Hisense S7NQ CanvasTV vs TCL C7K / QM7K

When it comes to the brightness of the television and how it handles bright elements while watching movies, it is just average—similar to contrast. The average brightness level of the Hisense S7NQ is around 500 nits. This is a value that allows you to feel the beginnings of true HDR, but it is definitely too little to speak of outstanding effects. However, the television deserves praise for color gamut coverage—movies look very colorful and vibrant. With the use of PFS LED (QLED) coating, the device can cover over 90% of the DCI-P3 color gamut and over 72% of the wider BT.2020 gamut. For a television in this class, these are truly very good results.

TCL C7K is one of the brightest MiniLED televisions in its price range. Under the best test conditions, the screen was able to achieve over 1200 nits, resulting in impressive, and at times blindingly bright scenes. And most importantly – this is not just a theoretical measurement. In practice, the brightest parts of movies can shine with true cinematic grandeur. Home HDR cinema fans should be truly pleased.

The impression is especially great in scenes with large areas of brightness – white skies, explosions, sun reflections, or magical sunsets can surprise with the intensity of light that rarely appears in this price range.

However, things get a bit worse when more challenging scenarios appear on the screen, which have been described in terms of contrast – meaning images full of details, with small bright elements against a dark background. In such cases, the C7K often chooses to retain black at the expense of brightness. An example? Scenes from the movies Sicario 2 or Life of Pi, where small light sources (like a distant lantern) can be less visible, and details in the lights are simply dimmed or blend into the background.

For many viewers, this may be an acceptable compromise – as we achieve deep blacks and pleasant image texture. Nevertheless, it is worth being aware that the visibility of small details in bright areas is not the strongest suit of this model. It is simply a technological limitation that still exists – even with over 300 zones.

Let's now check how the Hisense S7NQ CanvasTV performs in color reproduction in the best factory mode, which is Filmmaker. Right from the start, it is evident that it is definitely better than in dynamic or standard mode, but there are still a few things to nitpick. In terms of image quality from the HD signal, the colors are slightly inaccurate – there is a dominance of cooler shades of blue and a lack of red. Because of this, the image appears somewhat too cool.

A similar effect occurs with 4K content, but it is more noticeable there. The excessive exposure of blue tones and the lack of red make the image seem distinctly cold. However, the biggest issue with this television is not the colors themselves but rather the way brightness is managed. The tested unit slightly boosted the brightness compared to the reference value. The result is indeed better visibility of details, but at the cost of significantly brightened black – which makes the entire image seem more "flat."

A similar phenomenon was noticed in the 4K signal – the slightly inflated curve at the beginning of the EOTF graph shows that the television has a tendency to excessively expose certain scenes. Fortunately, this effect can be improved with professional calibration, which we will discuss in the next point.

A new feature in TCL televisions for 2025 is the long-awaited Filmmaker mode, which until now could be found in most competitive brands. This is great news because this mode is considered the truest to the original vision of the creators and is often recommended by enthusiasts of good image quality. Unfortunately – as is often the case – the mere presence of this feature does not guarantee perfection. The Filmmaker mode in the TCL C7K is not free of flaws. One could point out the incorrect white balance, particularly the slight dominance of blue, which caused cool, somewhat grayish skin tones. But that was not the biggest problem. The main complaint was excessive brightness exposure, which is clearly visible on the gamma and EOTF graphs. The image was simply too bright, at times even blown out, which affected not only the plasticity of the scenes but also the overall viewing experience. Some details simply got lost, and the whole image looked as if someone had overdone it with the brightness slider. As always – we decided to see what could be squeezed out of it after calibration. And this is where things got really interesting...

The results we achieved after calibrating the Hisense S7NQ are really very good. Thanks to the calibration, we were able to eliminate the excessive exposure of blue tones and the lack of red in the HD signal. A similar, although slightly weaker effect was also achieved with 4K HDR content. Brightness management in HD material has also improved – the television no longer has problems with overall image brightness issues.

However, there are things that cannot be overlooked. The characteristic of the EOTF curve has practically not changed, and the lack of local dimming means that the smallest elements on the screen will always be slightly overexposed. One simply has to accept this when choosing a television with a similar type of backlighting. Nonetheless, the final result is very good and should fully satisfy the vast majority of users.

After calibration, the TCL C7K showed itself in a really good light, especially when it comes to SDR content. We managed to fine-tune the white balance, color gamut, and brightness characteristics so precisely that color errors on the ColorChecker palette dropped below a value of 2. For the uninitiated – this is an almost perfect result, meaning that the image is very close to what the creators intended. Unfortunately, it was less impressive with 4K HDR content. Although we managed to slightly calm the white balance and correct its earlier errors, it is still evident that the TV has certain "MiniLED traits," especially in managing brightness. When we checked how the C7K performed with the EOTF curve on real movie scenes rather than just synthetic test patterns, it turned out that the screen still has a tendency to slightly brighten the entire image. This affects the overall experience – the black loses some depth, and the image becomes less contrasty than it should be. Despite these minor shortcomings in HDR content, the overall reception of materials – especially in SDR – is really very good. After calibration, the C7K can display an image that can successfully compete with much more expensive models. Good color tuning, natural skin tones, and pleasant brightness make movie sessions and everyday content viewing more than satisfactory.

It is equally important how the television handles tonal transitions on a poorer signal – for example, in older movies, television, or on YouTube. Unfortunately, despite the presence of the "Smooth and Gradient Picture" feature, which was supposedly intended to improve this aspect, its performance is truly lacking. It is barely noticeable that it has any real impact on the visibility of color transitions.

Image scaling also performs poorly. Yes, one can observe that the television tries to "stretch" the quality, but the final effect is far from ideal. The image often appears slightly jagged, which is especially noticeable in the case of tree branches in the background. Additionally, the Hisense S7NQ has a clear tendency to crop the image at lower resolutions, which can cause us to miss captions in the news or finer details of the image.

The TCL C7K features a function that, according to the manufacturer, is supposed to smooth out unwanted color transitions – something like a rescue for less successful tonal shifts. It's called "Gradual Smoothing" and... well, it sounds ambitious, but in practice, it works very poorly. Regardless of whether we set it to low or high, the difference is minimal. What's worse – the function can remove elements from the image that should remain. Fortunately, film grain remains untouched, so at least it doesn't smooth everything indiscriminately, but still – it's better to just turn this option off.

As for scaling lower-resolution content, it's already better. SD and HD materials look quite decent, though sometimes we had the impression that the image loses sharpness and becomes too soft – as if something took away its clarity. Fortunately, at very low sources (e.g., 576p), there was no overscan effect, meaning the image was not artificially cropped – everything fit on the screen as it should.

When it comes to motion fluidity, the television performs really well. Although the S7NQ was mainly designed for displaying static elements – such as images – the manufacturer has utilized a panel with a refresh rate of 144 Hz. As a result, sports or games look really good on it.

For materials that are not recorded at a high frame rate, the manufacturer provided two features that allow you to adjust the picture to your own preferences. "Motion blur reduction" and "motion smoothing" operate on a 10-level scale, allowing you to choose between a more cinematic image – with characteristic frame jumps – and a smooth effect reminiscent of a "soap opera." How to set this up? That's a personal matter – we leave the decision to you.

TCL C7K handles motion smoothness really very well. The matrix used in it offers a refresh rate of 144 Hz, which already suggests that this TV is something more than just an ordinary "60 Hz" panel. Moreover – if we connect the C7K to a computer and set the resolution to Full HD. But we will write more about this in the paragraph about gamers and PC cooperation. Returning to everyday use – both sports and movies look very good here. Thanks to the fast panel and well-functioning motion smoother, the C7K is perfect for watching matches, but also for movie screenings. In the menu, we will find two sliders – blur reduction and flicker reduction – which allow us to adjust the motion smoothness effect to our own preferences. At lower settings, we get a more cinematic effect, with slight frame motion. At higher settings – the image becomes more theatrical, smooth to the point of exaggeration. Everyone can set it to their liking.

Even though the S7NQ is an "image" type TV, you can actually play games on it. Really. It has almost everything (except for HGiG mode) that a modern gaming TV needs. The 144 Hz panel and two full-fledged HDMI 2.1 ports allow for seamless connection of two consoles, such as PlayStation 5 or Xbox Series X/S.

The TV supports automatic game mode (ALLM) and frame synchronization (VRR) without any stuttering or issues. It also handles high frame rates at lower resolutions without a hitch. We must commend Hisense for the very attractive Game Bar – it displays all available picture options, and additionally, we have the ability to zoom in on the mini-map or enable a crosshair (because sometimes someone might actually want to "aim" 😉).

The only missing element – as we mentioned earlier – is the lack of a proper implementation of HGiG mode. It is responsible for automatically setting the picture in games as the creators intended. It's a shame because that’s the only thing separating the Hisense S7NQ from being a full-fledged gaming "monster."

TCL C7K is a TV that looks like the dream equipment for gamers on paper – and most importantly, it also performs well in practice. First, the good news: we have two HDMI 2.1 ports with full bandwidth, so we can easily connect both a console and a computer, taking full advantage of their capabilities. The panel itself supports 144 Hz refresh rate, which provides a significant advantage in dynamic games. Additionally, it comes with a full package of gaming features: VRR (Variable Refresh Rate), ALLM (Auto Low Latency Mode), and Dolby Vision support in games. There is also an HGiG mode, which allows for HDR effects that align with the creators' intentions. GameBar, which is an information bar for gamers. It operates quickly, looks clear (like a Nintendo console👌), and shows what’s most important: the current frame count, VRR status, and even HDR parameters.