Philips PUS8359 (VA) vs Hisense U7S / U77SE

Philips PUS8359 did not impress us with its results in HDR materials. This model is capable of generating a maximum brightness of 320 nits, and often even less. Such results, combined with a lack of support for HDR Dolby Vision, mean that the image will be significantly darker compared to the source material. Therefore, playing SDR materials will be more beneficial for this television. This is also suggested by the rather low coverage of the DCI-P3 colour gamut at 83%, which results in significant colour deficiencies. The fact remains that the television supports the HDR format based on dynamic metadata, although HDR10+ is such a niche format that it does not bring any significant advantages.

The Hisense U7S has considerable potential for HDR display, but it cannot exploit that potential in every scene. On a test pattern it reaches around 1,100 nits, so the backlight itself is very strong. In our brighter film scenes we measured about 640 to 745 nits. That is still plenty for the sun or bright highlights to have a clear bloom and to show an advantage over SDR material. When the TV needs to brighten a larger portion of the image, it handles it fairly well.

The problem appears with small highlights on a dark background. Each of the 192 zones covers an area much larger than a tiny point on the screen. If the TV were to light that whole zone strongly, it would also brighten the area around the highlight. Hisense tries to avoid that and dims the entire zone. This makes blacks look better, but a small bright object that should attract the eye also loses intensity. That is why in two more demanding scenes we recorded only 297 and 154 nits. The difference is large: in one shot HDR can impress, and in the next small highlights are noticeably muted. The U7S therefore prioritises preserving deep blacks, even at the expense of bright details. With that number of zones it is an understandable compromise, but worth bearing in mind — the peak 1,100 nits tells us about the backlight’s capability, not how brightly the TV will show every element of a film.

Colours

Hisense describes the U7S as ULED, but that is a marketing name, and it is a PFS phosphor backlight that expands the colour palette here. In our measurements the TV covered about 91% of the DCI-P3 colour space and 71% of BT.2020. Those are good results, though they fall short of the best screens on the market. The largest shortfall is in green — the TV does not even reach the DCI-P3 boundary here, so the most intense shades will be less saturated than they should be. Most colours in HDR films and series still look suitably vibrant. A positive is the repeatability of the results. Gamut coverage on test patterns and in film scenes is practically identical.

The best factory mode in terms of fidelity to the source material was "Film". This was the mode we used during our tests. Just like each of the factory modes in televisions, it had its shortcomings. We will check what exactly was wrong in both SDR and HDR materials. In both cases, the white balance showed excessive dominance of the green and red colour combination. This created a yellow tint that spread across the entire image, causing issues such as yellowed whites and problems with skin tones. This situation was perfectly illustrated on the "ColourChecker" palette, where each of the tested samples was pushed into its warmer counterparts. The foundation of the image is primarily contrast and black. These are represented by gamma charts and the EOTF curve. Looking at the first one, we can see a true rollercoaster, as we can observe both an elevated and a lowered gamma. The heavily elevated gamma caused visibility issues in blacks, while the lowered gamma led to a dramatic drop in contrast. In this context, the EOTF curve performed significantly better, only slightly brightening the image.

Out-of-the-box colours on the Hisense U7S are decent, but there are a few areas to improve. In SDR there is a red bias in the white balance, which makes the picture too warm and, in places, slightly pink. You can notice this on faces and on bright, neutral surfaces. The gamma also runs below the target, so the TV brightens the image, particularly in darker areas. That makes shadow detail easier to see, but the scene loses some of its depth.

In HDR the white balance is somewhat more even, but not entirely neutral, with a shortage of blue in the mid-tones and a lack of red in the brightest parts. A bigger issue is how brightness is rendered. The EOTF curve shows a large portion of the mid-tones being lifted, causing the picture to look brighter than the source intends. Color Checker measurements are also weaker than in SDR: many errors are around 3 to 4, and some reach as high as 8. Colours can therefore look attractive, but they are not always faithful to what we should see. There is room for improvement here and we will see how much can be corrected through calibration.

Philips offers a wide range of image calibration tools in both its more expensive and cheaper models. We utilised these tools and got to work, which was not as easy as many of you might think. While we were able to model the white balance, significantly improve the gamma, and refine the EOTF curve in both cases, the deltaE errors remained extremely high. There are several reasons for this situation, which are directly related to the low coverage of the DCI-P3 palette and the maximum brightness of the unit in HDR materials.

Calibration of the Hisense U7S brought the biggest improvements with SDR material. We managed to even out the white balance, so the previous warm tint has gone and whites and greys now look neutral. Gamma is also now very close to the reference, and the TV no longer brightens the picture unnecessarily, so darker scenes have regained depth. Color Checker measurements confirm the improvement: most errors are below 2. That means the picture is very well set up for watching regular TV and SDR films. It wasn't as smooth in HDR. There is no effective way to correct the EOTF curve, so the TV still interprets a film's brightness somewhat on its own. It brightens parts of the picture and can dim the brightest elements depending on the scene and the behaviour of the local dimming. Calibration could not eliminate this. This is also reflected in the Color Checker results, where many errors remain around 3–4 and a few exceed 7. So the result in SDR is really very good, but in HDR we must accept that the TV adds its own interpretation of brightness to the image.

In this paragraph, we will take a look at two functionalities. We will once again examine the feature responsible for tonal transitions, but we will also check how the television performs with image scaling. The option responsible for smooth gradation is called "Distortion Reduction". As we have established, it quite effectively smooths out the inconsistencies. However, we must point out two things: we cannot enable it for HDR materials and that it blurs details in films.

The tested television cannot boast of the best image scaling. There is a noticeable overall blurriness of the image, but worse still, it blurs details. This is particularly evident on the branches and the model's hair. A characteristic white halo around the character is also visible.

The handling of lower-quality material is fairly mediocre on the Hisense U7S. The Pentonic 700 chipset used here does not cope particularly well with strong compression artefacts. The menu includes a "Smooth and Gradient Image" function, but its performance leaves much to be desired. At the low setting tonal transitions show little improvement, although at least the image does not suffer. The medium and high settings still do not remove obvious banding between shades, and they begin to blur details; in our test material even parts of characters' faces disappeared. Interestingly, film grain remains untouched at every level. If you do use this feature, stick to the low setting. Its current behaviour needs refinement, but that is mainly down to the chipset used here.

Upscaling to 4K performs much better. Lower-resolution content gains in legibility, edges are well reproduced, and fine elements look sharp. That does not mean it recovers details that were never in the recording, but the TV makes good use of what it receives from the source. Another plus is that it does not crop the image edges, even with an SD signal.

Philips PUS8359 will not be the best television for sports. The reason for this is the lack of implementation of even the basic motion smoothing feature, which was to be expected given the price of the device. We also note that we are dealing with a VA panel, whose sharpness is not of the highest standard. This type of panel is mainly associated with high contrast, which goes hand in hand with quite a slow response time, as clearly indicated by the matrix analysis results. As you can see from the images captured in rapid motion, the picture is typically blurred for this type of panel. Although it may not be the ideal option, it can be used conditionally for watching sports; however, one must keep in mind the less than optimal sharpness in motion. It is worth mentioning that films will exhibit judder, as the television does not have any motion smoother, even the simplest one.

Motion handling on the Hisense U7S is decent thanks to the 144 Hz refresh rate. For films there is also a motion smoother with adjustable judder and blur reduction. You can therefore keep a more cinematic motion or increase smoothness if jerky camera pans bother you. The high refresh rate is also useful for sports and gaming, but unfortunately it does not solve the panel's biggest problem.

That problem is pixel response time. Fast-moving objects leave long, clearly visible trails, as our UFO test shows. It looks worst on dark backgrounds, where the trail behind the object is particularly pronounced. So motion can be smooth, but the moving object itself loses sharpness, and that difference on the U7S is fairly easy to notice.

It will not be a surprise if we write that Philips PUS8359/12 only offers the most basic support for consoles. Once the console is connected, we can count on features such as: VRR and ALLM. This is quite pleasing in the case of the former, as experience has shown that even in more expensive units there can be issues with this. A nice touch is the implementation of a special GameBar that allows for changing settings on the "fly," so we won't have to exit the game and unnecessarily distract ourselves. This feature also allows for adapting gameplay to the needs of people with disabilities, which will certainly be extremely useful.

The Hisense U7S has a lot to offer gamers. You get two HDMI 2.1 ports and support for 120 Hz at Full HD, 1440p, and 4K, so modern consoles’ capabilities are well used. When connected to a PC you can use 144 Hz at 4K or switch the resolution to Full HD and run 240 Hz. So there’s a wide choice, although it’s worth remembering the motion smearing mentioned earlier, which the high refresh rate does not eliminate. VRR and ALLM are also present. The first helps prevent tearing when frame rates in a game change. The second automatically switches the TV into game mode, so you don’t have to dig through the menu each time. VRR works from 48 to 240 Hz, with the highest refresh rate available in Full HD. Xbox users can also play in Dolby Vision, including at 120 Hz. Importantly, this format does not introduce significant input lag here. The Game Bar also looks very good. It’s easy to read, visually appealing, and lets you quickly check what signal the TV is receiving. There are also handy gaming settings at your fingertips, including shadow brightening. If it’s hard to spot an opponent in a dark game, you can improve visibility without digging through the entire menu.

Our biggest complaints concern HGiG. Hisense continues to do its own tone mapping, which makes setting HDR on the console confusing. You adjust a checkerboard test pattern and the TV continuously adapts how it looks. As a result, the moment the pattern disappears does not correctly indicate the screen’s brightness limit, and it’s easy to set the value too high. For this model it’s better to set the target HDR peak brightness on the console to about 900 to 1000 nits, rather than relying on the configurator.