%.

Samsung The Frame Pro is one of the relatively bright televisions. In synthetic tests, we managed to achieve values around 900 nits, which is quite a decent result for a lifestyle model. In full-screen scenes, such as the frame from the movie The Meg or the opening sequence in Life of Pi, the brightness maintained a level of 700–800 nits. These values allow you to fully enjoy the HDR effects and capture their cinematic magic. However, the situation complicates when smaller, point light sources appear on the screen. The edge lighting used here, equipped with the ability to local dim whole strips, does not handle them very well. It happens that small elements are overly darkened, which weakens the effect, or conversely – they become heavily brightened, but at the cost of losing black depth in that part of the image. This can be compared to light halos reminiscent of a laser beam spreading in dense fog – an effect that is visible and bright but at the same time not very natural and distracting. Fortunately, the colour aspect performs better. Thanks to the use of a quantum dot filter (QLED), the colours are saturated, and the reproduction of the DCI-P3 palette reaches over 92%. Generally, movies or series watched in HDR on The Frame Pro present a rich colour palette, even if contrast and the performance of the lighting algorithms can sometimes draw our attention away.

We tested the U7Q PRO in the best possible picture mode that this model offers – Filmmaker Mode. And indeed, this mode performs the best in terms of colour reproduction. But that doesn’t mean it’s perfect. In our test unit, both in SDR and HDR content, the image had a slightly cooler tone. The white balance was shifted towards blue, which made the overall image feel a bit "cooler." It may not be glaring, but it is definitely noticeable – particularly on white backgrounds, which instead of being neutral, seemed slightly bluish. Additionally – as we mentioned earlier – the television has a tendency to slightly brighten and oversaturate the image, which is also confirmed by the gamma and EOTF charts. All of this together means that without calibration, the image may appear somewhat unnatural – too cool, with slightly exaggerated dynamics. That’s why we decided to perform our own calibration – and you can see its effects and charts below.

The best results were, of course, achieved in Filmmaker mode, which immediately showed that Samsung had put effort into the factory settings. In SDR content – the most commonly viewed materials – The Frame Pro performed really well. The white balance and gamma were almost perfectly set, making the image look natural and cohesive. Yes, there were some noticeable errors, particularly in skin tones and reds, which could be overly saturated, giving everything a slightly "warmed up" character, but in everyday use, it didn't hinder the viewing experience too much. For HDR content, the situation was similar regarding the white balance. It was at a good level, however, the biggest issue turned out to be managing brightness. The EOTF curve was set in such a way that in many scenes the image appeared blown out, and the brightest areas lost detail and resulted in uniform patches of light. This severely affected realism and made colours appear very oversharpened. Fortunately, Samsung provides the option for manual adjustment of the curve in their TVs, so we opted for calibration and its results can be seen below.

Thanks to calibration, we've managed to tame the white balance in SDR and HDR content. For SDR material, the effect is really quite good – the image becomes neutral, cohesive, and simply pleasant to watch. Everything looks the way it should.

HDR performs a bit worse. Although the white balance looks correct and overall the image gains naturalness, unfortunately, the delta E errors are still noticeable. Why? Because Hisense's U7Q PRO model does not give us full control over how the television manages brightness in HDR mode. And this is where the limitation arises. When we look at the EOTF curve for HDR content, it clearly shows what we mentioned earlier – at the beginning of the graph, there’s a noticeable drop, meaning the television darkens the smallest portions more than it should. On the other hand, those brightest elements can be overly bright. As a result, some details are lost, others are too aggressive, and overall control over brightness doesn't always align with what we’re trying to achieve during calibration.

Does the image look better after calibration? Definitely, yes, in terms of colour. But when it comes to brightness management in HDR, one must accept that the Hisense U7Q PRO will still do it in its own way.

After calibration, the SDR mode looks almost perfect. We managed to eliminate the overly intense red saturation that previously gave the image a somewhat excessively warm character. The colours became more balanced, which translated into a natural and pleasant viewing experience for everyday content – from television to movies and series from streaming services or materials on YouTube. In HDR mode, the EOTF curve required the most work, as the factory settings caused excessive clipping of the entire image. The calibration significantly helped to "tame" this issue – the image stopped being overexposed, and details in the bright areas became more visible. Of course, the limits are set by the design of the television itself, as edge lighting reveals its limitations, and even the smallest elements of light can still appear overly bright or blend into the background. However, this is a matter of technology, not just calibration. After the correction, The Frame Pro is much more enjoyable to watch, and it is definitely worth considering if you want to make the most of the television's capabilities.

If someone happens to come across older materials where the banding issue arises – Hisense has a solution for that. In the U7Q PRO, we find a feature called "Smooth and Gradient Picture". Set to the "Medium" level, it works really well – eliminating most gradient problems without smoothing the entire image like a blur in Photoshop. 😉 Film grain remains, details don't disappear – that's exactly how it should work. Well done on the implementation!

As for scaling weaker materials, it's simply good. It's not at the level of the most expensive TVs with advanced upscaling, but older content looks good. There is some minor banding at very low resolutions, but that's perfectly normal and hard to avoid. On the plus side – even with the oldest materials, there is no overscan effect, the image isn't cropped or artificially stretched.

Although in 4K HDR materials the fluidity of tonal transitions in the ChooseTV Pro is not a problem at all, naturally with weaker signal quality – such as with television, HD materials, or older Full HD films – imperfections may occur. Therefore, it's crucial how the television handles these limitations thanks to the image processor. The noise reduction feature works really effectively here. At the medium setting, it eliminates unwanted bands or artifacts, smoothing the image in a visible yet not overdone way. However, it's important to remember that Samsung has a tendency to be aggressive – even at the lowest level of this feature, it can "eat" film grain. So, it's wise to use it with caution and adjust the settings according to the material being watched.

The upscaling itself is of a high standard. The ChooseTV Pro effectively boosts older materials to a native 4K resolution, maintaining good sharpness and clarity. Movies and series in lower quality simply look better here. However, it's worth mentioning a minor downside – typical for many Samsung televisions. With very old sources in poor quality, you may notice some cropping of the image edges on the left side of the screen. It's not a problem that will ruin the viewing experience, but it's good to know that it may occur.

“Speed” – this word was most frequently mentioned during our tests of the U7Q PRO. The television is equipped with a 165 Hz panel, which in itself is impressive – especially considering we’re talking about a mid-range model. Of course, PC gamers will benefit the most from its full capabilities, but even during everyday viewing, it’s clear that this is a fast and efficient panel. Like most modern televisions, the U7Q PRO can also enhance the smoothness of films that were originally recorded at 24 frames. In the menu, we find a slider that allows us to adjust the effect to our own preferences – from a more cinematic feel, with subtle motion, to a stronger smoothing with the characteristic “soap opera effect.”

The fluidity of movement in The Frame Pro is not only due to the panel itself, which operates at a refresh rate of up to 144 Hz, but also the image processor and motion smoothing system. It is thanks to this that we can adjust the way movies or sports broadcasts are displayed to our own preferences. Available are sliders for blur reduction and motion judder reduction – the first function enhances the sharpness of fast movements, while the second helps to soften the effect of the "jumping" image during camera pans. Everyone can choose between a cinematic character of motion and a smoother, more "television" style.

Hisense U7Q PRO is a TV that seems to have been designed with gamers in mind. We have practically everything that can be expected from a gaming screen: variable refresh rate (VRR), automatic mode (ALLM), and as many as four HDMI 2.1b ports with full bandwidth of 48 Gb/s. Additionally, there’s a clear and quite functional Game Bar, as well as a well-implemented Dolby Vision GAMING mode that works seamlessly with Xbox Series S and X consoles.

Sounds like the ideal? Well, almost. Unfortunately, Hisense has still not implemented the HGiG feature, which is the system's tone mapping limitation on the TV's end. This means that when configuring HDR brightness on the console, we do it “by eye” or look for settings in online guides, as the screen does not display its actual brightness range. It’s a shame – because HGiG makes it easier to match the console to the TV and helps avoid overexposed or too dark scenes in HDR games.

Fortunately, the other elements work very well. Input lag is low, responsiveness is excellent, and the handling of other features is faultless. And although not everything worked perfectly, the U7Q PRO can still be confidently recommended to gamers.

Samsung The Frame Pro doesn’t pretend to be just a “living room” TV; gamers will also find something for themselves here. The manufacturer has ensured a full package of gaming features: we have support for variable refresh rate (VRR), auto low latency mode (ALLM), refresh rates up to 144 Hz, and compatibility with both G-Sync and FreeSync Premium Pro. Additionally, there’s the well-known Game Bar panel, which is a quick menu where you can check key parameters on-the-fly – from refresh rates to active image processing modes. Are there downsides? Yes, The Frame Pro doesn’t support Dolby Vision in game mode, but it’s hard to consider this a serious issue – most gamers use HDR10 anyway... so the HGIG mode. Exactly. The biggest surprise was the latest software update. Samsung... completely removed this option from The Frame PRO. In practice, this means that the TV independently interprets HDR tone mapping in games, and the user cannot enable settings designed with consoles in mind. This is a step backwards, which may disappoint more aware gamers hoping for full compliance with HGiG guidelines. We can only hope that this mistake will be quickly fixed.

An interesting feature of The Frame Pro is also the unusual placement of HDMI 2.1 ports. We have as many as five at our disposal – four are located in the One Connect module, and the fifth, in micro HDMI form, is located directly on the TV. This solution is quite unusual but very practical. Samsung clearly suggests that this is the port to connect your console or computer. Why? Because it minimises any potential delays associated with communication through the wireless One Connect, and in gaming, every millisecond counts. We have written separately about input lag, but we can reveal here that by connecting the equipment directly to the TV, we get the absolute maximum response speed from it.