TCL C655 / C69B 98' vs Sony BRAVIA 5 (XR5)

The quality of the HDR effect on TCL C655 / C69B looks quite promising. The average value in the test charts is around 450 nits, which already allows one to feel the brilliance of light effects and better image dynamics. However, as previously mentioned, this effect can be somewhat dampened by slight differences in bright and dark shades due to the lack of local dimming technology. However, the coverage of the DCI-P3 colour gamut at 94% is commendable, and this is possible thanks to the use of a quantum dot (QLED) panel. As a result, the colours are vivid and well-reproduced when watching HDR content.

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 TCL C655 / C69B television offers a film mode that has been tested for colour reproduction quality. Although this mode is called film mode, unfortunately, it has quite a few issues that a director would definitely not want to see when filming their work. Starting with image analysis, it's worth examining the white balance – both in HD and 4K HDR content, the white balance has significant errors. In both cases, the red colour dominates, which makes the colours too warm, and the overall effect takes on a pink or yellow tint. The Colour Checker test confirms these errors – the colour samples veer into incorrect shades, which impacts the overall colour fidelity. A less significant issue is the brightness characteristic. However, it is also not free of flaws. The gamma chart shows a strong spike at the beginning, which can cause the image to be overly bright, and the EOTF curve responsible for brightness in 4K HDR materials also shows considerable fluctuations – it is evident that the television struggles to maintain the appropriate brightness, but it does not always succeed effectively.

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.

After calibrating the movie mode of the TCL C655 / C69B television, the white balance has been adjusted, and the colours look as they should – confirmed only by slight deviations in the Colour Checker test. The gamma is really accurate, which means the television shouldn’t have issues with brightness in low-resolution materials. Unfortunately, a similar EOTF characteristic is still visible, which is a natural phenomenon in televisions that do not have local dimming – it’s just difficult for them to "shine" brighter in a given part of the screen. Despite this construction limitation that cannot be bypassed, we recommend adjustments in the settings, as the overall colour presentation looks really very good.

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.

The TCL C655 / C69B TV handles tonal transitions well in lower quality materials. The “Gradual Smoothing” function at its lowest setting effectively eliminates visible banding, but it also results in a loss of detail, for example, in the texture of objects. A plus is that it does not interfere with film grain, allowing the image to maintain a natural look.

In terms of digital processing, the TV adds a significant amount of artificial sharpness, which may appeal to those who prefer a vivid image. For those who prefer a more subtle rendering of details, this may be a drawback. Another downside is the quite aggressive overscan – the image is cropped, which leads to the loss of fragments at the edges and limits the field of view.

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.

Unlike the smaller versions, the 98” model stands out with significantly better motion fluidity. Instead of the standard 60 Hz, this colossal screen is equipped with a full 144 Hz panel, which opens up entirely new possibilities – for both gamers and movie lovers. With its full motion smoother, the television delivers incredible image fluidity, eliminating ghosting and improving the comfort of watching dynamic scenes. It's worth noting that this technology operates across the full refresh rate range, meaning there's no need to compromise between fluidity and quality. Additionally, the "Flicker Reduction" feature allows you to adjust the fluidity to your own preferences – you can choose a more cinematic effect with visible frame rate or a maximally smooth image.

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.

The 98-inch TCL C655 / C69B is excellently equipped for gamers. Full-featured HDMI 2.1 ports and a 144 Hz panel allow for gaming in 4K at 120 Hz, providing the smoothness and responsiveness that will impress even the most demanding.

The TV supports variable refresh rate (VRR), eliminating screen tearing, while the automatic low latency mode (ALLM) ensures that gaming starts instantly, without the need for manual adjustment of settings. There is also support for Dolby Vision and HGiG, ensuring that the image quality in games is even better – details are sharp, colours are natural, and contrast is perfectly balanced.

Additionally, the TV offers a dedicated gaming panel that allows for quick adjustment of picture settings without the need to exit the game. It’s a device that meets practically all the requirements of the modern gamer.

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.