Hisense U7KQ vs TCL C8L / QM8L

Describing the HDR effect in the Hisense U7KQ 100-inch model is not straightforward and requires context. In bright scenes, the TV achieves over a thousand nits of brightness, delivering vivid and realistic images that meet expectations for this class of equipment. However, performance declines in darker scenes. In mixed shots, like those in Gemini Man, the TV maintains a brightness level of 700 nits, providing good quality. The issue arises in very dark scenes with small light sources, where the TV limits its capabilities to preserve black levels. This results in a lack of the "WOW" effect, making such frames feel less like true HDR.

In terms of HDR, the TCL C8L turns out to be a hellishly bright television – and I mean literally. On a synthetic chart of 5%, our measuring equipment indicated a result exceeding 4500 nits. This is a result that is downright cosmic, considering that reference director monitors, 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 exactly. Dry synthetic tests are one thing, and real movie images are another. In real, varied scenes, the C8L achieves a peak of around 1600 nits. This is still a very good result, ensuring a very high level of HDR dynamics, but also clearly lower than what the manufacturer boasts in the specifications. The trouble starts with very small flashes of light – then brightness can drastically drop to around 600 nits. The algorithm tries at all costs to maintain deep black and minimize halo effect, but it does so at the expense of HDR impact. This is perfect evidence that laboratory charts rarely correspond to what we ultimately see on the screen.

Huge applause is due for color reproduction, all thanks to the new generation of SQD (Super Quantum Dot) quantum dots. The coverage of the DCI-P3 palette reaches 97%, but the true jaw-dropper is the measurement of the extremely demanding BT.2020 space. The C8L achieves as much as 90% in it, placing it alongside today's top screens that boast RGB backlighting. Importantly, unlike some screens with Micro/Mini RGB backlighting, this effect is stable regardless of the scene displayed. Of course, one must remember that content mastered for such a wide gamut in films or series is still a rarity. However, the mere fact that the panel has such a "color reserve" deserves immense admiration.

The best factory mode we measured on the Hisense U7KQ was "Filmmaker." However, its performance still left room for improvement. Let's start with the gamma chart, which affects image depth and contrast. The orange line, which represents the REC.709 standard reference value, begins at 2.4. Looking at the white multi-point line that indicates the measured value, a noticeable drop to 2.0 indicates a decrease in contrast, making the image lack depth and resulting in a "milky" effect. Next, we checked the white balance, which, although minor, can drastically affect the overall image quality if poorly calibrated. Initially, the chart was fine, but red and blue began to dominate, giving all test materials an unpleasant tint. Fortunately, with the advanced colour management system (CMS) and 2- and 20-point grayscale adjustment tools, we managed to significantly improve SDR material performance, as reflected in low deltaE errors and well-calibrated gamma and white balance.

We tested the TCL C8L in the best factory picture mode available in this TV’s menu for image fidelity. That, of course, is Filmmaker Mode, which appeared in this brand’s software relatively recently (a year ago in the "K" series). Thanks to it, an average user can get a pretty good color reproduction straight out of the box, although it is certainly not a perfectly tuned mode. Looking at the factory white balance of our unit, both in SDR and HDR material, the red component was clearly lacking, which made the image noticeably cooler and caused a slight shift toward bluish-green tints. The issue of brightness management is also ambiguous, as we mentioned earlier. While for SDR content the gamma linearity is actually correct and holds steadily at the reference value of 2.4, in HDR things look much worse. Tracking the EOTF curve clearly shows the TV has a significantly boosted brightness across the range, which can make the final image overly bright and inconsistent with the creators’ intent, and that in a mode that by definition should avoid that. Of course, like every sample in our lab, this one also underwent professional calibration, and its results are shown below.

In SDR mode, after calibration, the Hisense 100U7KQ performs excellently. Regarding colour reproduction there is nothing to criticise – both pastel and highly saturated colours are displayed according to the Rec. 709 standard, ensuring the image looks natural and in line with the director's intent. Viewers can enjoy an authentic visual experience, with colours and tonal subtleties faithfully represented.

In HDR mode, however, there is a noticeable boost in bright tones. The TV attempts to enhance the image, which can lead to an artificial brightening. This phenomenon becomes more apparent in real scenes, where bright areas of the image may be excessively brightened. While colours in HDR are generally good, they are intentionally over-boosted by the manufacturer, which can affect their naturalness.

This approach to HDR may not appeal to everyone, particularly those who value authenticity and fidelity to the original colours. However, for those who prefer more dynamic and vivid images, the boost in bright tones can add extra brilliance and impact to scenes.

As you can see, the results of a professional calibration of the TCL C8L are really promising, thanks to the extensive adjustment tools the manufacturer put at our disposal in the menu. Above all, we were able to completely correct the white balance — we eliminated the red deficiency, so the image finally stopped drifting toward unwanted cool tones. After that adjustment, errors in the ColorChecker test fell to near-reference levels, regularly landing below a Delta E of 2, which is below the threshold of human perception.

If the test patterns look this perfect, you might ask: why then the lower final score in this category? The answer lies in the brightness management discussed earlier. Although the menu includes sliders that let you precisely straighten the EOTF curve on synthetic signals, when confronted with actual movie material (I recommend enabling the EOTF filter when watching movies), you can see that in most scenarios the TV still reacts to HDR metadata its own way. As a result, the picture can be slightly over-brightened and not faithful to the creators' intent, and it was precisely this lack of consistency with real films that cost the C8L a few points.

Although the Hisense 100U7KQ is equipped with a feature to reduce posterisation called "Smooth Gradation," we did not notice a significant effect from its operation. Material subjected to strong compression, such as YouTube videos, still showed uneven, cut-off tonal transitions, which did not look particularly favourable. While this is the fault of the material itself and not the television, it would be beneficial if there were a function to mask these problems, similar to screens from competing brands.

The image scaling, which is crucial when playing lower resolution content, is average. Details are not excessively blurry, and the image is not "smeared," but there is noticeable aliasing on the edges of objects, such as branches, and a halo effect around characters and text. While the television performs fairly well, there is still room for improvement, particularly in the context of displaying lower-quality material.

This year the C8 series and higher models received probably the biggest and most anticipated upgrade in TCL’s history, and it specifically concerns digital image processing. The C8L is the lowest-end model in the manufacturer's lineup to be equipped with the latest flagship chip, the MediaTek Pentonic 800 (listed in the menu as MT9655). Thanks to its processing power, the feature called "Gradual Smoothing" finally works as it should. The algorithm effectively eliminates unwanted posterization (ugly tonal transitions/color banding), 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 evaluating this element can be mostly 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 to the competition.

The Hisense 100U7KQ TV correctly receives a 4K signal up to 144 Hz, allowing for very smooth images in high resolution. When the resolution is reduced to Full HD, the TV can handle up to 240 Hz, but this signal can only be obtained from a PC. However, the use of this feature is limited by several factors.

Firstly, Full HD resolution on a large TV screen may feel insufficient, affecting image quality. Additionally, the panel's response time isn't fast enough to fully utilise the 240 Hz refresh rate. As a result, at such a high refresh rate, significant overdrive occurs, leading to noticeable motion blur and "ghosting" behind moving objects.

The motion smoothing feature, which works up to 120 Hz, is also worth noting. This is especially useful for sports and movies where motion fluidity is crucial. The TV provides stable operation of this feature, minimising generated artefacts. Motion fluidity can be adjusted using two sliders – one for smoothness in movies and another for reducing blur in sports content.

In summary, while the Hisense 100U7KQ TV offers impressive image refresh rates, the panel's response time and resolution may affect the overall benefits of these features. Nevertheless, the motion smoothing function enhances the viewing experience of dynamic content.

The TCL C8L is equipped with a fast panel that has a native 144 Hz refresh rate. That spec will be most appreciated by demanding PC gamers, while most users, who rely on consoles or TV broadcasts, will use a steady 120 Hz. It is at 120 Hz that motion processing algorithms handle image rendering for movies, series, and sports. In the TV’s menu you’ll find a "Motion Clarity" option that lets you adjust the motion smoothing to your preferences. The algorithms handle cinematic material at 24 or 30 frames per second (fps) as well as dynamic sports broadcasts at 50 or 60 fps, maintaining appropriate smoothness.

The Hisense U7KQ TV supports all the key features when using Xbox or PlayStation consoles, including high refresh rates, low input lag, and a game bar. Most of these features work well, providing a satisfying gaming experience.

However, VRR (Variable Refresh Rate) technology does not perform optimally. When activated, VRR disables the local dimming function, significantly reducing image quality. In VRR mode, the TV struggles with maintaining good contrast and high brightness in HDR, resulting in unsatisfactory image quality. As a result, VRR mode may be infrequently used by gamers due to these limitations.

Additionally, the TV does not support the HGIG (HDR Gaming Interest Group) mode, which optimises HDR image quality in games. Without this mode, tone mapping issues arise in the TV and the console, leading to lower-quality HDR games, which could affect the overall gaming experience.

In summary, while the Hisense U7KQ offers many features for gamers, certain key aspects, such as VRR performance and HGIG support, may not meet the expectations of more demanding users. Nonetheless, the TV supports most standard gaming functions, making it suitable for gamers.

For gamers – especially for those with powerful PCs and several consoles at the same time – the TCL C8L is a true beast. It’s the first model in the manufacturer’s lineup equipped with four full HDMI 2.1 ports with a maximum bandwidth of 48 Gbps. This is directly thanks to the new Pentonic 800 processor we wrote about earlier. Additionally, the TV seamlessly supports virtually every gaming feature. It has 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. We’re also talking about standards like G-Sync or FreeSync from Nvidia and AMD. When it comes to image display standards, there are also no compromises: the C8L offers complete support for HDR formats in games, including gaming Dolby Vision and the HGiG profile. All of these features can be conveniently managed from a very readable game bar (Game Bar), which we can customize according to our preferences. From a purely gaming perspective, there really isn’t anything to complain about in the C8L – well, maybe aside from the previously mentioned slight ghosting. But other than that? It’s an unflawed machine for gamers.