Samsung DU7192 (IPS) vs Hisense A6Q

The maximum luminance in HDR materials is 245 nits, which is often surpassed by even lower results. Such values will definitely not be sufficient for comfortable viewing of HDR materials, due to the lack of appropriate image dynamics and colour distortions caused by the low brightness of the unit. Although the manufacturer has equipped its device with an HDR format offering dynamic metadata, HDR10+, which is what we're talking about, is very rarely used compared to Dolby Vision, which Samsung has not yet introduced in its televisions. It’s also worth mentioning that Samsung DU7192 offers only 82% coverage of the wide DCI-P3 colour gamut, which is another reason we shouldn't provide a signal in a wide dynamic range, as colour losses will be very noticeable. Samsung DU7192 delivers high-quality image that will satisfy most users.

Unfortunately, the Hisense A6Q is hard to recommend for watching HDR content. The main issue remains the low brightness and quite modest coverage of a wide colour gamut. A measured brightness of about 300 nits simply isn't enough for HDR materials to look impressive. In practice, the image often resembles standard SDR rather than true HDR with clear differences in brightness and dynamics. Additionally, colours in such content do not appear as they should. The TV does not utilise additional filters like QLED or PFS LED, and a DCI-P3 coverage of around 80% makes some colours look just too pale. As a result, some scenes in HDR materials lose intensity and spectacle, making it hard to talk about a proper HDR experience.

The best factory mode we used throughout the testing process was "Filmmaker". This, like the vast majority of modes, had its flaws. Starting with the most basic graph, which is white balance, we can notice a significant dominance of red colour, both in SDR mode and HDR. Although in the latter there was also some green, which didn’t have a major impact on the overall perception. A graph with such results, in both cases, gives us an image characterised by strong yellowing, clearly visible on whites and on the faces of the actors. Another important graph, if not more important, is gamma. This, which is supposed to control contrast in materials with a standard colour palette, was quite good in factory mode with one "but" regarding the beginning. In the darkest scenes, it was significantly lowered, resulting in strong brightening, which left the film lacking contrast and suspense overall. As we mentioned, HDR materials regarding white balance remained at a similar level. The main change is the EOTF curve graph. At the very beginning, we can observe a bulge, which, just like in the case of gamma, strongly brightened the darkest scenes. However, after that, the graph significantly changed its characteristics and the measured result dived below the reference line, causing the film to lose even more dynamism.

We conducted the tests in the best available mode, which is Filmmaker, however – as is often the case – this does not mean the image is perfect straight out of the box. In the case of Hisense A6Q, this mode clearly “swallowed” too much blue in everyday SDR content. In practice, this led to an image with yellowed whites, particularly noticeable on large, bright surfaces. This does not result from poor assumptions of the Filmmaker mode itself or from the vision of filmmakers, but from factory settings that require adjustment.
Additionally, looking at the saturation characteristics and gamma curve in SDR, as well as EOTF in HDR content, there is a slight tendency to brighten most scenes. As a result, the image often appears brighter than it should, losing a bit of its naturalness. For this reason, we decided to perform a professional calibration to restore the proper colour balance and a more accurate brightness characteristic.

Samsung has equipped even its lowest-end TVs with advanced tools for carrying out the calibration process. So we got to work, and the results of our efforts are more than satisfactory. The white balance, which previously had a strong yellow tint in both scenarios, now looks much, much better, even if there are slight deviations from the norm. The picture will still look significantly cleaner than it did before the calibration process. We managed to model the gamma in SDR materials very well, allowing the image to be as contrasty as the TV permits. The EOTF curve has also changed its face and doesn’t brighten or darken the image in such a drastic manner. However, it is worth mentioning that in the case of HDR materials, the deltaE errors are still very high, but this is due to the unit's insufficient brightness.

Colours after calibration on the Hisense A6Q need to be evaluated in two ways, as everything depends on the type of content. In the case of SDR materials, the effect is really quite good. In daily programs, series, and movies, it’s hard to find any serious issues with colours. The yellow tint has been effectively removed, and the television has also stopped washing out the entire image. As a result, the ColorChecker test showed errors below a Delta 2 value, which are already outstanding results, allowing for a discussion of very high picture quality in standard content. Unfortunately, the situation looks much worse for HDR materials. Yes, the white balance has been corrected and the EOTF curve has been improved, but the limitations of the panel itself remain insurmountable. The lack of support for a wide colour gamut means that the television still generates quite significant colour errors. Parts of the colours simply cannot be displayed by the screen, making them look less saturated than they should. It’s a pity because even a simple PFS or QLED filter would have resulted in a significantly better end effect. The conclusion is therefore simple – for SDR content, the A6Q after calibration works really very well, while viewing HDR content on it should still be approached with caution.

Let's return for a moment to the tonal transition smoothing function. We can set it in only two ways - off and auto. As you can easily guess, the first of these causes significant issues with gradation. However, if we set the second option, both movies and series will offer us smooth colour transitions. It is worth mentioning, though, that this function has its drawbacks. It heavily interferes with the director's intent, softens the film grain effect, and worse, often misinterprets small details, blurring them as well. Consequently, we consider that this function does not exist and do not recommend using it, as this is how the smoothness of tonal transitions was tested on the tested display.

The next thing we will check in this paragraph is the image scaling process, which is extremely important when watching material in lower resolution. Unfortunately, as this is the manufacturer's lowest model, this function doesn't work very well. All details are heavily blurred, and a characteristic white halo forms around the characters.

Upscaling on the Hisense A6Q works really well for a TV in this price range. Lower resolution materials are correctly “upscaled” to higher resolutions, and the image remains clear without any artificial edge sharpening or the typical "over-sharpening" found in cheap models. Unfortunately, the digital processing is significantly poorer. In practice, it’s hard to talk about any advanced artifact smoothing or masking of problematic tonal transitions. In heavily compressed films—especially those from YouTube—the TV struggles with reducing compression blocks and unwanted banding, making the material's imperfections clearly visible. The A6Q scales the image well, but when it comes to digital processing, it leaves the user alone with the source quality.

Despite the fact that Samsung DU7192 is the lowest model in the manufacturer's portfolio, it has implemented a motion smoothing system. Although it is quite limited in features compared to higher models, its very existence is a significant plus in the context of competition in a similar price range. The maximum refresh rate that we will give to the tested television is 60 Hz, which is entirely sufficient for films and series, although not when it comes to sports. In the motion smoothing menu, we find two functions responsible for improving smoothness. These are "Motion Blur Reduction" and "Clear Motion (LED)". We'll discuss the latter a bit later. Let's focus on the former, as it is quite mysterious. Unfortunately, despite its presence, we did not find any usefulness. At each of the settings, the picture looked the same, characterised by the typical judder known from materials recorded at 24 fps.

The panel Samsung DU7192 features an average response time. It's worth mentioning that due to this specific type of panel, it is better than VA panels in a similar price range. Therefore, it can be said that it won't be the worst in terms of watching sports.

The fluidity of motion on the Hisense A6Q is... well, quite average. It's a TV with a native refresh rate of 60 Hz in 4K, which means the movement of objects on the screen doesn't always look perfectly smooth. In dynamic scenes in films or sports, it's evident that this is not the strongest point of this model. The situation looks much better with 1080p content when connecting a console or computer, as the A6Q can then operate at up to 120 Hz. That's a big plus, especially for gamers. However, the sharpness of motion still leaves a lot to be desired, with noticeable ghosting, and the response time of the panel shows that it isn't one of the TV's strong suits.

The Samsung DU7192 television is equipped only with HDMI 2.0 ports, which isn’t surprising considering the device’s price and its consumer profile. Therefore, it’s also logical that we won’t achieve maximum quality on the latest generation consoles. That’s why it only features the most basic options for gamers, namely ALLM. It’s a pity the manufacturer didn’t implement at least a GameBar, as this is now standard, even in lower-end TVs, and could offer significant conveniences in terms of quickly changing settings.

For such an inexpensive television, the Hisense A6Q really can surprise with what it offers gamers. It operates in 4K only at 60 Hz, but when the game switches to performance mode and drops to 1080p, the panel can work at even 120 Hz. In this price range, that's a big plus, as most titles on consoles don’t deliver a stable 4K at 120 frames. In practice, we are realistically gaming in 1080p, and here the A6Q provides a very enjoyable gaming experience. Additionally, it has a few features that are usually found in more expensive models: ALLM, VRR, and Dolby Vision Gaming for Xbox Series X/S. Everything is gathered in one place, in a simple and convenient Game Bar, so you don't need to dig through the entire menu. For such an affordable piece of equipment, it's really a solid setup for gamers — maybe not for the most demanding, but definitely spot on for occasional gaming.