TCL C7L vs LG MRGB85B

The TCL C7L is without doubt an extremely bright TV. In synthetic tests with static patterns it can reach peak brightness of around 2800 nits. That's a phenomenal result, given the price bracket it occupies. Unfortunately, tests with real film scenes aren't as spectacular as measurements using white squares. Brightness in real HDR shots falls in the C7L to around 1200 nits. That's still very good, because the vast majority of modern films are mastered to about that level. However, when small, pinpoint elements appear on screen, the brightness of those details drops drastically, even to roughly 400 nits, which somewhat weakens the HDR effect. The TV does this deliberately to preserve deeper black levels and to avoid a large halo of light. That's understandable to an extent, but it also shows that Mini LED technology is not without compromises in this area. As for the HDR experience itself, alongside brightness the key factor is of course colour. And thanks to the use of new 'super' quantum dots, the colours are simply outstanding and among the best on the market. The TV can achieve very wide coverage of the BT.2020 and DCI-P3 colour gamuts, matching the best RGB Mini-LED displays with ease. Best of all, the C7L can maintain such high colour saturation regardless of the scene shown, which is often a problem for competing RGB Mini-LED TVs.

LG MRGB85 offers moderate brightness. On test patterns it reaches around 700 nits, which is a decent result in itself. In real movie scenes, however, values are lower and most often fall in the 400 to 600 nits range. Bright, wide shots look best. In scenes with large areas of black the TV noticeably reduces luminance, attempting to keep contrast as high as possible. The HDR effect is therefore visible, but it is far from the level offered by more advanced Mini-LED designs. Particularly in darker parts of films, the limitations of the edge-lit backlight and imprecise local dimming become apparent again.

HDR colours

A much stronger suit of the MRGB85 is its colour. The TV covers around 95% of the DCI-P3 colour space and 74% of BT.2020, so HDR content can look vivid and impressive. Colours are well saturated, and the difference compared with basic LCD TVs is clearly noticeable. It is worth noting, however, that this is not a classic RGB backlight, where each of the three primary colours is generated by a separate diode. Red is produced by a PFS phosphor, which expands the palette and achieves more saturated red tones. This solution performs well for colour reproduction, but it does not change the limitations of the local dimming. The diodes are not driven independently in the way the series name might suggest... so it turns out that Mini RGB is not the same as Mini-LED RGB!

When it comes to out-of-the-box colours, a new feature in TCL TVs – including the C7L model – is the presence of a new picture mode called Filmmaker Mode. This is significant news, as such a mode was not previously available from this manufacturer. By design, as the name suggests, the picture in this setting is intended to be delivered with the full intent of the film's creator. After our tests, we can confirm that it is undeniably the best built-in mode in this TV if you value true-to-life colour reproduction straight out of the box. However, we certainly wouldn’t say it is perfect. Like most devices on the market, this C7L also had its factory faults. The white balance in Filmmaker Mode leaned towards a slightly greenish-yellow hue, mainly due to an excess of green component and a noticeable lack of blue. Of course, for the average viewer, this won’t be a drastic flaw, but if you value perfect whites, natural skin tones, and harnessing the full potential of these new "super" quantum dots from the structure, then the TV is begging for professional calibration.

We tested the TV in Filmmaker Mode because, of the available presets, it produced the image closest to reference. The out-of-the-box colour reproduction wasn’t perfect, though. The biggest deviations were in the white balance, with too much red and not enough blue in the image, so the overall picture shifted noticeably towards warmer tones. Whites took on a slightly yellowish tint, and skin tones and bright areas didn’t always look natural. It wasn’t a fault that ruined the viewing experience, but in a direct comparison with the same panel after calibration the difference was clearly visible.

After a professional calibration we managed to greatly improve performance in the out-of-the-box Filmmaker Mode. After our adjustments the errors in the ColorChecker test and across the wide colour gamut dropped below the threshold of human perception, that is below a value of 3, which is a very good result. The TCL C7L clearly benefits from such treatment in terms of colour fidelity and it's hard to argue otherwise. A bit worse, however, is brightness management with HDR content after calibration. As I described earlier, even though we set this model up correctly, when you play real film scenes on the television it can handle its brightness in a rather peculiar way. It often brightens certain elements on screen contrary to the filmmaker's intent, which is clearly visible on the EOTF curves measured in specific films. Despite this defect, or rather a specific characteristic of this television, one thing is undeniable: after calibration the C7L was able to reproduce colours accurately.

Calibration primarily corrected the white balance and removed the previously noticeable warm cast. After the correction, whites no longer had a yellow tint and colours became more neutral and natural. The biggest improvement was seen in SDR material, where the picture looked even and much closer to the reference. A similar effect was achieved in HDR. After calibration the image became more controlled, although not all of the TV’s limitations could be eliminated. The main issue remained intense reds, which were not always reproduced with sufficient precision. In practice the MRGB85 handles everyday SDR content very well, but in more demanding HDR material its limitations are still clearly visible.

This could, in a sense, be called the Achilles' heel of the C7L. Unfortunately, this TV uses an older MediaTek chipset, the Pentonic 700, which has never been known for exceptional image processing. You can see that clearly in the operation of the progressive smoothing function, which is responsible for reducing jagged edges and removing digital noise. It simply performs very poorly — set to low, its effectiveness is practically nil. The only small plus is that the algorithm doesn't introduce extra artefacts or unnecessarily blur fine detail. Upscaling, that is scaling lower-resolution sources up to 4K, fares a little better. It's simply adequate and nothing special compared with the competition. It's hard to deny that the C7L would benefit greatly in this area if the manufacturer opted for the newer Pentonic 800 processor, which is now appearing in an increasing number of rival models.

Upscaling and digital image processing perform quite well in the LG MRGB85. The Alpha 8 AI 4K Gen7 processor efficiently upscales lower-resolution material, and you can easily turn off overscan regardless of the source. The TV also handles compression artefacts well. The "Smooth Gradation" function can effectively reduce visible banding and tonal unevenness, but it isn't always precise. At higher settings it can also smooth out fine details, such as the texture of materials. A plus is that it doesn't remove film grain. The safest option is the "Low" or "Medium" setting, which offers the best compromise between artefact reduction and preserving detail.

TCL C7L uses a native 4K panel with a 144 Hz refresh rate, which at lower resolutions when used with a PC can even reach 288 Hz. These are, of course, very high figures and look good on paper, but in everyday use it's worth remembering that almost all dynamic content you play on this TV will still run at around a maximum of 120 Hz. To tame that motion, the TV's menu includes a motion smoothing system called "Motion Clarity". It offers several preset modes, including a user mode that we strongly recommend you set manually using our tried-and-tested guides on our YouTube channel. You get two key sliders there. The first, "Blur Reduction", reduces smearing and improves sharpness in dynamic 60 fps material, such as live sports broadcasts. The second slider, "Flicker Reduction", lets you add artificial frames to films and series shot at cinematic 24 or 30 frames per second. That, of course, completely gets rid of the annoying judder during camera-move shots.

The LG MRGB85 is fitted with a VA panel with a native 144 Hz refresh rate, so its motion handling is very good. The TV easily handles 120 Hz content from consoles and higher refresh rates when connected to a PC. That matters not only for gaming but also when watching sport, where camera motion is noticeably smoother than on basic 60 Hz panels. There’s also the TruMotion system, which lets you set the level of motion smoothing yourself. You can keep a more cinematic motion or increase smoothness, which works well for live sports and TV programmes. The adjustment range is wide, so you can easily tailor the motion smoothing to your own preferences.

When it comes to gaming, the TCL C7L is simply an outstanding TV for players. With two full‑bandwidth HDMI 2.1 ports at 48 Gbps, you get access to all the key features required by console owners and high‑end PCs. It offers a well‑working ALLM mode with very low input lag and VRR frame sync that operates across an impressive 48 to 288 Hz range. Importantly, unlike some rivals, TCL has implemented the console HDR10 HGIG profile correctly and supports Dolby Vision in games. The package is rounded off by a very well designed player panel, the Game Bar, which even lets you edit its appearance and change the theme so it perfectly matches the look of your console.

The only thing you can — and should — criticise is that the TV only provides two full HDMI 2.1 ports, while the other two are older HDMI 2.0. That creates quite a practical problem, because one of those fast ports also handles the eARC (enhanced Audio Return Channel). In practice, that means if you connect a soundbar or home theatre system to the TV, you’ll be left with only one free HDMI 2.1 input. If you have two consoles or a console and a powerful PC at home, you’ll unfortunately have to give something up or keep swapping cables at the back if you want convenient control of your audio system.

When it comes to gaming, the LG MRGB85 performs by far the best. The manufacturer hasn’t skimped on the kit and has essentially carried over the full suite of features from pricier TVs into this model. You get three HDMI 2.1 ports with full 48 Gb/s bandwidth. Each supports 4K 120 Hz from a console, and when connected to a PC also 4K 144 Hz. So you don’t need to worry which port to plug your console or PC into, as they all offer the same set of capabilities.

On board you’ll also find VRR, AMD FreeSync Premium, NVIDIA G-Sync Compatible, ALLM and HGiG. Dolby Vision Gaming is included too, allowing supported games to use high refresh rates and dynamic HDR simultaneously on Xbox. Rounding it off is Game Optimizer, a handy in-game menu. Without leaving the game you can change the picture profile, brighten shadow detail or check the current frame rate. In terms of gaming features, the MRGB85 therefore offers almost the same as significantly more expensive LG models.