TCL C655 / C69B 98' vs Sony BRAVIA 7 II

The quality of HDR effect on the TCL C655 / C69B looks quite promising. The average value in the test charts is around 450 nits, which already allows for a hint of the brilliance of light effects and better image dynamics. However, as previously mentioned, this effect can be somewhat subdued by slight differences in bright and dark colours, resulting from the lack of local dimming technology. Nevertheless, the DCI-P3 colour gamut coverage of 94% deserves high praise, and this is made possible by the use of a quantum dot (QLED) panel. As a result, colours are vibrant and well-rendered when watching HDR content.

The Sony Bravia 7 II handles HDR very well and, above all, is simply a bright television. In the correct viewing mode, Professional, we measured around 2,000 nits of peak brightness, so the panel’s capabilities are truly significant. Of course, with Mini-LEDs a test pattern result is only part of the story, because a lot still depends on how the TV controls the backlight in real scenes. Here Sony’s algorithms perform very well. Depending on the scene, the brightness we measured in films ranged from roughly 1,100 to as much as 1,700 nits. That’s already a level at which HDR has proper punch and bright highlights can be genuinely impressive. It isn’t perfect in every situation, though. With small bright elements on a very dark background the Bravia 7 II clearly favours maintaining good blacks, which can cause their brightness to drop to around 500 nits. It still looks good, but you can see the TV does not always manage this without compromise.

Colours

The second thing that has a huge impact on HDR is, of course, colour. And this is precisely where True RGB technology was meant to bring one of the biggest changes. Looking at the panel’s capabilities alone, the Bravia 7 II performs very well. We measured about 98% DCI-P3 coverage and 88% BT.2020, so the potential to show strongly saturated colours is really large. In RGB TVs, however, the situation is a bit more complex. When we repeated the same measurements with a film background applied, palette coverage fell to around 92% DCI-P3 and 78% BT.2020. Those are still good figures, especially for an RGB Mini-LED TV, but they clearly show that the final result largely depends on how the algorithms control the three backlight colours. In most scenes the Bravia 7 II handles this well and colours retain high saturation. The biggest differences are visible in shades of blue, where samples begin to deviate more noticeably from reference values and coverage is weaker than for the other primary colours. True RGB therefore offers genuinely greater potential here, but, as with brightness, much depends on what is happening on screen.

The TCL C655 / C69B television offers a film mode that has been tested for colour reproduction quality. Although this mode is called film mode, unfortunately, it has many errors that the director would certainly not want to see when recording their work. Starting with image analysis, it's worth examining the white balance – both in HD and 4K HDR content, the white balance has significant errors. In both cases, the red colour dominates, making the colours too warm, and the overall image takes on a pink or yellow tint. The Colour Checker test confirms these errors – the colour samples stray into incorrect shades, affecting the overall colour fidelity. A minor issue is the brightness characteristics. However, this too is not without flaws. The gamma graph shows a strong spike at the beginning, which can cause the image to be excessively brightened, and the EOTF curve responsible for brightness in 4K HDR materials also has significant variations – it is evident how the television tries to maintain the appropriate brightness, but it does not always manage to do so effectively.

To evaluate the factory colours we chose the Professional mode, because it performs best among the available settings. However, it is not perfect. In SDR the white balance drifts slightly towards magenta, making some scenes look a little warmer and less neutral than they should. A bigger problem is the gamma, which sits closer to 2.5 than to 2.4. This makes the image a bit too dark in places, particularly in the midtones. In HDR the situation is better. As brightness increases a little too much red appears, but this is not an issue that is highly noticeable during viewing. Overall the Professional mode is a good starting point, although you can get a bit more out of it after calibration.

After calibrating the television's movie mode TCL C655 / C69B , the white balance has been adjusted, and the colours are displayed as they should be – which is confirmed only by slight deviations in the Colour Checker test. The gamma is really correct, which means the television shouldn't have problems with brightness in low-resolution materials. Unfortunately, a similar EOTF characteristic is still visible, which is a natural phenomenon in televisions that do not have local dimming – they simply struggle to "shine" stronger in a given section of the screen. Despite this design limitation, which cannot be bypassed, we recommend adjustment in the settings, as the overall coloration looks really very good.

After calibration the Bravia 7 II can look decidedly better. Above all, we managed to set the white balance very well, both in SDR and HDR. Gamma can also be improved, which after correction runs very close to the reference value. And in fact, for most users these changes will have the greatest impact on the picture. There is, however, a limitation when it comes to the colours themselves. In the Bravia 7 II Sony does not provide access to a classic CMS that would allow us to correct individual hues separately. A lot is therefore left in the hands of the algorithms controlling the True RGB backlight. If the TV misrepresents a particular colour, we are not always able to do anything about it. In our measurements this is most visible in certain reds and blues, where errors can still be quite large. This does not, however, undermine the point of calibration itself. Correctly setting the white point and gamma strongly affects the whole picture, so even without the ability to precisely correct every colour the difference compared with the factory settings is noticeable.

The TCL C655 / C69B television handles tonal transitions in lower quality materials well. The "Gradual Smoothing" function, at its lowest setting, effectively eliminates visible banding, but at the same time causes a loss of detail, for example, in the texture of objects. The advantage is that it does not interfere with film grain, allowing the image to maintain a natural appearance.

In terms of digital processing, the television adds a considerable amount of artificial sharpness, which may appeal to those who prefer a crisp image. For those who favour a more subtle representation of details, this could be a downside. Another drawback is the rather aggressive overscan – the image gets cropped, leading to the loss of portions at the edges and limiting the field of view.

Scaling and digital processing are among the strongest points of the Bravia 7 II and one of the bigger reasons to choose Sony over the competition. The manufacturer has been handling digital image processing well for years, and it shows here too. First and foremost, the 'Smooth Gradation' function works very well and can smooth out weak tonal transitions in lower-quality material. The safest setting is Low, but we would comfortably recommend Medium as well. The effect is stronger then, yet the TV still treats details very gently. Some fine details may be slightly smoothed, but Sony does this much more subtly than many other brands. The upscaling itself also performs very well. Lower-resolution material is well upscaled to 4K, the image looks clean and retains a lot of detail. Of course the TV will not magically turn native HD material into true 4K, but what can be extracted from such a source is handled really well by the Bravia 7 II.

Unlike smaller versions, the 98” model stands out with significantly better motion fluidity. Instead of the standard 60 Hz, this colossal screen is equipped with a full-fledged 144 Hz matrix, which opens up entirely new possibilities – both for gamers and movie lovers. Thanks to the full motion smoother, the television provides incredible image fluidity, eliminating motion blur and enhancing the viewing comfort of dynamic scenes. It is worth noting that this technology works across the full refresh range, meaning that there is no need to compromise between fluidity and quality. Additionally, the "Flicker Reduction" function allows you to adjust the fluidity to your own preferences – you can opt for a more cinematic effect with visible frames or an extremely smooth image.

The Bravia 7 II uses a 120 Hz panel, so in terms of motion handling it delivers everything you would expect from a TV of this class. With sport or games at 120 fps, the picture is suitably smooth, and for films Sony provides an extensive motion interpolation system. You can therefore adjust the interpolation level separately and decide whether you want to preserve a more cinematic character to the motion or obtain noticeably smoother movement. The issue of motion blur itself is a little worse. The VA panel used is not among the fastest, and you can notice a slight trail behind moving objects, particularly on darker backgrounds. It is not at a level that greatly bothers during normal viewing, but last year’s Bravia 7 fared better in this respect and had a noticeably faster panel.

The 98-inch TCL C655 / C69B is excellently equipped for gamers. Full HDMI 2.1 ports and a 144 Hz panel allow for gaming in 4K at 120 Hz, providing fluidity and responsiveness that will impress even the most demanding.

The television supports Variable Refresh Rate (VRR), eliminating screen tearing, while the Automatic Low Latency Mode (ALLM) ensures that the game starts immediately without the need for manually switching settings. There is also support for Dolby Vision and HGiG, making the image quality in games even better – details are sharp, colours are natural, and contrast is perfectly balanced.

Additionally, the television offers a dedicated gaming panel that allows for quick adjustment of picture settings without the need to exit the game. It is a device that meets virtually all the requirements of a modern gamer.

Bravia 7 II has basically everything you’d expect today from a good console TV. It supports 4K at 120 Hz, VRR from 48 to 120 Hz and ALLM, so when you start a game the TV automatically switches to a low-latency mode. It also has properly working HGiG, which means that after configuring HDR on the console the TV won’t try to brighten the image further on its own. You just need to remember to turn off tone mapping in the TV’s menu. Dolby Vision in game mode is also a plus, especially useful for Xbox owners. Sony adds its own Game Menu. From it you can quickly check key signal information, verify VRR operation or change gaming-related settings without digging through the whole TV menu. The only thing missing from the feature list is support for 1440p at 120 Hz.

Our biggest reservation is not really about the functions themselves, but about the connectors. The Bravia 7 II has four HDMI ports, but only two of them support full HDMI 2.1 at 48 Gbps. One of those is also an eARC port. So if you connect a soundbar or AV receiver to the TV via HDMI, in practice you’re left with only one full HDMI 2.1 for a console or PC. With a single console that’s no problem, but with a PS5, an Xbox and an audio setup it starts to get tight. And this is hard to excuse for Sony. In cheaper TVs two HDMI 2.1 ports can still be acceptable, but in a model of this class, especially in 2026, we would expect a full set of four such ports.