TCL C69K / Q6C vs TCL C8L / QM8L

In terms of brightness, TCL C69K / Q6C is a moderate model. In optimal film conditions, it shows its full potential, achieving a maximum of around 600 nits. In scenes with large, intense light sources, the HDR effect can be truly satisfying, providing a cinematic shimmer. However, it should be noted that when managing backlight zones, there are situations where parts of the image become dimmed, and sometimes they are barely visible. This suggests that there is still a lack of proper optimisation of the algorithms; however, considering the technical parameters in this price range, the design itself still presents very well.

In terms of HDR, the TCL C8L turns out to be a hellishly bright television – quite literally. On a synthetic test pattern sized at 5%, our measurement equipment indicated a result exceeding 4500 nits. This is a truly astronomical result, considering that reference monitors used by directors, which we often refer to in our materials, typically operate around 4000 nits. Does this mean that the C8L breaks barriers and climbs to the technological peak of Mini-LED? Not quite. Dry synthetic tests are one thing, while real cinematic images are another. In real, varied scenes, the C8L peaks at around 1600 nits. This is still a very good result, ensuring a very high level of HDR dynamics, but it is also clearly lower than what the manufacturer boasts in the specifications. The problems begin with very small bursts of light – at that point, brightness can drastically drop to around 600 nits. The algorithm tries at all costs to maintain deep blacks and minimise the halo effect, but this comes at the expense of HDR impact. This is perfect evidence that laboratory test patterns rarely align with what we ultimately see on the screen.

However, huge praise is due for colour reproduction, thanks to the new generation of SQD (Super Quantum Dot) quantum dots. The DCI-P3 colour gamut coverage reaches 97%, but the truly jaw-dropping measurements come from the extremely demanding BT.2020 space. The C8L achieves an impressive 90% in this space, placing it alongside today's top screens equipped with RGB backlighting. Importantly, unlike some screens with Micro/Mini RGB backlighting, this effect is stable regardless of the scene displayed. Of course, it’s worth remembering that content mastered for such a wide gamut in films or series is still rare. However, the very fact that the panel has such a "colour reserve" deserves tremendous admiration.

The Filmmaker mode, which has made its debut in this year's TCL televisions (including the C69K / Q6C), is definitely the best choice "to start with." This is the mode we recommend for daily film and series viewings. Unfortunately, as is often the case, best does not mean perfect. In SDR material, the image proved to be too warm, with a pronounced red tint in the white balance. We had the opposite impression with HDR content – here the image became cooler than it should, due to an excess of blue. Additionally, there is the characteristic of brightness, which at times resulted in overexposure. In practice, this translated into quite noticeable errors in colour tests, which is difficult to accept in a mode branded as "from the creators."

We tested the TCL C8L in the best factory mode available in the TV’s menu for image fidelity. That’s of course Filmmaker Mode, which only arrived in this brand’s software relatively recently (a year ago in the "K" series). It allows the average user to achieve quite decent colour reproduction straight out of the box, though it is certainly not perfectly tuned. Looking at the unit’s out-of-the-box white balance — in both SDR and HDR material — the red component was clearly lacking, which made the image noticeably cooler and slightly shift towards blue‑green tints. The issue of brightness management also looks ambiguous, as we mentioned earlier. While the gamma linearity in SDR content is really good and stays steadily at the reference value of 2.4, the situation in HDR is much worse. Tracking the EOTF curve clearly shows the TV has a noticeably boosted brightness across the entire range, so the final image can be excessively bright and inconsistent with the creators’ intent, and this is in a mode that by definition should avoid that. Of course, as with every sample in our lab, we subjected this one to professional calibration, and you can find the results below.

Through white balance correction, we were able to significantly reduce the tendency of C69K / Q6C to distort colours, which yielded a very good final result. After calibration, the issue of excessive warming of scenes in SDR and excessive cooling of the image in HDR disappeared. However, it is worth analysing the brightness characteristics more closely. While in SDR content it is hard to have major objections – the image looks really good, especially in older films, TV programmes or on YouTube – it performs significantly worse in the case of HDR content. Analysis of the EOTF curve suggests that everything is fine, yet in practice (EOTF in films) the limitations of the design itself become apparent. This model has a tendency to excessively brighten small parts of the frame, only to overly dim the entire scene in other situations. The effect of calibration is therefore undeniable, and in terms of colour reproduction, C69K / Q6C gains a lot. Unfortunately, certain limitations arising from local dimming management simply cannot be bypassed.

As you can see, the results of a professional calibration of the TCL C8L are truly promising, thanks to the comprehensive calibration controls the manufacturer has provided in the menu. Above all, we managed to fully correct the white balance, eliminating the red deficiency, so the image finally stopped drifting into unwanted cool tones. After that adjustment, the errors in the ColorChecker test fell to near-reference values, consistently sitting below a Delta E threshold of 2, i.e. below the visibility threshold for the human eye.

If test patterns look so perfect, you may ask us why the final score in this category is lower. The answer lies in the brightness management described earlier. Although the menu includes sliders that let you precisely straighten the EOTF curve on synthetic signals, when faced with real film material (I recommend enabling the EOTF filter when watching films), it becomes clear that the TV, in most scenarios, still responds to HDR metadata in its own way. As a result, the picture can be slightly over-bright and not faithful to the filmmakers' intent, and it is precisely for this lack of consistency with real films that we had to take a few points off the C8L's score.

In terms of image scaling, TCL C69K / Q6C performs quite well. Lower quality content appears acceptable, and thanks to the lack of overscan issues, the image is displayed in full without any cropping. However, one should not expect miracles – very low-quality materials will not gain a second life here, as the image processor has its limitations.

Thin lines and details exhibit characteristic tearing, which reveals the absence of more advanced image enhancement algorithms. It is also a pity that the C69K / Q6C lacks a tone transition smoothing feature. As a result, in older films or video materials, banding of colours can be visible and may become distracting during prolonged viewing.

This year the C8 series and the higher-end models have probably received the biggest and most eagerly awaited upgrade in TCL’s history, and it concerns digital picture processing. The C8L is the entry-level model in the manufacturer's line-up that has been equipped with the latest flagship chip MediaTek Pentonic 800 (listed in the menu as MT9655). It is thanks to its computing power that the feature called "Gradual Smoothing" finally works as it should. The algorithm effectively removes unwanted posterization (ugly tonal transitions / colour banding) from the image, doing so intelligently enough that it does not degrade the sharpness of other details.

The processor also handles upscaling lower-resolution content to 4K very well. Although assessing this element can be largely academic, because the differences between today’s TVs in this class are very subtle. The most important takeaway is that TCL finally has nothing to be ashamed of compared with the competition.

The use of a 144 Hz panel in TCL C69K / Q6C is a significant advantage in this price range. It represents an important step forward compared to its predecessor (C655 PRO), which only offered 60 Hz in 4K. The difference is particularly noticeable when watching sports or playing games – the ball, players, or dynamic action in games are displayed more clearly and without loss of detail. Another interesting feature is the panel's ability to work at 240 Hz (which the manufacturer does not officially mention) – we will return to this topic in relation to the PC gaming mode. TCL has also added a feature for movie fans: “Motion Clarity”. This allows users to adjust the picture to their preferences using two simple sliders. We can either keep the visible film frame or opt for very smooth, "

The TCL C8L is equipped with a fast panel with a native refresh rate of 144 Hz. This specification will be most appreciated by demanding PC gamers, while most users, who rely on consoles or TV broadcasts, will make use of a stable 120 Hz. It is at 120 Hz that the motion-processing algorithms take care of image processing (in films, series and sports). In the TV menu you'll find a "Motion Clarity" tab that allows you to tailor the motion smoothing to your own preferences. The algorithms cope well with both cinematic productions at 24 or 30 frames per second and with fast-paced sports broadcasts at 50 or 60 frames per second, ensuring appropriate smoothness.

TCL C69K / Q6C is a television that can confidently be described as equipment created 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 conveniently at hand – useful when we want to change something quickly during gameplay (e.g. screen aspect ratio: Yes, it can be done!). The wide range of VRR, reaching up to 240 Hz, is particularly noteworthy. However, this option is mainly for PC gamers who will operate below the native 4K resolution. In that case, the television can spread its wings and show additional smoothness, especially in fast-paced e-sports titles. For consoles, we stick to the classic limit of 120 Hz, but even so, the capabilities are truly extensive. The only downside is a slight ghosting that can occasionally be seen in dynamic scenes. Other than that, C69K / Q6C offers everything that gamers expect from a television.

For gamers – and especially for owners of powerful PCs and several consoles simultaneously – the TCL C8L is a true monster. It is the first model in this manufacturer's lineup to feature as many as four full HDMI 2.1 ports with a maximum bandwidth of 48 Gbps. This is directly attributable to the use of the new Pentonic 800 processor, which we discussed earlier. Additionally, the television seamlessly supports practically every gaming feature. We have an automatic game mode (ALLM) that reduces latency to minimal levels, and full frame synchronization (VRR) operating in an impressive range of up to 288 Hz. There's also talk of standards such as G-Sync or FreeSync from Nvidia and AMD. When it comes to display standards, there are no compromises either: the C8L offers complete support for HDR formats in games, including gaming Dolby Vision and the HGiG profile. We can conveniently manage all of these features from a very readable player bar (Game Bar), which we can personalise to our own preferences. From a purely gaming perspective, there's really nothing to fault the C8L on – well, maybe aside from the previously mentioned slight blurring. But other than that? It's a no-nonsense machine for gamers.