Philips OLED950 vs Hisense U7S / U77SE

OLED950 is a phenomenal TV for consuming HDR content, which is primarily due to the use of innovative Tandem OLED technology. With this technology, the screen is capable of generating astronomical brightness values, reaching over 2000 nits in movie scenes (on test screens). This is an outstanding result, placing the OLED950 model among the very top displays available on the market. However, it should be noted that there is a specific characteristic of this solution – at moments when full-screen bursts of light appear on the screen, the brightness can drop by as much as half. Nevertheless, it is worth emphasizing that values above 1000 nits on a full screen are still an outstanding result. This allows for HDR images to be displayed exactly as filmmakers would wish, maintaining the dynamics and impact of light scenes.

The use of Tandem OLED technology has also brought measurable benefits in terms of color reproduction, improving elements where traditional WOLED panels have had difficulties compared to QD-OLED competitors. In the case of the OLED950, the color gamut coverage is broader than in classic WOLED panels, reaching nearly 100% of the DCI-P3 space and a solid 82% of the demanding BT.2020 palette. Although these results still do not match the high achievements of QD-OLED panels, the difference diminishes during real-world usage. We cannot deny that in the vast majority of films, colors look simply fantastic on this model – they are saturated, vibrant, and full of depth.

The Hisense U7S has considerable HDR potential, but it can't use it in every scene. On a test pattern it reaches around 1,100 nits, so the backlight itself is very strong. In our brighter film scenes we measured about 640 to 745 nits. That's still enough for the sun or bright highlights to have a noticeable glow and to show an advantage over SDR material. When the TV needs to illuminate a larger portion of the image, it does quite well.

The problem appears with small lights on a dark background. Each of the 192 zones covers an area much larger than a tiny point on the screen. If the TV were to strongly light such a zone, it would also brighten the surrounding area along with the light. Hisense tries to avoid that and dims the entire zone. Black levels therefore look better, but a small bright object that should draw the eye also loses intensity. That's why in two tougher scenes we recorded only 297 and 154 nits. The difference is large: in one shot HDR can impress, and in the next small lights are noticeably muted. The U7S therefore prioritizes maintaining deep blacks, even at the expense of bright details. With this number of zones that's an understandable compromise, but it's worth remembering — the 1,100-nit peak tells us about the backlight's capability, not how brightly the TV will render every element of a film.

Colors

Hisense calls the U7S ULED, but that's a marketing name; the wider color gamut here comes from a PFS phosphor backlight. In our measurements the TV covered about 91% of DCI-P3 and 71% of BT.2020. Those are good results, although it falls short of the best screens on the market. The biggest shortfall is in green — the TV doesn't even reach the DCI-P3 target there, so the most saturated shades will be less intense than they should be. Most colors in HDR films and series, however, still look suitably rich. A positive is the repeatability of the results. Gamut coverage on test patterns and in film scenes is practically identical.

We tested the OLED950 model in Movie mode. Although it is theoretically the best and most faithful preset on this television, in practice, it proved to be not without flaws. Interestingly, in the unit we tested, the biggest challenge wasn't the white balance itself – although it did have a slight tendency to give the image a pinkish tint. The main problem lay in the way the television managed brightness, both in everyday SDR content and in demanding HDR scenes. Analysis of the gamma chart and EOTF curve leads to one key conclusion: the television excessively highlights brightness in the lower registers. This results in the image appearing less contrasty than the panel technology would allow. Details in dark areas that should remain perfectly black (characteristic of "OLED black") are simply unnecessarily highlighted and brightened. Fortunately, these errors can be corrected using the appropriate tools, so – as always – we proceeded with professional calibration.

The out-of-the-box colors on the Hisense U7S are decent, but there are a few things to improve. In SDR there's a red bias in the white balance, which makes the image too warm and in places slightly pink. You can notice this on faces and on bright, neutral surfaces. Gamma also runs below the reference, so the TV brightens the image, especially in darker areas. That makes shadow details easier to see, but the scene loses some of its depth.

In HDR the white balance is a bit more even, but not completely neutral; midtones lack blue, and the brightest areas lack red. A bigger problem is how brightness is reproduced. The EOTF curve shows that a large portion of midtones is being brightened, so the image looks brighter than the source material intends. Color Checker measurements also perform worse than in SDR: many errors are around 3 to 4, and individual ones reach as high as 8. Colors can therefore look attractive, but they are not always faithful to what we should be seeing. There's room for improvement, and we'll check how much can be corrected with calibration.

As can be seen, the OLED950 transforms into an absolutely phenomenal display after a professional calibration process, which without a shadow of a doubt can be placed in the same category as the best televisions currently available in the world. This equipment only needed a professional touch to show its full potential and eliminate factory shortcomings. The minimal errors in reproduction in Color Checker tests and the fidelity of the color palette speak for themselves. We are dealing with an almost perfect device here. A true window to the world, offering top-notch image quality.

Calibration of the Hisense U7S helped most with SDR content. We managed to even out the white balance, so the previous warm cast is gone and whites and grays look neutral. Gamma is also now very close to the reference, and the TV no longer brightens the image unnecessarily, so darker scenes have regained depth. Color Checker measurements confirm the improvement: most errors fall below 2. That yields a really well-calibrated picture for regular TV and SDR movies. It didn't go as smoothly in HDR. The TV lacks an effective way to correct the EOTF curve, so Hisense still interprets the content's brightness a bit on its own. It brightens parts of the image and can dim the brightest elements depending on the scene and the local dimming behavior. Calibration couldn't eliminate this. It shows up in the Color Checker results as well, where many errors remain around 3–4 and individual ones exceed 7. So in SDR the result is very good, but in HDR we have to accept that the TV adds its own interpretation of brightness to the image.

Upscaling

In terms of image scaling, the proprietary P5 processor performs just as well as in most models from this manufacturer. Lower resolution content takes on a very soft and plastic character. Such a presentation will certainly appeal to many. However, if you prefer sharper contours, you can gently enhance them with the appropriate slider in the TV menu. In this aspect, it's really hard to pick on anything. The image simply looks very good and additionally there is no problem with the phenomenon of overscan.

Smoothing and Distortion Reduction

The tonal transition smoothing feature fares a bit worse. In the settings, we find an option called “Distortion Reduction.” This allows for three levels of processor intervention adjustment. Unfortunately, the Minimum setting works poorly and the smoothing effects are negligible. The Medium level gives a decent result, but it also starts to smooth out the skin details of actors. On the other hand, the Maximum setting works too aggressively. It removes definitely too many details from the face and background elements or can even take away the film grain. To achieve the optimal effect, it's worth playing around with these settings at home and adjusting them to your preferences. It might seem that the Medium option represents the best compromise here.

The handling of lower-quality material on the Hisense U7S is fairly mediocre. The Pentonic 700 chipset used here doesn't cope well with the effects of heavy compression. The menu includes a "Smooth & Gradient" picture option, but its performance leaves much to be desired. At the low setting it's hard to notice any improvement in tonal transitions, although at least the image isn't degraded. The medium and high settings still don't remove visible banding between shades and begin to smear details; in our test clips even parts of characters' faces disappeared. Interestingly, film grain remains untouched at every level. If you use this feature, we'd stick with the low setting. Its current behavior needs refinement, but that's mainly down to the processor used. Upscaling to 4K performs much better. Lower-resolution footage gains clarity, edges are well reconstructed, and fine elements look crisp. That doesn't mean it can recover details that weren't in the recording, but the TV makes good use of what it gets from the source. Another plus is that it doesn't crop the image edges, even with an SD signal.

The motion representation in the OLED950 model is virtually perfect. This is typical for screens of this type (OLED 120Hz+), as the matrix shows no blurring at all. Thanks to this, we can enjoy flawless sharpness in practically any conditions. A big part of this is not only due to the specifics of organic technology. Equally important work is done by the smoothing systems implemented by the manufacturer.

Motion handling on the Hisense U7S is pretty good thanks to the 144 Hz refresh rate. For movies we also have a motion smoothing feature that lets you adjust judder and blur reduction. You can therefore keep a more cinematic motion or increase smoothness if abrupt camera shifts bother you. In sports and games the high refresh rate is also useful, but unfortunately it doesn't solve this panel's biggest problem.

The culprit is pixel response time. Fast-moving objects leave long, noticeable trails, as our UFO test shows. It's worst on dark backgrounds, where the trail behind the object is especially pronounced. So motion can be smooth, but the moving object itself loses sharpness, and that difference on the U7S is fairly easy to notice.

OLED950 is almost the perfect TV for gamers. This is not only due to the unique atmosphere that the Ambilight system creates during gameplay. The most important aspect here is the solid hardware support. We find literally everything that one should expect from a modern gaming screen today. The manufacturer has implemented two HDMI 2.1 ports with full bandwidth of 48 Gb/s. This gives us access to gaming in 4K resolution at 120 frames per second. Of course, support for VRR technology and the ALLM automatic game mode is also included. The device handles any HDR signal effortlessly, whether we are using Dolby Vision or the HGiG standard.

Access to all settings is available from one place thanks to the special Game Bar overlay. Although this interface may not be the most graphically attractive on the market, it fully serves its purpose. It displays all the most important signal parameters and offers useful additions. Gamers can take advantage of the mini-map zoom function or add a permanent crosshair on the screen, which can be seen as a small aid in online competition. Adjusting the contrast range also proves useful. It allows for brightening shadows and achieving better visibility of enemies hidden in the dark corners of the map.

The Hisense U7S has a lot to offer gamers. You get two HDMI 2.1 ports and support for 120 Hz at Full HD, 1440p, and 4K, so modern consoles’ capabilities are well used. When connected to a PC you can use 144 Hz at 4K or switch the resolution to Full HD and run 240 Hz. So there’s a wide choice, although it’s worth remembering the motion smearing mentioned earlier, which the high refresh rate does not eliminate. VRR and ALLM are also present. The first helps prevent tearing when frame rates in a game change. The second automatically switches the TV into game mode, so you don’t have to dig through the menu each time. VRR works from 48 to 240 Hz, with the highest refresh rate available in Full HD. Xbox users can also play in Dolby Vision, including at 120 Hz. Importantly, this format does not introduce significant input lag here. The Game Bar also looks very good. It’s easy to read, visually appealing, and lets you quickly check what signal the TV is receiving. There are also handy gaming settings at your fingertips, including shadow brightening. If it’s hard to spot an opponent in a dark game, you can improve visibility without digging through the entire menu.

Our biggest complaints concern HGiG. Hisense continues to do its own tone mapping, which makes setting HDR on the console confusing. You adjust a checkerboard test pattern and the TV continuously adapts how it looks. As a result, the moment the pattern disappears does not correctly indicate the screen’s brightness limit, and it’s easy to set the value too high. For this model it’s better to set the target HDR peak brightness on the console to about 900 to 1000 nits, rather than relying on the configurator.