Philips OLED910 vs Samsung The Frame Pro 2026 (LS03HW)

The OLED910 is simply an absurdly bright television for an OLED. All thanks to the new panel from LG Display, the Tandem RGB OLED, which Philips has dubbed its "META OLED." It is this panel that allows for over 2000 nits of brightness in films, which not long ago was completely unattainable in OLEDs. The television also deserves high praise for how it handles full-screen scenes drenched in bright light. Generally, in OLEDs, brightness drops significantly during such scenes, but here it remains at an excellent level – around 1400 nits. These are almost reference values, and combined with the excellent colour reproduction at 99% DCI P3 and 82% BT.2020, it gives us an HDR effect that can confidently be called one of the best in the world.

One thing you cannot deny The Frame Pro is: brightness. At peak we measured around 850–900 nits, so the TV already has enough power to show many HDR scenes really impressively. Bright, full‑screen shots and more colourful frames perform best here. In such scenes The Frame Pro can make a good impression because the image is bright, punchy and has the effect we expect from HDR. In our measurements some scenes reached over 800 nits, and even in more challenging segments the TV maintained a quite respectable brightness level.

The problem starts when HDR depends on small bright elements shown on a dark background. Individual lamps, stars or highlights can be bright, but very often the black level across a larger part of the image also rises. As a result the bright point itself may look good, but the whole frame loses a lot of quality. Therefore The Frame Pro shows HDR best in scenes that are simply full‑screen. If a film or TV series has plenty of such shots, the effect can be really pleasant. In darker material the limitations of local dimming are much more noticeable.

Colours

The Frame Pro should be praised for its colour gamut coverage. The TV uses quantum dots, the solution known as QLED, which allows it to reproduce very well saturated colours. In our measurements coverage of the most important film gamut DCI‑P3 was around 94.5%, while the more demanding BT.2020 was about 72%.

These are very solid results that in most scenes allow for pleasant, saturated colours. Of course these figures are not as spectacular as in the latest screens using RGB backlighting, but The Frame Pro makes up for that with something else: colour stability. Regardless of the scene, colour saturation remains fairly consistent and there are no situations where the TV loses colour badly in more demanding shots.

Update 01/2026

After conducting a series of calibrations of the OLED910 model at our customers' locations, we noticed that the measurement results differ from those obtained during the initial tests. The factory tuning of the movie mode turns out to be significantly better than our first tests suggested. White balance is set very precisely, with only a minimal dominance of red. The factory colour reproduction stays close to reference standards – average Delta E errors hover around 3-4, which is an excellent result for factory settings. However, there is some concern regarding the way the television manages brightness. Analysis of the Gamma (SDR) and EOTF (HDR) graphs shows a tendency to excessively 'pull' details out of the shadows. In practice, this means that the image may appear too bright, resulting in a loss of black depth in favour of visibility of details that should remain hidden. Of course, this effect can be effectively corrected during professional calibration.

Unfortunately, regarding colour reproduction right out of the box, the Filmmaker mode on the OLED910 performs really poorly. The television overemphasises the blue colour, and at times it looks almost like a shop mode. This gives the impression that the manufacturer did not quite tune the device properly. The effect is that colours appear unnatural, and the overall look is somewhat reminiscent of an overly exaggerated display in a store. HDR content performs much better, where aside from a slight loss of detail in the blacks, there's not much to complain about. The problem is that in everyday viewing, it is the SDR materials that matter most – and on the OLED910, they simply look poor and fall far short of what we would expect from a television of this class.

In SDR material The Frame Pro in Filmmaker mode performs quite well, though it falls a little short of perfect. The white balance is relatively even, but as brightness increases the blue component drops, so the brighter parts of the image can have a slightly warmer tint. A bigger difference is visible in the gamma, that is the handling of the screen's brightness. For most of the range it runs below our reference point, which means the TV slightly brightens midtones. As a result the image can appear a little brighter and less contrasty than it should. The colour errors themselves are not huge, but they are noticeable enough that calibration could still bring considerable improvement.

In HDR content the white balance looks similar — for a large part of the range it is fairly even, with larger deviations appearing only at higher brightness. The EOTF curve is more interesting. The Frame Pro sticks reasonably close to the reference values in the brighter part of the image, but clearly brightens the darkest sections. This is mainly due to the design of the TV's backlight. That also affects colours. With less saturated hues the errors remain moderate, but as saturation increases they become much larger. In Colour Checker measurements a large portion of samples already show high error values. The factory HDR can therefore be regarded as decent, but it is certainly not an image we would call very faithful.

Fortunately, it quickly turned out that it was not the panel causing the problems, but rather the way Philips factory-calibrated the OLED910. After calibration, the television displayed its full potential, and only then could we see what the new panels produced by LG Display were truly capable of. We primarily adjusted the white balance and brightness characteristics, successfully taming the excessive blue and giving the image a natural appearance. The final effect can be described as excellent. Errors on the Color Checker palette rarely exceeded a value of 3, which in practice means an image close to perfection and colours presented in accordance with the creators' intent. In SDR content, the effect was outstanding, and in HDR, the improvement was even more noticeable – gradients became cleaner, and colours fuller and more accurate. After calibration, the OLED910 transformed from a disappointing television into equipment that can confidently be referred to as a reference in terms of colour quality.

After calibration the biggest improvement is visible above all in SDR content. We managed to even out the white balance, but the more important change was the gamma correction, which before calibration had the greatest influence on the image character. After the adjustments the gamma curve is now very close to the reference, so the picture is not as bright in the midtones and simply looks more natural. Colour errors have also been significantly reduced, so the effect of calibration in SDR is clearly visible.

With HDR the situation is somewhat more complex. White balance has been improved and over part of the range the TV stays much closer to the reference, but deviations still appear at higher brightness levels. The same applies to colour reproduction: some errors can be corrected, but not all stem from the settings alone. This highlights the limitations of the TV's design and the way its backlight and local dimming affect HDR images. Therefore, with The Frame Pro calibration makes the biggest difference to everyday viewing. Regular TV, YouTube and films and series in SDR (mainly those from the cheaper tiers of streaming services) can look noticeably better afterwards.

The previously visible colour banding can largely be mitigated thanks to a feature called "distortion reduction." Like in the OLED820, it is best set to a medium level, as it then produces fairly decent results – smoothing out unwanted tonal transitions while not taking away too much detail from the image. Although at times the effect may be slightly too aggressive, this function can be considered useful for everyday viewing.

As for image scaling, the OLED910 performs really well. The test material featuring a model had a soft look characteristic of Philips – at times almost too soft – but this can be easily corrected with the sharpness slider, allowing you to adjust the image to your own preferences. It's also worth noting that the television has no issues with overscan, which still occurs in some competitor models. It's a small detail, but it's pleasing because it means that all content, even the oldest, is displayed as it should be.

The Frame Pro uses the NQ4 AI Gen3 processor, so in terms of image processing it behaves very similarly to other newer Samsung TVs. Upscaling works really well – lower-resolution content is appropriately sharpened and the picture remains clear without excessive edge enhancement. With regular broadcast TV or lower-quality YouTube material this can provide a noticeable improvement, although viewers watching even older material, e.g. from VHS tapes, may notice a slight cropping of the image on the left side (overscan).

It's a bit different when improving more highly compressed footage by reducing noise and artefacts such as posterization. The "Noise reduction" function can improve poor material, but fairly quickly it begins to alter the picture and remove fine details and grain. Therefore it's best to use it sparingly and mainly when the source truly requires it.

OLED910 is a television with a refresh rate of 144 Hz. It’s a bit of a shame that Philips didn’t opt for 165 Hz, as we know that the panel used is capable of that. On the other hand, such a bonus would mainly benefit PC gamers, as in everyday use, the most important refresh rate is 120 Hz, which is fully sufficient. Combined with the advantages of the OLED panel – lightning-fast pixel response time and the absence of motion blur, the image is impeccably sharp and quick, even in dynamic action scenes. The traditional motion smoother from Philips, called “Motion Style,” also deserves praise. We can easily adjust it to our preferences: the “Fluidity” slider is responsible for films and allows you to choose between a more “filmy,” cinematic character and a smooth, theatrical image. Meanwhile, the “Motion Blur Reduction” slider is intended for sports, where it’s worth setting it to the maximum value to ensure that the image is clear and distinct during very fast shots.

The Frame Pro comes with a 144 Hz panel, and when connected to a PC it also supports 240 Hz at Full HD resolution. That feature is primarily aimed at PC gamers, but the TV also performs very well at the standard 120 Hz refresh rate used for watching sport or gaming on consoles. A key advantage is the low level of motion blur. For a VA panel, The Frame Pro does very well in this respect. You don't see the strong, dark trailing smears behind moving objects that we often encounter on TVs with this type of panel. As a result, fast-paced sport and dynamic games remain clear in motion. Of course there's also motion smoothing with adjustable smoothness, so for films and sports broadcasts we can tailor the motion character to our preferences. You'll find our recommended settings in the photo.

The OLED910 is fantastic for gaming. It supports 144 Hz, so if someone has a powerful PC, they can comfortably utilise that potential. On consoles, the most important thing is still 120 Hz, and everything works perfectly here. There's VRR, an automatic gaming mode, and even Dolby Vision in games and HGiG mode, so we really get a full package of gaming features. Philips has also added a Game Bar, which is a quick menu that displays basic information and allows you to enable a few useful things. It may not look as modern as the competition, but it works and fulfils its purpose. The only downside is the number of HDMI 2.1 ports. There are only two, which can be quite disappointing for a TV in this class. If someone connects two consoles and something additional through eARC - like a soundbar (which doesn't make much sense in this model but I'll discuss that in the paragraph about sound) - they'll have to do some adjustments. Other than that, the OLED910 has everything we expect from a gaming television.

Functionally for gamers The Frame Pro has a great deal to offer. The TV supports 4K at 120 Hz, VRR, ALLM and a properly implemented HGiG. When connected to a PC you can also use 144 Hz at 4K, and even 240 Hz when dropping to Full HD. Samsung also includes its standard suite of gaming extras. There is an expanded Game Bar that lets you quickly view and change the most important settings, and Game Motion Plus, which can improve the smoothness of games running at 30 or 60 frames per second. On top of that there is the Gaming Hub and the option to play in the cloud without needing to connect a console. The only real omission is Dolby Vision Gaming, which Samsung does not support. Apart from that, The Frame Pro offers virtually everything you can expect from a well-equipped gaming TV today.