LG 55 B4 vs Sony BRAVIA 5 (XR5)

The HDR brightness performance of the LG B4 is impressive, even though it doesn't surpass 1000 nits. Its luminance stability is consistently strong across various scenarios, delivering a reliable viewing experience. The only instance where the TV shows slight weakness is in scenes with large areas of bright white, which has long been a challenge for OLED technology. However, perfect contrast, deep blacks, and excellent brightness ensure a fully immersive HDR experience. Furthermore, the TV’s remarkable 99% coverage of the DCI-P3 colour gamut enhances its colour vibrancy, making images appear rich and visually striking. This level of colour accuracy and brightness balance firmly places the LG B4 among the top choices for HDR content.

Looking at similar results in terms of black levels and contrast, we expected the same stable performance as last year's model when it comes to HDR content. Unfortunately – and this must be said plainly – there has been a regression here that is hard to overlook. The paradox is that the peak brightness of the Bravia 5 can be impressive: in our synthetic tests, the television reached around 1000 nits in HDR. Sounds great, right? The problem is that this power does not always translate effectively to all movie scenes. When small, pinpoint elements appear on the screen, something that was usually refined with surgical precision in the case of Sony clearly falters this time. The algorithms try to maintain deep blacks around small objects, but the side effect is that details can be dimmed to the point of becoming barely visible. A case in point is the movie Sicario 2 – there, in some scenes, small light sources practically vanished as if someone had covered them with dark film.

Of course, not everything looks so dramatic. In simpler, brighter scenes, where the image is filled with a greater amount of light, the Bravia 5 shows that it can shine: literally and figuratively. At that point, the television achieves values in the range of 600–800 nits, which we observed in both synthetic tests and during movie screenings. The impression is truly positive; the brightness adds dynamism, and the colors appear vivid and fresh. However, there remains a certain dissonance. We feel a slight confusion because it is evident that something has gone the wrong way. Technological advancement – more zones, greater backlight power – has not been supported by the refined image management we usually associate with Sony. Fortunately, there are elements that have not been worsened and are instead at a very high level. We are talking about color reproduction. Thanks to the use of the PFS filter, the color gamut coverage is excellent – about 97% of DCI-P3 and 75% of BT.2020. These values allow for a truly wide color reproduction, giving films a natural and cinematic character.

The best factory preset offered by LG B4 is the "Filmmaker" mode, which we used throughout our testing. Straight out of the box, the TV delivered fairly accurate colour reproduction. However, the most significant issue in both SDR and HDR content was the white balance. In SDR, there was a noticeable red dominance, giving the image a distinct yellow tint, particularly evident in skin tones and whites. In HDR, this red hue persisted, but the lack of blue also introduced a greenish tint in certain scenes. Additionally, we observed some inconsistencies in grayscale and colour accuracy. Despite these shortcomings, the overall picture quality was still solid for most viewing scenarios.

Sony Bravia 5 was of course tested in the best possible mode, which is the Cinema mode. Right out of the box, it offers the most natural colors, definitely better than anything provided by the "eco" or "dynamic" modes, which are more suitable for a store display than a living room. However, the Cinema mode itself does not guarantee that we can always expect cinematic image quality. In SDR content, we had practically no major complaints – the slightly warm white balance made the scenes take on a somewhat golden tone, but it was nothing that was glaringly obvious. However, the problem arose with HDR materials. Here, the color reproduction simply looked poor. The white balance was severely off – with an excess of blue and a noticeable lack of red. At times, it even resembled the store "super vivid image" mode, where everything is overexposed and artificially boosted.

This state of affairs made managing brightness seem too aggressive as well. The EOTF graph clearly showed that the television had issues with overexposing many scenes right out of the box. And while we know what Sony televisions are usually capable of, it was hard to remain indifferent here – which is why we quickly decided to go for calibration.

LG B4 has long been known for offering advanced calibration tools, and it remains one of the few manufacturers that allows such in-depth image adjustments. Thanks to these tools, we calibrated the device to an exceptional standard. The result was incredibly low deltaE errors, considered at a reference level. Both SDR and HDR content now display exactly as the filmmaker intended. This level of precision is one of the reasons LG TVs are frequently used as preview monitors in graphic design and post-production studios.

After calibration, the situation changed drastically. We managed to tune the white balance so that entire scenes began to look more natural, and the image gained coherence and elegance. In HDR, we finally got rid of that unwanted blooming effect that had previously ruined some shots. Suddenly, it turned out that the Bravia 5 can extract much more from films than the first contact "straight out of the box" suggested. Yes, if we take a look at the graphs and compare them with the reference patterns, we can see that the start of the EOTF curve slightly deviates from the reference line. However, this is not so much a calibration error as a natural limitation of Mini-LED technology, which cannot be bypassed. Sony, instead of clinging to perfect black, prefers to prioritize the visibility of details – and in practice, it’s hard to disagree with that. We prefer to see the texture of the material on the screen rather than a pitch-black blob that obliterates all nuances.

The calibration itself made a significant difference. After about an hour spent on adjustments, we felt that the picture resembled that from the best cinema halls – of course on a home scale, but with the same sense of quality and refinement. And in such moments, we remember why we love Sony televisions: because once we fine-tune them, they can reward us with an image that captivates for long hours.

In this section, we will revisit the smooth transition function while also examining how the TV handles lower-quality content. As we’ve found, the setting responsible for smooth gradation is generally effective, though it does have its drawbacks. While the function works well in SDR content, it becomes less useful in HDR content. Even at the lowest setting, it can blur important details, so we advise against using it in such cases.

The image scaling on the LG B4 is assessed moderately positively. While there is no noticeable edge doubling, the image tends to be somewhat "soft." This can be adjusted by tweaking the sharpness slider to improve the clarity.

Bravia 5 carries within it the genes of Sony, which remain intact – and thank goodness for that, because we are talking about absolutely remarkable digital image processing. There is a reason that for years it has been believed that it is this brand of television that sets the standard for how a screen should handle lower-quality materials. If someone is still watching classic television, old movies, or YouTube in lower resolution, here they get equipment that can turn such content into a surprisingly pleasant experience. On board, we find several tools worth activating. The first of these is "digital noise reduction." Set to a medium level, it works almost flawlessly – smoothing tonal transitions that usually pose the biggest challenge with low-quality materials, while not introducing any artificial artifacts. Importantly, it also does not remove the filmic character, or the natural grain that is an intentional element in many productions. Another advantage of Bravia 5 is the upscaling capabilities of the XR processor. The image presented after scaling is soft yet sharp and clear. The contours of characters are well-defined, and backgrounds retain their structure without excessive artificial sharpening. It’s hard to find a better television for watching lower-quality content – Bravia 5 only confirms why Sony is regarded as the benchmark in this field.

The maximum refresh rate on the LG B4 is 120 Hz, the bare minimum for those requiring high image fluidity. The manufacturer has equipped the TV with a multi-stage motion smoother called "TruMotion." This feature is split into two sliders: one controls the sharpness of moving images (De-Blur) and the other adjusts judder (De-Judder). Both sliders can be set between 0 and 10, with each level affecting the smoothness, so users can easily find their preferred setting.

The LG OLED B4 panel boasts an impressive average response time of 0.1 ms (based on our measurements), delivering an exceptionally clear image that surpasses the capabilities of LCD TVs, which often have response times of several milliseconds. This is particularly noticeable in the "UFO Test" images, where no trailing blur is visible behind moving objects.

Bravia 5 has a 120 Hz panel, which in itself sounds like an invitation to watch sports, fast matches, or spectacular action movies. However, the real magic begins only when MotionFlow comes into play – Sony's proprietary smoothing technology. Thanks to it, we can adjust the character of the image to our own preferences. The “smoothness” slider allows us to transition from a cinematic vibe with a slight “jitter” of the film frame to an almost theatrical fluidity, where every ball in the game glides across the screen like on a string. The higher the value, the smoother and more fluid it is; the lower – the more cinematic and natural. In the options, we also find an additional setting that Sony has called “clearness.” This is nothing more than the BFI function (which stands for black frame insertion), which aims to improve motion clarity. It sounds great in theory, but in practice, you need to use it with great caution. Why? Because all higher settings cause brightness drops of up to half, and in some cases, there can also be contour doubling. Therefore, if we want to use it, we recommend the lowest possible level – “1” out of the available ten. This way, we gain a little better motion clarity without risking a loss of half the image brightness.

The LG B4 has four full HDMI 2.1 ports, each providing 48Gbps bandwidth. This ensures smooth activation of all relevant features without issues, making the television highly suitable for gaming. With its low input lag and extensive functionality, including well-implemented HGIG mode and Dolby Vision gaming with low latency, the B4 is a strong contender for gamers who demand high quality.

A standout feature is GameBar, which allows for on-the-fly adjustments without interrupting gameplay, as well as image adaptations for those with visual impairments. Another key point is that when VRR technology is enabled, the television maintains its contrast, thanks to the OLED panel's structure, though slight flickering in grey shades is to be expected.

In conclusion, the LG B4 is an ideal choice for gamers, seamlessly combining high performance with excellent gaming features. Its 120Hz panel and HDMI 2.1 ports make it a standout option for those seeking top-tier gaming experiences.

In the Bravia 5, there is significant progress compared to the X90L model from two years ago. The television offers literally everything that its predecessor had, but this time the issues that could irritate gamers have been fixed. The problems with setting up variable refresh rate (VRR) have disappeared, and there are no longer any issues with configuring HDR content in HGiG mode. In short: we get a device that simply works as it should without any fuss. The Bravia 5 thus has everything one could expect from a modern gaming television – and it could be advertised with the slogan "ready for PS5" without exaggeration. This is a statement we couldn't make about the X90L model. Hats off, Sony!

It's just a shame that in such a relatively high-priced model, a complete set of four HDMI 2.1 ports is missing. In everyday use, this won't be a problem for most people, but if someone has a console, soundbar, and additional equipment connected via HDMI, at some point there will be a need to either choose or juggle cables.