The Xiaomi A Pro 2025 television has been tested in movie mode, which offers the best colour reproduction straight out of the box. However, it is worth noting that it is not free from flaws. Analysing the white balance, it can be observed that the values for green are in the negative. This phenomenon leads to some distortions in the shades of white, and with pure white, the graph shows clear deviations. The over-contrasted image results in inappropriate tonal transitions in red, negatively affecting the quality of colour display. Generally, in the image below, it can be seen that the overall scenery before calibration acquires pink hues. Additionally, when analysing gamma contrast, the graph is significantly below the 2.4 value, suggesting that the television overly emphasises dark tones, and the brighter areas of the image may be less vivid. Furthermore, the EOTF curve shows a strong peak at the beginning, which can lead to a loss of detail in bright scenes and an unpleasant feeling of over-drawing. These aspects indicate a need for further calibration to achieve a more balanced colour reproduction and improve the overall image quality. Users who expect precise colour reproduction may be forced to take measures to adjust the television settings to achieve more realistic and natural visual results. In the xiaomi tv a pro 2025, the factory colour settings in Xiaomi are average and may require calibration. After proper colour adjustment, the image gains a natural and vibrant colour palette, much closer to cinematic standards. It is worth adding that the issue of inaccurate colour reproduction is typical for many televisions in this class, meaning it is not a flaw unique to the Xiaomi A Pro 2025 TV. For those who value perfect colour reproduction, professional calibration will prove to be a key element that enhances the overall image quality.
Philips PUS8209 offers many picture modes, but the best of them, without a doubt, is the Filmmaker mode. Despite its proud name, it has its clear problems. In the case of HD content, the white balance is characterised by a strong dominance of red, which causes the picture to be significantly warmer than it should be in reality. The brightness characteristic (gamma), although correct in the mid-tones, has serious issues at the beginning and end of the curve. Drops in the shadows cause a loss of detail in the dark areas, and blowouts in the bright areas make some elements look unnatural.
For high-quality 4K HDR content, the situation reverses. In this case, blue dominates, leading to an artificial enhancement effect, reminiscent of unnatural retail settings. Such an image looks unattractive and inconsistent with the creators' intentions. An additional problem is the EOTF curve, responsible for brightness in HDR materials. It deviates significantly from the reference chart, causing the image to appear too dark, robbing the depth and detail of HDR content.
Against this backdrop, errors in the Color Checker test and deviations in colour palette reproduction are exceptionally large, which further negatively impacts the overall image quality. The Filmmaker mode, although the best among the available options, requires substantial corrections to fully convey the director's vision.