Hisense U8NQ vs Sony BRAVIA 5 (XR5)

Hisense U8NQ demonstrates its capabilities in HDR, achieving a luminance score on the chart exceeding 2000 nits. In the first, third, and fifth scenes where the screen is covered in light, the television showcased very high brightness, which is impressive and allows you to enjoy the full effect of HDR. Unfortunately, in the second and fourth scenes, such as those from the film "Sicario 2," the television encounters issues maintaining brightness, resulting in disappointing scores around 250 nits. Although the large number of dimming zones should theoretically help, the algorithm responsible for their control does not always work perfectly—bright, small elements like the moon or helicopter lights are too dimmed, which takes away from the typical HDR effect. Instead of blinding brilliance, we receive a more subdued light that does not convey the full potential of HDR. Nevertheless, the television deserves commendation for its very good coverage of the DCI-P3 colour gamut at 97%. This makes colours vibrant, and most movie scenes look really good, significantly enhancing the viewing quality.

Looking at similar results in terms of black levels and contrast, we expected the same stable performance as last year's model when it comes to HDR content. Unfortunately – and this must be said plainly – there has been a regression here that is hard to miss. The paradox is that the peak brightness of the Bravia 5 can be impressive: in our synthetic tests, the TV reached around 1000 nits in HDR. Sounds great, right? The problem is that this power doesn't always have a real impact on all movie scenes. When small, pinpoint elements appear on the screen, something that in Sony's case was usually fine-tuned with surgical precision, this time it clearly falters. The algorithms try to maintain deep blacks around small objects, but the side effect is that details can be dimmed to the point of becoming barely visible. One only needs to bring up the example of the movie Sicario 2 – there, in some scenes, small light sources practically vanished as if someone had covered them with dark film.

Of course, not everything looks so dramatic. In simpler, brighter scenes, where the image is filled with more light, the Bravia 5 shows that it can shine: literally and figuratively. At those times, the TV achieves values in the range of 600–800 nits, which we saw both in synthetic tests and during movie screenings. The impression is really positive; the brightness adds dynamism, and the colours look vibrant and fresh. However, there remains a certain dissonance. We feel a slight confusion because it is evident that something has gone in the wrong direction. Technological progress – more zones, more backlight power – has not been supported by the kind of refined image management that we usually associate with Sony. Fortunately, there are elements that have not been compromised and are actually at a very high level. We are talking about colour reproduction. Thanks to the use of the PFS filter, the colour palette coverage is excellent – about 97% DCI-P3 and 75% BT.2020. These values allow for a truly wide colour reproduction, giving films a natural and cinematic character.

The Filmmaker mode on the Hisense U8NQ television can be described as the most accurate mode present in this model. Despite its accuracy, it has significant errors in reproducing the reference image, which we will describe now. In the case of HD content, the white balance shows a distinct dominance of red, causing the image to appear overly pinkish and warm. In the comparison photo below, you can see how this effect impacts the presentation of content. The brightness characteristic also leaves much to be desired—a too low gamma causes the screen to be excessively brightened, and blacks appear washed out, making the overall image seem cooler than it should be.

For 4K HDR content, the problem is the opposite—the white balance shows too much dominance of blue, making the image take on an artificial quality and seem unnaturally sharp. All these deviations for both HD and 4K HDR content can be confirmed using the Colour Checker test, which clearly shows how the colours deviate from the correct patterns.

Sony Bravia 5 was obviously tested in the best possible mode, which is the Movie mode. Right out of the box, it delivers the most natural colours, definitely better than anything offered by the "eco" or "dynamic" modes, which are more suited for a store display than a living room. However, the Movie mode alone does not guarantee that we can always expect cinematic picture quality. In SDR content, we had no significant complaints – the slightly warmed white balance gave the scenes a golden hue, but it was nothing that was glaring. However, a problem arose with HDR materials. Here, the colour reproduction simply looked bad. The white balance was heavily skewed – with an excess of blue and a clear lack of red. At times, it resembled the store mode of "super vivid picture," where everything is blown out and artificially boosted.

This situation made brightness management seem too aggressive as well. The EOTF graph clearly showed that the television has trouble with overexposing many scenes right out of the box. And while we know what Sony televisions are usually capable of, it was hard to remain indifferent here – that’s why we quickly decided to go for calibration.

The white balance for both 4K and HD content has been heavily adjusted, significantly improving the image quality. While some errors are still visible, they are not large enough to greatly affect the perception of the image. A notable improvement can also be seen in the gamma brightness characteristic — the image is no longer excessively bright, resulting in more natural blacks and better contrast.

However, like with many other Hisense models, there are noticeable issues with the EOTF curve, which is responsible for managing brightness in high-quality materials. Although it may seem correct at first glance, when the filter is applied to the "EOTF in films" chart, it is evident that the TV is somewhat "playing around" with 4K content. It is clear that the EOTF curve is significantly below the reference level, leading to an overall dimming of the image compared to the reference. We noticed this effect in previously tested scenes from the films "Pan" and "Billy Lynn." While it is not a serious issue, it is worth paying attention to. It could be significant for those seeking a display with the most faithful image reproduction. Despite this error, the image will be more enjoyable for most. Colours are represented better, and the overall image quality is significantly improved.

After calibration, the situation changed dramatically. We managed to tune the white balance so that entire scenes began to look more natural, and the image gained coherence and elegance. In HDR, we finally got rid of that unwanted clipping effect that had previously spoiled some shots. Suddenly, it turned out that the Bravia 5 can extract much more from films than the first contact "straight out of the box" suggested. Indeed, if we look at the graphs and compare them with the standards, we can see that the beginning of the EOTF curve slightly strays beyond the reference line. However, this is not so much a calibration error as it is a natural limitation of the Mini-LED technology that cannot be bypassed. Sony, rather than clinging tightly to perfect black, prefers to prioritise the visibility of details – and in practice, it’s hard to disagree with that. We prefer to see the texture of the material on the screen rather than a pitch-black spot where all nuances disappear.

The calibration itself was really beneficial. After about an hour spent on settings, we felt that the image resembled that of the best cinema halls – of course on a home scale, but with the same sense of quality and refinement. And in such moments, we remember why we love Sony televisions: because once we fine-tune them, they reward us with a picture that captivates for long hours.

In the context of smoothing tonal transitions, the Hisense U8NQ unfortunately struggles. The "Smooth and Gradient Picture" feature does not yield noticeable effects — there is no improvement in any setting, which is disappointing, especially in demanding scenes with a lot of subtle tonal transitions.

As for the digital processing, or so-called upscaling, the scene with the model is rendered correctly — her outline is clear, without significant cropping. Similarly, thin lines, like tree branches, have slight jaggedness, but the overall image looks plastically and softly, providing a good impression. Unfortunately, there is also an issue with so-called overscan, which results in cropping of the image at the edges. This can be annoying when watching content such as news, where the bottom information bars may be partially invisible.

Bravia 5 carries the genes of Sony, which remain intact – and thank goodness for that, because we're talking about absolutely exceptional digital image processing. It's no coincidence that for years, it's been considered that TVs from this brand set the standard for how a screen should handle lower quality materials. If someone still watches classic television, old films, or YouTube in lower resolutions, here they get equipment that can turn such content into a surprisingly enjoyable experience. On board, we find several tools worth activating. The first of these is "digital noise reduction." Set to a medium level, it works superbly – smoothing out tonal transitions that usually cause the most trouble in low-quality materials while introducing no artificial artifacts. Importantly, it also doesn't remove the cinematic character, which is the natural grain that is intentionally present in many productions. Another advantage of the Bravia 5 is the upscaling capabilities of the XR processor. The image presented after scaling is soft, yet sharp and clear. The outlines of characters are well-defined, and backgrounds maintain their texture without excessive artificial sharpening. It's hard to find a better TV for watching lower quality materials – Bravia 5 only confirms why Sony is considered the benchmark in this area.

Hisense U8NQ is equipped with a 144 Hz panel, making it an excellent choice for both sports and gaming. The TV will also satisfy movie fans, as it features a built-in "Ultra Motion Smoothness" enhancer that allows users to control the smoothness of the image — you can choose whether you prefer a more "framey" picture or a smoother, cinematic effect. This provides great flexibility in adjusting the motion quality to individual viewer preferences.

Bravia 5 has a 120 Hz panel, which in itself sounds like an invitation to watch sports, fast matches or spectacular action films. However, the real magic begins when MotionFlow – Sony's proprietary motion smoother – comes into play. Thanks to this feature, we can adjust the character of the picture to our own preferences. The "smoothness" slider allows us to transition from a cinematic feel with a slight "judder" to a theatrical fluidity, where every ball in the match glides across the screen as if on a string. The higher the value, the smoother and more fluid it is; the lower it is, the more film-like and natural it becomes. In the options, we also find an additional setting that Sony calls "clarity". This is nothing more than the BFI function (which inserts black frames) aimed at improving motion sharpness. It sounds great in theory, but in practice, it must be used with caution. Why? Because all higher settings cause brightness drops of up to half, and in some cases, contour doubling also appears. So if we want to use it, we recommend setting it to the lowest level – "1" out of the available ten. That way, we gain a bit better motion sharpness without risking losing half the brightness of the picture.

Hisense U8NQ offers everything a player might need for comfortable gameplay. The television supports a refresh rate of 144 Hz, ensuring an incredibly smooth image, especially in dynamic action games. The VRR (variable refresh rate) feature allows the image to adjust to variable frames per second, eliminating stuttering and tearing, translating to exceptionally smooth gaming. Additionally, the television is equipped with the ALLM (auto low latency mode) feature, which automatically switches the TV to game mode, minimising input lag. This means players can enjoy responsive gameplay without needing to manually adjust settings.

Hisense U8NQ also supports Dolby Vision, which is important for gamers who value high image quality, high contrast, and deep colours in games that support this format. The television also features a "Game Bar" — a function that allows quick access to essential settings during gameplay, significantly enhancing user convenience.

However, it is worth noting that despite its rich set of features, the Hisense U8NQ does not offer support for the HGiG standard, which is a popular HDR format in gaming. This may be disappointing for players expecting optimal detail reproduction in HDR scenes. Nonetheless, the other features of the television make the Hisense U8NQ a solid choice for console gaming enthusiasts, offering fluidity, high contrast, and user convenience.

In the Bravia 5, there is a significant improvement compared to the X90L model from two years ago. The television offers literally everything its predecessor had, but this time the issues that could frustrate gamers have been addressed. Problems with setting the variable refresh rate (VRR) have disappeared, and there are no longer issues with configuring HDR content in HGiG mode. In short: we get a device that simply works as it should, without any hassles. So, the Bravia 5 has everything you can expect from a modern gaming TV – and it can be confidently advertised with the slogan "ready for PS5." That's something we couldn't say about the X90L model. Well done, Sony!

It's just a shame that this relatively high-priced model lacks a full set of four HDMI 2.1 ports. In everyday use, this won’t be an issue for most people, but if someone has a console, soundbar, and additional equipment connected via HDMI, at some point they'll have to choose or juggle cables.