Sony Bravia 9 (XR90) vs TCL C6K

The results of brightness measurements on the Sony Bravia 9 are phenomenal. Each scene reaches well over 1500 nits, and when watching films, the television can sometimes shine even brighter. It goes without saying that such brightness allows for unprecedented experiences and engagement with video material at the highest possible quality. Thanks to the high coverage of the DCI-P3 colour palette, the image is full of colours and, combined with such high luminance, it practically breathes. With high peak brightness, viewers can enjoy the full range of colours even in the most challenging scenes, such as those based on dynamic lighting changes. The Bravia 9 offers support for Dolby Vision and HDR10 formats, which further enhances the viewing experience.

TCL C6K is a moderately bright television that can showcase its full potential under the best cinematic conditions – the maximum brightness is around 600 nits. In scenes with large, intense light sources, the HDR effect can be truly satisfying, providing a sense of cinematic sparkle. However, it is important to remember that when managing backlight zones, there are occasions where some elements are dimmed, and at times become barely visible. It is clear that there is a lack of proper algorithm optimisation here, although looking at the technical parameters in this price range, the overall construction performs exceedingly well.

The best factory mode in Sony televisions has consistently remained "IMAX Enhanced" for years. It was this mode that we used throughout the entire testing procedure. Although it is indeed the most similar to the standard compared to other predefined options, it has a number of aspects that can be improved to make viewing even more enjoyable. When we look at the gamma in SDR materials, we notice quite a significant boost that will be associated with image contrast. It is worth noting that the very beginning of the graph has an even greater rise compared to the reference, leading to a blending of details in the blacks, creating a uniform blot. The EOTF curve in HDR content looked quite correct and exhibited only minor deviations from the reference. However, a common feature for both was: a green colour dominance in white balance, issues with greys and overall colour misalignment. The aspect that stood out the most was related to the uneven distribution of hues in white balance. Due to the excess of the aforementioned colour, the image was covered with an unpleasant greenish tint.

In this year's TCL televisions, the Filmmaker mode has appeared, and it must be admitted that it is definitely the best choice straight out of the box. This is the mode we recommend for daily watching of films and series. Unfortunately, as is often the case, the best does not mean perfect. In the case of SDR content, the image was too warm, as the red was quite pronounced in the white balance. Conversely, with HDR content, we had the opposite impression – the image became cooler than it should have been due to an excess of blue. Additionally, the brightness characteristics sometimes led to overexposure. In practice, this resulted in quite noticeable errors in colour tests, which are difficult to accept in a mode advertised as "from the creators."

The colour reproduction after the calibration process should be regarded as excellent. Regardless of the signal, whether SDR or HDR, we can expect an image that is remarkably close to what the film director saw. Virtually every flaw in the image has been modelled and maximally corrected. This was made possible thanks to the advanced tools used for the calibration process, which Sony has been providing in its televisions for years, including 2- and 20-point grey scale adjustment as well as a very comprehensive CMS.

Thanks to the white balance adjustment, it was possible to significantly reduce the C6K's tendency to distort colours, which translated into a very good final result. After calibration, we will no longer observe the effect of excessive warmth in SDR scenes or overly cooling the image in HDR. However, it is worth taking a closer look at the brightness characteristics. In SDR content, it is difficult to have major objections – the image looks really good, especially in older films, television programmes, or materials from YouTube. It fares much worse in the case of HDR content. An analysis of the EOTF curve suggests that everything is fine, but in practice (EOTF in films), the limitations of the design become apparent. The television tends to over-brighten the smallest parts of the frame, and in other situations, it can dim an entire scene too much. The effect of calibration is therefore evident, and in terms of colour, the C6K has gained quite a lot, but certain limitations arising from local dimming and, in fact, from its management by the C6K simply cannot be overcome.

Let’s take another look at the quality of tonal transitions, but this time we will analyse the quality of image scaling, which will be significantly important when watching lower quality materials. For starters, we will take a look at the function responsible for the quality of tonal transitions. And while by default they are quite average, after activating the option, even at the lowest level, we can confidently say that these are among the best we have seen. You can confidently enable this feature, as it does not cause any negative phenomenon, such as film grain blurring.

Sony has been boasting for several years now that its "XR" processor is unmatched when it comes to image scaling. And we find it quite easy to believe, because in fact the image is extremely sharp, yet very natural.

TCL C6K performs quite well in terms of scaling. Lower quality materials look acceptable, and the absence of overscan issues means that the image is displayed in full, without cropping. However, one cannot expect miracles – very low-quality content will not gain a new life here, as the image processor has its limitations. On thin lines or details, there is a noticeable characteristic jerking, which reveals the lack of advanced image enhancement algorithms. It is also a pity that the C6K lacks the feature for smoothing tonal transitions – in older films or video materials, colour banding can be noticeable and can be distracting during longer viewing sessions.

The maximum refresh rate of the Sony Bravia 9 is 120 Hz. This is the essential minimum for watching primarily sports or materials with significant motion dynamics while maintaining a sharp and smooth image. For demanding users, the manufacturer has implemented a very comprehensive smoothing system, which has been divided into three segments: Smoothness (Film), Smoothness (Camera), and Clarity. The first two correspond to the degree of blurring and the degree of smoothing, respectively. The third option will be described in more detail below. Moreover, we can adjust all settings to various degrees, each of which will produce an effect, ensuring that we can find our own golden mean. In the picture, we present a setting with slight smoothing, without the soap opera effect.

The TCL C6K utilises a 144 Hz panel, which is a significant advantage in this price range. This is an important step forward compared to the previous model, the C655 PRO, which only offered 60 Hz in 4K. The difference is especially noticeable when watching sports or gaming – the ball, players, or fast action in a game are shown more clearly and without losing details. Interestingly, the panel can also operate at 240 Hz, which the manufacturer does not mention in the official materials. We will return to this topic when discussing the PC gaming mode.

TCL has also added a feature for those watching films: "Motion Clarity", which allows users to adjust the image to their liking using two simple sliders. One can either keep the film frame visible or opt for a very smooth, almost theatrical effect. This way, everyone can find settings tailored to their taste.

The Sony Bravia 9 television is equipped with four HDMI ports. However, somewhat inexplicably for a device of this class, only two of them operate in the 2.1 standard. That said, it should not be overlooked that almost all functions perform excellently and do not cause any negative feelings when being activated. Games running either in HDR10 or Dolby Vision have very low input lag, allowing for a very comfortable session with the title. A consolation remains in the form of a good implementation of the HGIG mode, which, after proper adjustment, does not differ significantly from Dolby Vision.

A year ago, Sony added to its televisions what has long been a standard for some manufacturers. This refers, of course, to the GameBar, enabling quick adjustment of settings without the need to exit the game. The implementation of this feature was successful and works very efficiently. We have been provided with conveniences such as: a crosshair grid, black level correction, and the option to reduce the screen to the proportions of gaming monitors.

The Sony Bravia 9 will undoubtedly find its fan base, most likely among PlayStation enthusiasts. Here, we must admit that it will be the most sensible choice, as in practice both the console and the television possess exactly the same capabilities. Looking at the bigger picture, while overlooking the issues with Dolby Vision in games, one cannot detract from the fact that the Bravia 9 is a very good television in the context of gaming.

The TCL C6K is a television that can confidently be described as equipment designed with gamers in mind. Here we have 4K at 144 Hz, VRR support, automatic game mode (ALLM), and Dolby Vision Gaming. Additionally, there is a practical Game Bar, which is a panel with the most important settings easily accessible – useful when we want to quickly change something during gameplay (e.g. screen aspect ratio: Yes, it can be done!). The wide range of VRR is also noteworthy, reaching up to 240 Hz. However, this option is primarily for PC gamers who will drop the resolution below native 4K. At that point, the television can spread its wings and demonstrate extra fluidity, especially in fast-paced esports titles. In the case of consoles, we stick to the classic limit of 120 Hz, but the possibilities are still really broad. The only drawback might be slight ghosting, which can sometimes be seen in dynamic scenes. Apart from that, though, the C6K offers everything that gamers expect from a television.