TCL P7K / P79K vs TCL C69K / Q6C

When it comes to assessing HDR performance, we need to be clear and straightforward without any marketing fluff: the P7K/P79K is not and never was meant to be a champion in this area. The maximum peak brightness that this panel can generate hovers around just 300 nits. This represents a threshold, a sort of thin red line between what can be considered barely satisfactory HDR signal and what is, in reality, only slightly better than standard dynamic range (SDR), unfortunately leaning towards the latter. Synthetic tests confirmed this harsh reality – our measurements taken during movie sessions showed that the luminance in key bright scenes rarely exceeded 200-250 nits. Therefore, this is not a TV that would allow content created in a wide tonal range to truly shine, and that must be openly acknowledged.

Unfortunately, the issue of colour reproduction is presented just as conservatively. Although the manufacturer positions this model within the "QLED" family, owing to the use of a PFS LED filter, the results do not match the heightened expectations. The coverage of the wide DCI-P3 colour gamut reaches only 86%. Compared to the market, this is at best an average result, since most devices that utilise additional layers to expand the colour spectrum easily achieve values at a minimum of 90-92%.

In terms of brightness, TCL C69K / Q6C is a moderate model. In optimal movie conditions, it shows its full potential, reaching a maximum of around 600 nits. In scenes with large, intense light sources, the HDR effect can be truly satisfying, giving a cinematic glow. However, it's important to keep in mind that when managing the backlight zones, there are situations where parts of the image are dimmed, and at times become barely visible. This suggests that there is still a lack of proper optimization of the algorithms, although considering the technical parameters in this price range, the overall construction still looks very good.

Every reliable assessment of image quality must start with selecting the most optimal, factory preset mode. In the case of the tested P7K/P79K model, the choice was made without hesitation for the "Film" mode. It is the mode that presents an image closest to the intentions of its creators, avoiding both the exaggerated brightness of the dynamic mode and the excessive dimming known from eco settings. And it must be admitted that, for a device in this price range, the factory calibration is surprisingly decent, although it is not without a few stumbles. The most noticeable shortcoming turned out to be the not entirely correctly set white balance. A slight dominance of the blue component gives the image a subtly cool, frosty character, straying from the ideal neutrality that the director intended to show us. The television handles the reproduction of greyscale in the standard dynamic range much better – the gamma curve is almost exemplary. The only slight reservation can be made for the darkest parts of the image, where a delicate deviation from the norm causes a loss of some detail in the shadows. The most significant challenge, however, for the TCL software was interpreting the HDR signal, as illustrated by the EOTF curve. The television follows its own, rather free path here – the darkest details are disproportionately brightened, followed by a noticeable slowdown in brightness increase for mid-tones. Fortunately, most of these imperfections are of a software nature, which can be eliminated. With that thought in mind, we proceeded to the process of professional calibration.

The Filmmaker Mode, which has been introduced in this year's TCL TVs (including the C69K / Q6C), is definitely the best choice "to start with". This is the mode we recommend for everyday movie and series viewing. Unfortunately, as is often the case, best does not mean perfect. In SDR materials, the image turned out to be too warm, with a strong red tint in the white balance. The opposite impression was had with HDR content – here the image became cooler than it should have been, due to an excess of blue. Additionally, there is the brightness characteristic, which at times resulted in overexposures. In practice, this translated to fairly noticeable errors in color tests, which is difficult to accept in a mode branded as "by the creators".

The calibration process turned out to be spot on, especially in the context of standard dynamic range (SDR) content. We successfully managed to eliminate the tendency of the television to showcase cool tones, restoring white to its natural neutrality. Moreover, the precise adjustment allowed us to correct a slight error in the gamma curve, enabling the darkest parts of the image to regain proper depth, without any signs of unnatural brightness. The results are measurable and impressive – in the ColorChecker test, the vast majority of colour reproduction errors fell below the perceptual threshold, achieving a deltaE value of below 2. This is a result that more expensive models would not be ashamed of. Unfortunately, in the case of HDR content, we encounter a wall in the form of the panel's structural limitations. And although we managed to bring the colours into line, the software's specifics mean that the television still adapts brightness in its own way, as evidenced by the persistent, non-standard EOTF curve. To summarise, calibration adds tremendous value, but it is important to be aware that it won't overcome certain physical barriers. The slightly elevated blacks, resulting from the lack of local dimming, and limited peak brightness mean that HDR content won't always be able to showcase its full potential. This is simply not the main task of this display; its true strength, especially after professional tuning, lies in viewing SDR material.

Through white balance adjustment, we were able to significantly reduce the tendency of ChooseTV C69K / Q6C to distort colours, which resulted in a very good final outcome. After calibration, the problem of excessive warming of scenes in SDR and over-cooling of the image in HDR disappeared. However, it's worth analysing the brightness characteristics more closely. While in SDR content there are few complaints – the picture looks really good, especially in older films, TV programmes, or on YouTube – it performs much worse with HDR content. Analysis of the EOTF curve suggests that everything is fine, but in practice (EOTF in films), the limitations of the actual construction become evident. This model tends to excessively brighten small parts of the frame, while in other situations, it darkens the entire scene too much. The effect of calibration is therefore undeniable, and in terms of colourimetry, ChooseTV C69K / Q6C gains a lot. Unfortunately, certain limitations arising from local dimming management simply cannot be bypassed.

After a series of harsh evaluations, thankfully, it’s time for some praise, and this is deserved by the TCL AiPQ image processor for its work in the field of digital processing and content scaling. It should be noted right away that we are not talking about the level known from flagship models; nonetheless, in the price segment represented by the P7K/P79K, the results achieved are more than solid. The function that smooths tonal transitions performs particularly well, effectively eliminating posterization, which are the characteristic bands often visible in materials with higher compression, for instance, from choose.tv. The algorithm can elegantly remove unwanted gradients, which ultimately looks really good. The television also handles upscaling competently, which means the task of raising low-resolution materials to 4K standard. The resulting image, although it may seem a bit too sharp out of the box, is fortunately not a problem. The software allows for free adjustment of this parameter using a sharpness slider, allowing the final appearance to be easily tailored to personal preferences.

In terms of image scaling, TCL C69K / Q6C performs quite well. Lower quality content is presented acceptably, and due to the lack of overscan issues, the image is displayed in full without any cropping. However, don’t expect miracles – materials of very low quality won’t gain a second life here, as the image processor has its limitations.

On thin lines and details, there is noticeable jaggedness, which reveals the lack of more advanced image enhancement algorithms. It's also a shame that the C69K / Q6C lacks a feature for smoothing tonal transitions. As a result, in older films or video materials, color banding can be visible and may become distracting during extended viewing.

The issue of fluidity and sharpness of motion image is inextricably linked to the fundamental parameter of the panel, and in the case of the TCL P7K/P79K, we are dealing with a panel that has a native refresh rate of 60 Hz. This specification at the outset defines its capabilities and makes it hard to unequivocally recommend it to enthusiasts of dynamic sports broadcasts. During quick camera movements, the image loses sharpness, and the panel also shows a slight tendency to smudge, which may be noticeable to more sensitive viewers. Fortunately, not everything in this aspect has been left to chance. The manufacturer has implemented a simple motion smoothing system, which is primarily used in film materials recorded at 24 or 30 frames per second. Thanks to a dedicated slider, the user can decide on the final nature of the motion – from maintaining a fully cinematic, slightly jerky image, to achieving a very smooth, almost theatrical effect. It is a simple yet effective tool that allows one to adjust the viewing experience to their own preferences.

The use of a 144 Hz panel in TCL C69K / Q6C is a significant advantage in this price range. This represents an important step forward compared to its predecessor (C655 PRO), which only offered 60 Hz at 4K. The difference is particularly noticeable when watching sports or gaming – the ball, players, and dynamic action in games are displayed more clearly and without losing detail. An interesting feature is also the panel's ability to operate at 240 Hz (which the manufacturer does not officially mention) – we will revisit this topic in relation to the PC gaming mode. TCL has also added a feature for movie fans: “Motion Clarity.” This allows users to adjust the picture to their own preferences using two simple sliders. We can either leave the visible film frame or opt for a very smooth one, "

Although on paper the native 4K@60Hz matrix might suggest that the TCL P7K/P79K is not a TV tailored for gamers, the reality turns out to be surprisingly different. On the contrary, the manufacturer has ensured a rich set of features that make it a very friendly companion for next-generation consoles. Onboard, we find key technologies such as ALLM, which provides automatic switching to low-latency mode, and VRR, or variable refresh rate, which eliminates screen tearing. The list is rounded off with support for Dolby Vision Gaming and a simple yet functional Game Bar. However, the real and extremely pleasant surprise is something else. It turns out that the TV effortlessly supports a high refresh rate signal of 120Hz, but at lower resolutions – 1080p and 1440p. This is fantastic news for console owners, who know how rarely games run in native 4K at a full 120 frames per second. The option to choose between higher resolution and doubled smoothness is therefore an incredibly sensible compromise.

In summary, while the P7K/P79K may not be the target screen for the most passionate, tournament gamers, it offers a package of options for casual or occasional console users that is hard to find among many competitors at this price point.

TCL C69K / Q6C is a television that can confidently be called equipment designed for gamers. Here we have 4K at 144 Hz, VRR support, automatic game mode (ALLM), and Dolby Vision Gaming. Additionally, there's a practical Game Bar, which is a panel with the most important settings within easy reach – handy when we want to change something quickly during gameplay (e.g., aspect ratio: Yes, it can be done!). The wide range of VRR, reaching up to 240 Hz, is noteworthy. However, this option is mainly for PC gamers looking to go below native 4K resolution. In this case, the television can spread its wings and show additional smoothness, particularly in fast e-sport titles. For consoles, we stick to the standard limit of 120 Hz, but even so, the possibilities are truly extensive. The only minor criticism is slight ghosting that can sometimes be seen in dynamic scenes. Other than that, C69K / Q6C offers everything gamers expect from a television.