Sony Bravia 9 (XR90) vs TCL C9K

The brightness measurement results on the Sony Bravia 9 are phenomenal. Each scene achieves well over 1500 nits, and while watching movies, the TV can sometimes shine even brighter. It goes without saying that such brightness allows for unprecedented experiences and engagement with video material at the highest possible quality. With a high coverage of the DCI-P3 colour gamut, the image is full of colours and, combined with such high luminance, it practically breathes. Thanks to the high peak brightness, viewers can enjoy the full spectrum of colours even in the most difficult scenes, such as those based on dynamic lighting changes. The Bravia 9 supports Dolby Vision and HDR10 formats, which further enhances the viewing experience.

As we mentioned regarding black levels and contrast – the C9K can make a huge impression in synthetic tests. Our measurements showed that on a screen 10% filled with white, the television can achieve... 4000 nits of brightness! It sounds out of this world, but – and here's where the pattern unfortunately repeats – the numbers say one thing, and the practical experience says another. In real movie scenes, the situation looks different. In the best-case scenario, when light effects occupy a large part of the image and the local dimming algorithm doesn't have to ponder too much about what to do with thousands of zones, the effect is really quite good. At that point, the C9K can hit around 1500 nits, which delivers a pleasant, intense burst and can indeed leave a positive impression.

The problem arises with smaller elements – such as stars in the sky, the moon, or individual reflections. That's when the proverbial cat comes out of the bag: the algorithms are not yet refined, and brightness drops to as low as 400–500 nits. That's a huge difference from the potential 4000 nits we saw in lab tests. Why does this happen? Most likely, the television is trying to protect the black levels in this way and minimize the halo effect around bright objects. Unfortunately, this comes at the expense of detail – some details simply vanish, and the scene loses its nature.

The best factory mode on Sony televisions has remained "IMAX Enhanced" for years. This is what we used throughout the entire testing procedure. Despite being the closest to the reference compared to other predefined options, it has a number of aspects that can be improved to make viewing even more enjoyable. When we look at the gamma in SDR materials, we notice quite a significant boost that is related to over-contrasting the image. It is worth noting that the very beginning of the graph has an even greater spike compared to the reference, which leads to the merging of details in the blacks, creating a uniform blob. The EOTF curve in HDR content looked quite accurate and only showed slight deviations from the reference. However, a common characteristic for both was: a greenish tint in the white balance, issues with greys, and general colour misalignment. The most noticeable issue was related to the uneven distribution of colours in the white balance. Due to the excess of the aforementioned colour, the image was covered with an unpleasant greenish tint.

For colour tests, we once again reached for the Filmmaker mode – a new feature in TCL televisions for 2025. While the direction is a step in the right way, the execution leaves a lot to be desired. The white balance in SDR content turned out to be too warm – there was an excess of red. On the other hand, in HDR, it swung in the opposite direction: the image became excessively blue. The Colour Checker test revealed quite a few colour inaccuracies that were noticeable to the naked eye. An even bigger problem turned out to be what we mentioned above – brightness management. Regardless of whether we were watching SDR or HDR content, the image tended to wash out the entire scene, giving it an unnatural, almost grotesque character. Therefore, it’s hard to call this a "director's mode" – because no director has ever seen such an image.

The colour reproduction after the calibration process should be regarded as excellent. Regardless of the signal, whether it's SDR or HDR, we can expect an image incredibly close to what the film director saw. Practically every image flaw has been modelled and maximally improved. This was made possible by the advanced tools used for the calibration process, which Sony has provided in its televisions for years, including 2- and 20-point grey scale adjustment and a very elaborate CMS.

After calibration, we finally managed to tame the white balance – and it immediately translated into a more natural image. Colours finally started to look as they should, and the overall presentation was incomparably better than on the factory settings. In other words – it’s worth taking a moment to improve this, as the gain is really significant. The gamma responsible for brightness management also managed to be brought into order in SDR content, and the effect was more than satisfactory. Unfortunately, when we turned on HDR materials, the situation quickly became complicated. No matter how we set the local dimming, the television had a tendency to do what it liked with the image – either it overexposed everything or darkened the darkest parts too much. Just like we saw in the scene from the movie Billy Lynn. Colour-wise, the improvement after calibration makes a great impression, but brightness management in HDR remains the Achilles' heel of the C9K and presents a certain technological limitation.

Let's take another look at the quality of tonal transitions, but this time we will analyse the quality of image scaling, which will be crucial when watching lower quality materials. We'll start with the function responsible for the quality of tonal transitions. While they are quite average by default, after activating the option, even at the smallest degree, we can confidently say that these are some of the better ones we've seen. You can confidently enable this function, as it does not cause any negative phenomena, such as grain blur.

Sony has been boasting for several years that its "XR" processor is unmatched when it comes to image scaling. And it's not hard for us to believe that, because the image is indeed incredibly sharp, yet very natural.

Digital image processing on the TCL C9K is rather average. The smooth tone transition feature seems to be present, but activating it practically changes nothing – colour bands are still visible, and it can unintentionally highlight elements we’d rather keep hidden, such as object textures. Fortunately, it doesn’t remove film grain, but that’s poor consolation given that the effects are still meagre. It’s therefore hard to recommend using this option.

On the other hand, image scaling presents itself much better. Lower quality materials look quite decent – characters and backgrounds are rendered clearly, although of course, with sources like 576p, the laws of physics cannot be fooled. Occasionally, there’s characteristic edge distortion of objects, but that’s the fault of the source itself, not the algorithm. A plus for not having issues with overscan – the image isn't artificially cropped or enlarged.

The maximum refresh rate of the Sony Bravia 9 is 120 Hz. This is the essential minimum for watching primarily sports or content that has a lot of movement dynamics while maintaining a sharp and smooth image. For demanding users, the manufacturer has implemented a very advanced smoothing system, which is divided into three segments: Smoothness (Film), Smoothness (Camera), and Clarity. The first two correspond to: blur degree and smoothing degree, respectively. The third option will be described in more detail below. Additionally, we can adjust all settings to various levels, each of which will have an effect, ensuring that we can find our very own sweet spot. In the photo, we present a setting with slight smoothing, without the soap opera effect.

Similar to the C8K, the C9K is also a really fast TV – both figuratively and literally. It features a 4K panel with a refresh rate of 144 Hz, and at lower resolutions, the panel can even ramp up to 288 Hz. Such speed translates into practice – while watching sports or playing games, the image looks very smooth and clear. Additionally, in movies, we get an extra motion smoother called Motion Clarity, which allows you to adjust the smoothness to your own preferences – from cinematic "judder" to almost theatrical smoothness.

The Sony Bravia 9 television is equipped with four HDMI ports. However, somewhat incomprehensibly for this class of device, only two of them operate in the 2.1 standard. Nevertheless, it shouldn't be taken away that almost all features work excellently and do not cause any negative feelings upon being activated. Games operating in either HDR10 or Dolby Vision have a very short input lag, allowing for a very comfortable session with the title. A consolation remains in the good implementation of the HGIG mode, which after proper tuning does not deviate significantly from Dolby Vision.

A year ago, Sony added to its televisions what has been standard for some manufacturers for years. This is, of course, the GameBar, allowing for quick adjustment of settings without the need to exit the game. The implementation of this feature was successful and works very smoothly. We have been provided with conveniences such as: crosshair grid, black level correction, and the ability to reduce the screen to the proportions of gaming monitors.

Sony Bravia 9 will certainly find its group of fans, most likely among PlayStation enthusiasts. Here, we must admit that this will be the most sensible choice, as in practice both the console and the television have exactly the same capabilities. However, looking more broadly, aside from issues with Dolby Vision in games, one cannot deny that the Bravia 9 is a very good television in the context of gaming.

From a gaming perspective, the TCL C9K is a complete tool. It features two (out of four) full bandwidth 48 Gbps HDMI 2.1 ports, so all the key technologies work: VRR (Variable Refresh Rate) and ALLM (Auto Low Latency Mode). Additionally, the manufacturer has included a really intuitive Game Bar that allows you to quickly check the most important parameters and adjust settings without fumbling through menus. Also, TCL's policy is a plus – the TV isn’t afraid of any HDR formats, even in game mode. Whether it's HGiG or Dolby Vision for the Xbox Series S/X console – everything works as it should, giving the player plenty of freedom.