Sharp GP7 vs TCL C6KS / C69KS / Q6CS

In terms of HDR, Sharp GP7 can pleasantly surprise us. A maximum brightness of around 500 nits is the threshold at which the real benefits of high dynamic range become visible. During our tests, we achieved stable values between 430 and 500 nits, which translated to clearer differentiation of elements in both bright and slightly darker scenes. Additionally, the DCI-P3 colour space coverage was around 95%, allowing for vibrant, visually pleasing colours. Of course, this is not the highest league, but considering this price range – it’s a big plus.

And what about HDR? Here, the C6KS performs quite well and – as has become a recurring theme of this review – identically to the C6K model. The maximum brightness generated by this television is around 600 nits. In bright scenes, this translates to a really solid, cinematic effect, and generally, the video materials look good here. However, one must keep in mind the specifics of the dimming algorithm in this model. When very small, bright points (e.g., stars) appear against a dark background, the television can dim them quite significantly. The goal is simple: to eliminate blooming and maintain the best possible blacks. This is quite a reasonable compromise. Most viewers will definitely appreciate deep, "true black" more than additional micro-details, the display of which could cause the screen to appear greyed out. This is the nature of local dimming technology in this price range, and one must be aware of it. It is also worth noting that the TCL C69KS (C6KS) has an additional PFS coating, which is marketed under the slogan of QLED technology. Thanks to this, the colours are saturated and vibrant – our measurements showed that the coverage of a wide colour gamut reaches as much as 92% here.

Upon removing it from the box, in movie mode, GP7 does not perform poorly at all. In HD materials, we noticed slight disturbances in white balance – drops in red and blue, which made the image have a somewhat greenish hue. This is evident, for example, on the faces of characters, which become less three-dimensional. The gamma is somewhat brightened in places, resulting in less deep blacks. In 4K HDR content, a cooler, bluish tone additionally comes to the fore, making the colours appear less natural. On the other hand, looking from the perspective of "straight out of the box," these settings are not bad – only minor adjustments are needed, and with the help of specific tools, we will try to improve them.

Unlike the more expensive C6K model, the tested C6KS does not have an option in the menu labelled as Filmmaker Mode. Is this a reason to cry? Absolutely not. Our tests have shown that in practice, in terms of colour reproduction, the lack of this specific label makes virtually no difference. The best available Film/Cinema mode here offers an almost identical picture characteristic to the aforementioned Filmmaker in the more expensive model. So we get a very similar image, just under a different name. Therefore, if you were wondering whether paying extra for the C6K gives you better colours – the answer is no, in both cases the base is the same and requires slight adjustments.

Calibration really makes a difference in Sharp GP7. After making adjustments, we achieved a better white balance in HD content, and the colours began to appear much more natural, with minimal deviations and without a noticeable dominance of individual hues. In 4K HDR, the change is not as spectacular, but still noticeable. The gamma has been brought to a more neutral level, although there remains an issue with a slight boost in the brightest details on the screen. The lack of control over dynamic tone mapping limits our manoeuvrability, but nonetheless, it is a significant step forward compared to the factory settings.

Thanks to the white balance adjustment, the C69KS's tendency to distort colours has been effectively limited, resulting in a very good final effect. After calibration, we will no longer see excessive warming of scenes in SDR or overly cool tones in HDR. However, it is worth noting the brightness characteristics. In SDR content, it is hard to have any objections – the image looks very good, especially in older films, television programmes, or materials from YouTube. It is significantly more challenging to evaluate the television's performance in HDR. Analysis of the EOTF curve suggests correct behaviour, but its practical variant reveals certain limitations. The C69KS can overly brighten the smallest elements of the frame, while at other times, it can dim the entire scene. Thus, calibration brought clear benefits in terms of colour quality, but certain limitations resulting from the local dimming operation and the way it is controlled by the C69KS cannot be overlooked, as we also saw in the C6K test.

The television is quite capable of scaling lower quality content. Our test patterns were well reproduced, and although there was minimal banding on fine, delicate shapes (for example, thin branches), it still looked satisfactory. Additionally, Sharp GP7 offers a "10-bit colour reproduction" feature to smooth tonal transitions in poor quality materials. It is useful, but at the cost of some details, so we recommend turning it on only when we are truly watching something subpar.

The C69KS handles upscaling quite well. The tested 576p material looks surprisingly decent – a considerable amount of detail is retained, and the algorithm adds a slight "rounding" effect to sharp edges, making the image appear more cohesive. The performance in smoothing tonal transitions is less impressive. The television practically cannot improve them, leaving the image in a rather raw state. With older material, this can be quite tiring, as the lack of additional processing highlights any imperfections.

With a 60 Hz panel and an average response time, it’s hard to expect miraculous smoothness. In dynamic tests, such as the one with the “little green man”, it’s evident that the picture can stutter and occasionally lose sharpness. For watching films and series, this is acceptable, especially as you can make use of a motion smoother with three levels of adjustment. However, if we are keen on ultra-smooth sports broadcasts or super-responsive gaming, we may feel unsatisfied.

C69KS offers a simplified motion enhancement panel in films, allowing the adjustment of effect intensity with a slider. This makes it easy to match fluidity to personal preferences. The ability to use higher refresh rates is also a plus – although the panel operates natively at 4K at 60 Hz, lowering the resolution to 1440p enables 120 and 144 Hz modes, both on consoles and PC. This sounds like great news, however, in practice, the image at these settings exhibits significant motion blur. The effect is so pronounced that the overall presentation appears merely average and loses its appeal for everyday use.

Let's not kid ourselves – GP7 Sharp is not a television for the most demanding console gamers. Yes, it has ALLM which automatically switches the TV to low latency mode, but it lacks VRR or G-Sync. We also won't find any advanced menu to assist in selecting settings during gameplay. Dolby Vision in games? It's there, but with such a high input lag that it's hard to speak of comfort. If we play occasionally and are not aiming for the highest standards, it can be managed, but fans of technological innovations will be disappointed.

If we overlook the smudging and lack of native 4K at 120 Hz, the C69KS impresses with how well it performs during gaming. We get everything one can expect from a gaming television: variable refresh rate (VRR), automatic switching to game mode (ALLM), Dolby Vision Gaming mode, and a well-functioning HGiG. The television can also operate at 120 and even 144 Hz at lower resolutions, allowing for smoother gameplay on a console or PC. Additionally, there is a clear Game Bar that lets you quickly glance at key settings while gaming. As a result — despite a few limitations — the C69KS can be a really successful screen for gamers.