TCL C6K vs TCL C69K / Q6C

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.

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 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 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."

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.

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.

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.

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.

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 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 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.

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.