Hisense A7NQ vs TCL C69K / Q6C

We checked how the Hisense A7NQ performs with HDR, and there are no surprises here. The luminance graph showed a maximum brightness level of 370 nits. The result? Exactly what one could expect – average. At around 350 nits, HDR does not particularly stand out compared to SDR. Indeed, there is a subtle difference in more brightly lit scenes, but it is not an effect that leaves you stunned. As for the coverage of the wide colour gamut, the result was 92% for DCI-P3 and 70.2% for BT.2020. These are decent values for a TV in this class, which uses a PFS coating – the same one that is sometimes promoted as QLED. Colours look good, but we shouldn’t expect something that competes with the best screens on the market. HDR on the Hisense A7NQ is more of an addition than a "game changer." For those looking for solid image quality on a moderate budget – quite acceptable. However, if we expect full HDR capabilities, it is worth looking at models from the higher price range.

In terms of brightness, TCL C69K / Q6C is a moderate model. In optimal film conditions, it shows its full potential, achieving a maximum of around 600 nits. In scenes with large, intense light sources, the HDR effect can be truly satisfying, providing a cinematic shimmer. However, it should be noted that when managing backlight zones, there are situations where parts of the image become dimmed, and sometimes they are barely visible. This suggests that there is still a lack of proper optimisation of the algorithms; however, considering the technical parameters in this price range, the design itself still presents very well.

When testing the Hisense A7NQ in Filmmaker mode, we were hoping for compliance with the manufacturer's assumptions, but unfortunately, reality looks different. The main issue, as with most televisions, is white balance. In the case of the A7NQ, we noticed a clear dominance of blue, which affected both lower quality materials and 4K HDR content. The results of the Color Checker tests confirm this, and the comparative images speak for themselves – the leading actress in "factory" mode appears cool and pale. It looks as if she has been drained of life.

As for brightness characteristics, both gamma and the EOTF curve show that the image is excessively bright. As a result, everything appears flat, lacking depth and contrast. This state of affairs definitely does not work in favour of the A7NQ and makes the viewing experience in factory mode leave much to be desired. If we expect natural colour reproduction and appropriate image depth, the A7NQ in Filmmaker mode is unlikely to impress us. It is a television that requires considerable adjustment to bring out its potential.

The Filmmaker mode, which has made its debut in this year's TCL televisions (including the C69K / Q6C), is definitely the best choice "to start with." This is the mode we recommend for daily film and series viewings. Unfortunately, as is often the case, best does not mean perfect. In SDR material, the image proved to be too warm, with a pronounced red tint in the white balance. We had the opposite impression with HDR content – here the image became cooler than it should, due to an excess of blue. Additionally, there is the characteristic of brightness, which at times resulted in overexposure. In practice, this translated into quite noticeable errors in colour tests, which is difficult to accept in a mode branded as "from the creators."

Hisense A7NQ offers several tools that allow for improved image quality, so we decided to take matters into our own hands and "dig around" in the settings a bit. Thanks to professional tools and measurements, we managed to correct the white balance, eliminating the excessive dominance of blue colour in both HD and 4K materials. This is a significant step forward, as in the Color Checker test, the colour reproduction errors in lower quality content dropped to a much more acceptable level. Unfortunately, the 4K materials still fall short of perfection – the colour inaccuracies are considerable and stem from the limitations of the television.

As for the gamma, we managed to set it at the correct level, which significantly reduced the excessive brightening of the image. However, the issue with brightness characteristics in 4K content remains unresolved – the EOTF curve still shows excessive brightness across the entire screen. It’s possible that correct implementation of dynamic tone mapping could help here, but as we mentioned earlier, this feature in the Hisense A7NQ works rather poorly, rather than being helpful. Nevertheless, the calibration has significantly improved the overall image reception. The director's vision is now much better represented than in the factory settings, which will certainly be appreciated by more demanding viewers.

Through white balance correction, we were able to significantly reduce the tendency of C69K / Q6C to distort colours, which yielded a very good final result. After calibration, the issue of excessive warming of scenes in SDR and excessive cooling of the image in HDR disappeared. However, it is worth analysing the brightness characteristics more closely. While in SDR content it is hard to have major objections – the image looks really good, especially in older films, TV programmes or on YouTube – it performs significantly worse in the case of HDR content. Analysis of the EOTF curve suggests that everything is fine, yet in practice (EOTF in films) the limitations of the design itself become apparent. This model has a tendency to excessively brighten small parts of the frame, only to overly dim the entire scene in other situations. The effect of calibration is therefore undeniable, and in terms of colour reproduction, C69K / Q6C gains a lot. Unfortunately, certain limitations arising from local dimming management simply cannot be bypassed.

The Hisense A7NQ impresses with the smoothness of tonal transitions in 4K content, but unfortunately, there is no feature here to improve this aspect in older materials of lower quality. In such cases, colour transitions become more visible, which can slightly detract from the overall image, especially in scenes with a lot of gradients.

When it comes to upscaling, the television performs surprisingly well. The image is noticeably improved, although there are some compromises. It can be seen that the television adds a bit of artificial sharpness, and background elements, such as branches, display slight "jaggies." However, these are details that will primarily catch the eye of those who pay attention to such nuances.

In terms of image scaling, TCL C69K / Q6C performs quite well. Lower quality content appears acceptable, and thanks to the lack of overscan issues, the image is displayed in full without any cropping. However, one should not expect miracles – very low-quality materials will not gain a second life here, as the image processor has its limitations.

Thin lines and details exhibit characteristic tearing, which reveals the absence of more advanced image enhancement algorithms. It is also a pity that the C69K / Q6C lacks a tone transition smoothing feature. As a result, in older films or video materials, banding of colours can be visible and may become distracting during prolonged viewing.

The Hisense A7NQ is equipped with a 60 Hz panel, which means that dynamic scenes – for example in sports or games – perform rather averagely here. This is standard for this class of equipment, but it must be acknowledged that watching more intense, fast-moving content can leave a lot to be desired. However, when it comes to films, the television offers a motion smoothing feature that operates on a 10-point scale. The "judder reduction" option allows you to tailor the smoothness of the image to your own preferences. At the lowest setting, we get a natural film frame rate, which will please cinema purists. Meanwhile, the maximum setting provides a very smooth, theatrical image that may appeal to those who prefer a more "smoothed" motion.

The use of a 144 Hz panel in TCL C69K / Q6C is a significant advantage in this price range. It represents an important step forward compared to its predecessor (C655 PRO), which only offered 60 Hz in 4K. The difference is particularly noticeable when watching sports or playing games – the ball, players, or dynamic action in games are displayed more clearly and without loss of detail. Another interesting feature is the panel's ability to work at 240 Hz (which the manufacturer does not officially mention) – we will return to 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 preferences using two simple sliders. We can either keep the visible film frame or opt for very smooth, "

Hisense A7NQ is a piece of equipment that can pleasantly surprise gamers, although it is not without its flaws. The fact that we have a 60 Hz panel here immediately suggests that the television is not designed for the most demanding gaming scenarios. The motion blur that we described earlier can also be an obstacle, especially in dynamic games.

However, there are a few things that are worth praising. The television supports ALLM (automatic game mode) and VRR (variable refresh rate), which is not always standard in this price range. The biggest surprise, however, is that the A7NQ can display images at 120 Hz – albeit only in Full HD resolution, but nevertheless, it's a significant nod to gamers. This provides the option to choose between smoothness and resolution, which is not obvious in televisions at this price.

A nice addition is the Game Bar, which is clear and practical – all the most important functions are at hand, without digging through the settings. However, it lacks support for HGiG, which may be a disappointment for gamers looking for perfect HDR in games.

TCL C69K / Q6C is a television that can confidently be described as equipment created with gamers in mind. Here we have 4K at 144 Hz, VRR support, automatic game mode (ALLM), and Dolby Vision Gaming. Additionally, there is a practical Game Bar, which is a panel with the most important settings conveniently at hand – useful when we want to change something quickly during gameplay (e.g. screen aspect ratio: Yes, it can be done!). The wide range of VRR, reaching up to 240 Hz, is particularly noteworthy. However, this option is mainly for PC gamers who will operate below the native 4K resolution. In that case, the television can spread its wings and show additional smoothness, especially in fast-paced e-sports titles. For consoles, we stick to the classic limit of 120 Hz, but even so, the capabilities are truly extensive. The only downside is a slight ghosting that can occasionally be seen in dynamic scenes. Other than that, C69K / Q6C offers everything that gamers expect from a television.