TCL P7K / P79K vs TCL C69K / Q6C

When turning to the assessment of HDR performance, we must be clear and without marketing embellishments: the P7K/P79K is not, and was never intended to be, a master in this field. The maximum peak brightness that this panel can generate hovers around a mere 300 nits. This represents a threshold, a kind of thin red line between what can be considered a barely satisfactory HDR signal and what is, in fact, not much different from standard dynamic range (SDR), unfortunately leaning towards the latter. Synthetic tests found brutal confirmation in reality – our measurements taken during movie screenings showed that luminance in key bright portions of the scenes rarely exceeded the ceiling of 200-250 nits. Thus, this is not a television that would allow content realised in a wide tonal range to spread its wings, and this must be openly admitted.

Unfortunately, the issue of colour reproduction is presented with equal restraint. Although the manufacturer positions this model within the "QLED" family, thanks to the use of a PFS LED filter, the results do not match the heightened expectations. The coverage of the wide DCI-P3 colour gamut reaches only 86%. In the context of the market, this is at best an average result, as most devices that employ additional layers to expand the colour spectrum easily achieve values at a minimum level of 90-92%.

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.

Every accurate assessment of image quality must begin with selection of the most optimal factory mode. In the case of the tested model P7K/P79K, the choice was made without hesitation for the "Film" mode. It is this mode that presents an image closest to the intentions of the creators, avoiding both the exaggerated brightness of the dynamic mode and the excessive dimming known from eco settings. And it must be admitted that, for a device in this price range, the factory calibration is surprisingly decent, although it has not escaped a few missteps. The most noticeable flaw turned out to be the not completely correctly set white balance. A slight dominance of the blue component gives the image a subtly cool, cold character, thus deviating from the exemplary neutrality that the director wanted to show us. The television performs much better in reproducing the greyscale in the standard dynamic range – the gamma curve is nearly exemplary. The only minor reservation could be made regarding the darkest parts of the image, where a slight deviation from the norm causes a loss of some detail in the shadows. The most serious challenge for the TCL software, however, was interpreting the HDR signal, as illustrated by the course of the EOTF curve. The television follows its own, quite free path here – the darkest details are disproportionately brightened, after which there is a noticeable slowdown in the increase of brightness for midtones. Fortunately, most of these imperfections are software-related issues that can be eliminated. With this thought in mind, we began the process of professional calibration.

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."

The calibration process turned out to be spot on, particularly in the context of standard dynamic range (SDR) content. We successfully mitigated the television's tendency to emphasize cool tones, restoring the whiteness to its natural neutrality. Moreover, precise adjustments allowed us to correct a slight error in the gamma curve, ensuring that the darkest parts of the image regained their proper depth, without any trace of unnatural brightness. The effects are measurable and impressive – in the ColorChecker test, the overwhelming majority of colour reproduction errors fell below the perceptual threshold, achieving a deltaE value of under 2. This is a result that pricier models would not be ashamed of. Unfortunately, when it comes to HDR content, we encounter a barrier in the form of the inherent limitations of the panel itself. And although we managed to bring the colours into line, the software's characteristics mean that the television still adapts brightness in its own way, as evidenced by the persistent, non-standard EOTF curve. In summary, calibration adds immense value, but one must be aware that it cannot overcome certain physical barriers. The slightly elevated black level, due to the lack of local dimming, along with limited peak brightness, means that HDR content may not always be able to showcase its full potential. This is simply not the primary task of this display; its true strength, especially after professional tuning, lies in the viewing of SDR material.

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.

After a series of harsh evaluations, fortunately, the time comes for praise, and this is due to the TCL AiPQ image processor for its work in the field of digital processing and content scaling. It should be noted right away that we are not talking about the level known from flagship designs; however, in the price segment represented by the P7K/P79K, the results achieved are more than solid. The feature for smoothing tonal transitions performs particularly well, effectively eliminating posterisation, which are the characteristic bands often visible in highly compressed materials, for example, from the ChooseTV service. The algorithm adeptly removes unwanted gradients, which ultimately looks really good. The television also handles upscaling competently, which is the task of elevating low-resolution materials to 4K standard. The resulting image, although it may initially seem a bit too sharp, fortunately, is not a problem. The software allows for free adjustment of this parameter using a sharpness slider, making it easy to customise the final appearance to personal preferences.

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 issue of fluidity and sharpness of the image in motion is inextricably linked to a fundamental parameter of the matrix, and in the case of the TCL P7K/P79K, we are dealing with a panel with a native refresh rate of 60 Hz. This specification defines its capabilities from the outset and makes it difficult to unequivocally recommend it to enthusiasts of dynamic sports broadcasts. During fast camera movements, the image loses sharpness, and the panel also shows a slight tendency to smearing, which may be noticeable to more sensitive viewers. Fortunately, not everything in this aspect has been left to chance. The manufacturer has implemented a simple motion smoothing system, which is primarily used in film material recorded at 24 or 30 frames per second. Thanks to a dedicated slider, users can decide for themselves the final character of the motion – from maintaining a fully cinematic, slightly juddery image to achieving a very smooth, almost theatrical effect. It is a simple but effective tool that allows users to tailor the viewing experience to their own preferences.

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, "

Although on paper the native 4K@60Hz panel might suggest that the TCL P7K/P79K is not a television tailored for gamers, the reality is surprisingly different. On the contrary, the manufacturer has ensured a rich package of features that make it a very friendly companion for next-generation consoles. Onboard, we find key technologies such as ALLM, which provides automatic switching to low latency mode, and VRR, or variable refresh rate, which eliminates screen tearing. The list is complemented by support for Dolby Vision Gaming and a simple yet functional Game Bar. However, the real and extremely pleasant surprise is something else. It turns out that the television easily supports a high refresh rate signal of 120 Hz but at lower resolutions – 1080p and 1440p. This is fantastic news for console owners, who know well how rarely games run in native 4K at a full 120 frames per second. The ability to choose between higher resolution and doubled smoothness is therefore an extremely sensible compromise.

In summary, although the P7K/P79K may not be the target screen for the most passionate tournament players, for the casual or occasional console user, it offers a package of options that is hard to find among many competitors at this price.

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.