LG OLED C4 vs Hisense U7Q PRO

The results of HDR materials are definitely among the better ones. Practically every film significantly exceeds the 700 nits barrier, allowing for a very realistic image. Of course, none of them surpasses the magical thousand, yet the combination of such results and unlimited contrast and black effectively boosts the outcome optically. The last of the scenes, featuring a full-screen burst of sunlight, is actually less bright than the others, although it still represents a commendable level. It is also worth mentioning the excellent coverage of the DCI-P3 colour palette, which will allow for achieving extremely vivid colours.

U7Q PRO is truly a bright television. In synthetic tests, it achieved over 1500 nits, which is an outstanding result for this price range. Such brightness – at least in theory – allows for HDR content to be displayed as intended by the creators, even in more demanding scenes with strong lighting. In practice, it is often very good, but not always perfect. In bright scenes with large areas – like the test chart with intense sunlight from the movie "Pan" – the U7Q PRO makes a huge impression. It can almost dazzle with its brightness, which is definitely an advantage in the context of HDR content. Unfortunately, it doesn't always manage to maintain this when many small bright details appear on a dark background. In such moments, the local dimming algorithms choose to dim some bright elements to maintain good black levels – and the side effect is that some details simply disappear from the frame. This is a classic compromise in mini-LED televisions – and the U7Q PRO is no exception. However, with such a large number of dimming zones, one could have hoped for a slightly more mature algorithm responsible for their control. Fortunately, the overall perception of HDR content is decidedly positive. The U7Q PRO is not only bright but also colourful, thanks to the PFS LED (QLED) coating, the coverage of the DCI-P3 colour palette is at 95%, while BT.2020 is around 73%.

The best factory mode implemented in the tested television was "Filmmaker". It was this mode that we used during all tests. This mode proved to be quite good in terms of colour reproduction; however, other shortcomings effectively detracted from the enjoyment of viewing. Starting with the most basic aspect, the white balance, it was easy to notice that it was marked by a dominance of red, which overall changed the characteristics of the image. We could thus see a strong yellowing of the whites and a shift of all colours towards warmer shades. The gamma, which is a curve just as important, if not more so, was quite significantly lowered, resulting in a considerable drop in contrast, except at the beginning of the graph, where the television insidiously lost details. That’s all regarding SDR materials. Taking a closer look at films with a wide dynamic range, we can observe exactly the same phenomenon of yellowing of the white balance as in films with a standard colour palette. The EOTF curve, which replaces our gamma curve, is practically perfect and cannot be faulted.

We tested the U7Q PRO in the best possible picture mode offered by this model – Filmmaker Mode. And indeed, this mode performs the best in terms of colour reproduction. However, that doesn't mean it's perfect. In our test unit, both in SDR and HDR content, the image had a slightly cooler tone. The white balance was skewed towards blue, giving the overall impression of being a bit "colder". It may not be glaring, but it is definitely noticeable – especially on white backgrounds, which seemed slightly bluish rather than neutral. Additionally – as we mentioned earlier – the television has a tendency to slightly brighten and oversaturate the image, which is also confirmed by the gamma and EOTF graphs. All this together means that without calibration, the image can appear somewhat unnatural – too cool, with slightly exaggerated dynamics. Therefore, we decided to carry out our own calibration – and you can see its effects and graphs below.

As we mentioned earlier, LG televisions are equipped with advanced tools for carrying out the calibration process. We therefore used them to model the image in the way that the director intended. And without modesty, we must admit that we achieved this phenomenally. Both SDR and HDR materials present a level that clearly indicates that this is how a film should look. It is worth looking at the colour errors on the "ColorChecker" palette here, where practically none of them exceeds "1", apart from two samples.

Thanks to the calibration, we managed to tame the white balance in SDR and HDR content. In the case of SDR materials, the effect is really very good – the image becomes neutral, cohesive, and simply pleasant to take in. Everything looks as it should.

HDR performs a bit worse. Although the white balance appears correct and the image overall gains in naturalness, unfortunately, the delta E errors remain noticeable. Why? Because Hisense does not give us full control over how the television manages brightness in HDR mode with the U7Q PRO model. This is where the limitation comes into play. When we look at the EOTF curve for HDR content, we can clearly see what we mentioned earlier – at the beginning of the graph, there is a distinct drop, meaning the television darkens the smallest areas more than it should. On the other hand – the brightest elements can sometimes be overly bright. As a result, some details get lost, others are too aggressive, and overall control over brightness does not always match what we are trying to achieve during calibration.

Does the image look better after calibration? Definitely yes, in terms of colour. But when it comes to managing brightness in HDR, we have to accept that the Hisense U7Q PRO will do it in its own way.

Once again, we will take a look at the function responsible for smooth gradation, but we will also address the one that aims to improve the quality of lower-quality materials. The default smoothing of tonal transitions, as we have seen, was not the worst, but it can still be improved. The function has a slider, which allows us to adjust its strength. We recommend using the first one, as it yields very good results and does not blur important details.

Image scaling in LG C4 is quite good; however, it cannot be said to be without flaws. The image is slightly sharper by default, although not in a very noticeable way. Admittedly, there are jagged edges on the trees, but this is not a major issue compared to other manufacturers.

If someone happens to come across older materials where the colour banding issue occurs – Hisense has a solution for that. In the U7Q PRO, we find a function called "Smooth and Gradient Image". Set to the "Medium" level, it works really well – removing most issues with gradation while not smoothing out the entire image, like blurring in Photoshop. 😉 Film grain remains, details do not disappear – this is exactly how it should work. Well done on the implementation!

As for upscaling weaker materials, it is simply good. It is not at the level of the most expensive televisions with advanced upscaling, but older content looks good. There is minor aliasing at very low resolutions, but this is completely normal and hard to avoid. On the plus side – even with the oldest materials, there is no overscan effect, the image is neither cropped nor artificially stretched.

The maximum refresh rate that we can set on the LG G4 is 144 Hz. Naturally, this is only possible when connecting the television to a very powerful PC. In other cases, we will be operating at a maximum refresh rate of 120 Hz, which is recommended if we primarily want to watch sport or content with a lot of motion dynamics. For those requiring high fluidity of the image, the manufacturer has implemented a multi-step motion smoother called "TrueMotion". It has been divided into two separate sliders that adjust the sharpness of moving images (De-Blur) and judder (De-Judder). Both sliders can be set within a range from 0 to 10, with each degree affecting the degree of smoothing, allowing everyone to find their golden mean.

The LG OLED C4 panel features an average response time of less than 1 ms (which directly results from our measurements), allowing for an incredibly clear image that is unattainable for LCD televisions, whose response times can be as high as several milliseconds. This is clearly visible in the pictures from the "UFO Test," showing no trailing blur behind the object.

“Speed” – this word came up most often during our tests of the U7Q PRO. The television is equipped with a 165 Hz panel, which is impressive in itself – especially since we are talking about a model in the mid-range price category. Of course, PC gamers will benefit the most from its full capabilities, but even with everyday viewing, it's clear that this is a fast and efficient panel. Like most modern televisions, the U7Q PRO can also enhance the fluidity of films that were originally recorded at 24 frames. In the menu, we find a slider that allows us to adjust the effect to our own preferences – from a more cinematic look, with subtle motion, to stronger smoothing with the characteristic “telenovela effect.”

We can already say that LG C4, like practically every OLED television from the manufacturer, is exceptionally good in terms of compatibility with consoles and PCs. Thanks to the implementation of four full bandwidth HDMI 2.1 ports at 48 Gbps, the manufacturer has included all features that enhance the gaming experience, among which we find simultaneous support for FreeSync and G-Sync technology. With such a tandem, gamers with a graphics card from AMD or Nvidia can confidently opt for C4. However, what should delight the players requiring the highest possible quality the most is the simultaneous implementation of HDR Dolby Vision and HGIG mode. The first is particularly important as it works with extremely low input lag in all settings.

A standard in the Korean manufacturer's televisions is also the implementation of GameBar, allowing for quick adjustments of settings "on the fly" without the need to exit the game. It also enables image adjustments for visually impaired individuals, which is a very nice touch. Another important piece of information is that when VRR technology is enabled, we will not experience a drop in contrast. This is, of course, due to the panel's design and the absence of conventional backlighting. However, it is normal for shades of grey to flicker slightly, although this is a characteristic feature of this function regardless of the manufacturer and television.

In summary: LG C4, just like all of the manufacturer's OLEDs equipped with high refresh rate panels and HDMI 2.1 ports, creates a harmonious whole with consoles. In practice, it is a complete television, and if we expect the highest possible performance in gaming, C4 will be an ideal choice.

The Hisense U7Q PRO is a television that seems almost designed with gamers in mind. It has practically everything one could expect from a gaming display: variable refresh rate (VRR), automatic low latency mode (ALLM), and as many as four HDMI 2.1b ports with full bandwidth of 48 Gb/s. Additionally, there is a clear and quite functional Game Bar, as well as a well-implemented Dolby Vision GAMING mode that works seamlessly with Xbox Series S and X consoles.

Sounds like perfection? Well, almost. Unfortunately, Hisense has still not implemented the HGiG feature, which means the system limitation of tone mapping on the television side. This means that when configuring HDR brightness on the console, we do it "by eye" or search for settings in online guides, as the display does not show the actual range of its brightness. It’s a pity – because HGiG indeed makes it easier to match the console to the television and helps avoid overexposure or overly dark scenes in HDR games.

Fortunately, the other features work very well. Input lag is low, responsiveness is excellent, and the handling of other functions is impeccable. And while not everything worked perfectly, the U7Q PRO can still be recommended to gamers without hesitation.