Samsung QN85F vs TCL A400 PRO

Although more than twice the number of dimming zones compared to its predecessor did not translate into a spectacular jump in black levels and contrast, we definitely felt it in the HDR effect itself. The QN85F is up to 50% brighter than last year's model, making a huge impression in dynamic scenes. The peak brightness can reach almost 1700–1800 nits, which is truly impressive for Mini-LED in this class. The best part is that almost regardless of the scene being watched, the HDR effect remains strong and vibrant. In four out of five test scenes, brightness was maintained around 1000 nits, a level that in most cases allows the viewer to experience the true magic of this format. Of course, in scene number 4 from the film Sicario 2, the limitations of Mini-LED technology become apparent – the brightness of the helicopter’s small light drops to around 500 nits. This result is not stellar, but it is still much more acceptable than last year's model. Samsung therefore deserves applause, as the improvement in brightness in the QN85F is drastic compared to its predecessor. However, it is a shame about a certain trend visible in this year's televisions – the manufacturer has worsened the colour gamut coverage. Although the QN85F has a QLED panel, its score of around 90% DCI-P3 is average, and in the most demanding films, it can lead to less vibrant colours than its predecessor. Despite this shortcoming, the overall HDR effect stands at an excellent level and truly makes a big impression in this class of devices.

The TCL A400 Pro is a moderately bright TV. Its peak brightness reaches around 600 nits. That level already allows for a real HDR effect, and in many films it does produce a noticeably more attractive picture than in SDR. However, it is not a level that overwhelms with sheer brightness. The A400 Pro therefore isn’t one of those TVs that ‘attack’ the viewer with a powerful flash in every eye-catching scene. The biggest limitation is seen with small bright elements on a dark background. Because of fairly aggressive local dimming control, the TV can significantly reduce their brightness, in extreme cases even to around 100 nits. This means that small lights, sparks, stars or individual highlights can be much less visible than they should be. It’s worth adding, however, that this isn’t without reason. The A400 Pro does this to maintain as deep a black level as possible and to limit the halo effect around bright objects. So it’s an intentional compromise: the TV more often opts for deeper blacks rather than maximally bright, point-like highlights. On one hand this can be understood, especially given the limited number of dimming zones, but on the other you should be aware that the HDR effect won’t always be as strong as the peak brightness alone might suggest.

On the plus side, the colours are a strength. The PFS LED filter used here, marketed by the manufacturer as QLED, allows for suitably saturated colours. Coverage of the DCI-P3 gamut measured around 94%, and BT.2020 around 74%, which is a solid result for this class.

Samsung QN85F offers several preset picture modes, but by default, when the television is turned on, it starts in "Eco" mode. And we could actually end the discussion here, because for such a model, using this setting makes no sense – the picture is washed out, unpleasant, and far from what we expect from a television of this class. We therefore carried out our tests in the best of the available modes, which is the Filmmaker mode. Its purpose is to faithfully reproduce what the directors saw during the filming of the movies, and indeed this is the setting that performs best among all factory options. However, this does not mean that it is without flaws.

Both in SDR and HDR, the QN85F quite strongly emphasised warm colours. This resulted from deficiencies in white balance, where there was a distinct lack of blue. Additionally, the picture was sometimes overexposed – as indicated by both the gamma brightness characteristic and the EOTF curve, which showed that the television tends to blow out scenes. In SDR, the colour reproduction errors (Delta E levels of 4-5) were still acceptable, but in HDR the discrepancies became quite large and clearly deviated from what the creators intended to show us. Fortunately, Samsung provides a wide range of calibration tools in its televisions, so – as always – we proceeded with professional calibration to see how much could be improved.

As standard, we performed colour measurements in the best‑tuned Filmmaker Mode, the mode that is designed to be closest to the creators' intentions. The A400 Pro of course also offers other picture modes, but in practice these come with considerably larger colour errors and interfere more with the character of the image. Therefore we will not deal with them in detail in this part of the test. So how does the out‑of‑the‑box colour reproduction fare? In short: really very good. Actually, looking at our measurement results, downright excellent. Both the white balance and the luminance response were set surprisingly precisely. The errors were so small that during measurements we genuinely rubbed our eyes in amazement. Such good factory settings do not happen often, even in TVs operating in Filmmaker Mode. All the more credit is due to TCL, because the A400 Pro right out of the box can deliver an image very close to how the source material should look. The results were so good that one could easily think someone had already given this unit extra attention and tried to calibrate it.

Our nitpicking really comes down to just one thing. In SDR content the image was slightly brighter than the dark‑room reference intends, because the factory gamma was set closer to 2.3 than to 2.4. This is not a large error and most viewers will probably not even notice it.

It should, however, be noted that we are talking about our specific test sample. With factory colours there can always be some variation between units, production batches or screen sizes. We do not assume, therefore, that every A400 Pro will look identical straight out of the box.

After calibrating the film mode, we managed to tame the colours in both modes to near perfection – most of them did not exceed an error value of 3, which is the threshold of perception by the human eye. The image became more natural, fuller, and at the same time free from bloom, which was noticeable right after taking the television out of the box. This shows the great potential of the QN85F and how well it responds to precise settings. However, this does not change the fact that certain technological barriers cannot be overcome. Despite the enormous benefits of calibration, there are still limitations of the panel itself. Although the number of dimming zones has doubled compared to its predecessor, the algorithms controlling the backlighting can manipulate brightness in their own way. Sometimes this leads to slight colour inaccuracies or gently visible halo effects around bright objects. Nevertheless, the experience after calibration is truly pleasant and demonstrates how good a screen the QN85F can be if we just take a moment for proper settings.

Despite its superb factory calibration, we couldn't resist checking how the TCL A400 Pro would respond to professional calibration. Since the starting point was so good, we were all the more curious whether there was anything more to be had from the TV. And here we must boast: we managed to reduce our unit's colour errors to absurdly low levels. Measurements below a value of 1 are not something you see every day, even in very good TVs. Such results are more commonly associated with professional reference monitors than with a lifestyle TV for the living room. In terms of white balance and colour reproduction the A400 Pro therefore simply performed exceptionally well after calibration. The only gripe we have after closer analysis relates to the luminance behaviour. The TV adjusts luminance depending on the content being displayed and quite often the picture is slightly darker than the reference calls for. This is most likely due to the way the Mini-LED backlight and local dimming algorithms operate in this model. However, this does not spoil the overall impression, because in terms of colour accuracy alone the calibrated A400 Pro showed a level that was really hard to expect.

Although the native tonal transitions on the QN85F with 4K material perform excellently, we do not always deal with content in the highest resolution. At that point, it becomes crucial how the television handles upscaling and digital image processing. This process is managed by Samsung's proprietary processor – AI NQ4 Gen2. In practice, it operates very efficiently. If visible colour banding or other undesirable phenomena occur on the screen, for instance, in materials from YouTube, they can easily be smoothed out using the "noise reduction" feature. Set to a medium level, it improves tonal transitions without excessively blurring desired details. However, it is important to remember that – as with most Samsung televisions – this function heavily interferes with the film grain. Therefore, during cinematic screenings, it is wise to use it cautiously to avoid losing the natural character of the image.

The upscaling itself looks very good. Test materials in lower resolutions were displayed sharply and clearly, with a great deal of detail. The only downside remains the issue of overscan, which is the trimming of the edges of the screen. In most situations, this is not noticeable, but with very old materials below HD quality, there may be cases where a fragment of the image from the left side gets slightly cut off.

Digital image processing is, unfortunately, one of the weaker points of the TCL A400 Pro. That does not mean the TV performs badly, but it is hard to call it anything clearly above average. The upscaling itself is adequate: edges are smoothed fairly well, the picture does not look overly sharp or "pixelated", and lower-quality content can be watched without much discomfort. At the same time, the overall image is slightly soft and lacks the precision offered by the best image processors in more expensive TVs.

Much worse, however, is how it handles tonal transitions caused by strong signal compression. TCL has equipped the A400 Pro with a "Gradual Smoothing" feature that, in theory, should limit visible colour banding and artifacts in lower-quality material. In practice, though, its effectiveness is very limited. It does not improve tonal transitions in any noticeable way, and at higher settings it can also smooth out image details, giving the picture an artificial, slightly blurred character. For that reason, we think it is best to leave this feature off. The A400 Pro copes decently with basic image scaling, but if you often watch heavily compressed content with noticeable posterisation, this model will not be among the best choices.

Motion smoothing and fluidity in the QN85F is a topic worth discussing in more detail, as the television is equipped not with a standard 120 Hz panel, but with a 144 Hz one. The extra hertz will mainly be appreciated by PC gamers, but the mere presence of such an option can be seen as a nice addition and a sign of the times – it’s hard to complain about the trend towards faster panels, as in practice, each of us would prefer the image to be as smooth as possible. However, the most important thing is how the television handles typical 120 Hz refresh rates – in the case of consoles, sports, or films recorded at 24 or 30 frames per second. Here, the QN85F performs really well. In films, one can easily adjust the character of the image thanks to the "image clarity" function, where we find two adjustable sliders. Key for screenings is the one responsible for reducing judder. Lower values give the image a more cinematic character with preserved "frame rate," while higher values lead to strong smoothing reminiscent of television theatre.

The TCL A400 Pro is equipped with a 144 Hz panel, but in practice we are most interested in its behaviour at 120 Hz. That is the frequency most consoles are limited to today, as well as many sports broadcasts and high-frame-rate content. At that rate the TV performs quite well. The sharpness of moving objects is really good, especially after properly configuring the motion smoothing. The "Motion Clarity" function is responsible for improving smoothness. Its settings include two sliders that let you tailor how the motion smoothing operates to your preferences, separately for lower and higher frame-rate material. This makes it possible to achieve both a more cinematic look and a noticeably smoother picture. Those who do not want to fiddle with manual configuration can use presets such as low, medium, high, cinema or nature.

The Samsung QN85F makes a really great impression in terms of gaming features. It has four HDMI 2.1 ports, so we can easily connect multiple devices simultaneously. There is also variable refresh rate (VRR) which prevents screen tearing, as well as an automatic game mode (ALLM) that allows the television to switch to the appropriate settings when we start the console. Additionally, it supports refresh rates of up to 144 Hz – something that PC gamers will particularly appreciate, but the mere fact that such an option is available shows that Samsung is fully committed to supporting gamers. The Game Bar panel also deserves praise. It provides a quick overview of the most important parameters – from frame rate to refresh mode, even including shortcuts to picture settings. Instead of navigating through the entire menu, everything is at hand, which proves to be very convenient in practice. However, the most interesting addition is the Motion Plus gaming feature. It's effectively a motion smoother adapted for the gaming world. When enabled, the image becomes smoother, sometimes looking as if we've gained several extra frames, and importantly – the response time doesn’t increase enough to hinder gameplay. This solution truly sets Samsung's 120Hz televisions apart from competitors.

[UPDATE] We have updated our tests of Samsung televisions from the 2025 model year due to the release of software version 1131, which restored the crucial gaming feature HGiG.

The only major downside remains the lack of proper HGiG support. This is a standard responsible for correct tone mapping in HDR games, meaning that brightness and contrast are displayed as intended by the creators. Without HGiG, we have to adjust brightness manually, which doesn’t always yield perfect results. The feature was available in previous models, but it vanished from the QN85F after one of the updates. We hope that Samsung will quickly resolve this issue, and we will keep checking to see if it has been fixed.

In terms of features for gamers the TCL A400 Pro performs brilliantly. The TV has practically everything you can expect from a gaming TV today: support for 4K at high refresh rates, VRR, ALLM, correct implementation of HDR formats in games including Dolby Vision, and HGiG. That means it works well with both next-generation consoles and a PC. Another plus is the presence of the Game Bar, a special panel with the most important settings for gamers. From it you can quickly check basic information about the signal, refresh rate or active features, and also adjust the appearance and behaviour of some settings to suit your preferences. This solution may not change picture quality by itself, but it greatly improves the convenience of using the TV while gaming.

The only thing to complain about is the number of full HDMI 2.1 ports. The A400 Pro has only two such connectors out of the four available, and one of them also serves as eARC. In practice this means that if someone wants to connect two next-generation consoles and a soundbar, they may run into some limitations. In that scenario you will have to either swap devices or use additional equipment, such as an AV receiver or a soundbar with HDMI inputs. Even so, it is hard not to rate the A400 Pro very highly as a TV for gamers. The gaming feature set here is truly powerful.