Samsung OLED S85F / S84F (QD-OLED) vs Sony BRAVIA 5 (XR5)

As an OLED, the Samsung S85F can really shine – literally. Under favorable conditions, it can generate brightness exceeding 750 nits. This is hugely significant because most movies are created with displays around 1000 nits in mind. In practice, this means that in scenes with moderately large bright elements, the image can look simply fantastic. However, it's not always so rosy. When there is a massive amount of light on the screen – whether it's a vast bright background or an entire screen filled with white – the S85F must tone it down. The brightness can drop by even four times in such scenes. This limitation is known to basically every OLED in this price range, so we don't consider it a particular failing. However, something that deserves praise is what sets this model apart from the competition – color gamut coverage. Thanks to the QD-OLED panel, our colorimeter showed values exceeding 100% DCI-P3 coverage and as high as 86% for the ultra-wide BT.2020 palette. Such results are hard to find even in televisions that cost several times more.

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.

Samsung, as befits a manufacturer with ambitions, equipped the S85F with a mode called Filmmaker. Its task is simple: to make the colors on the newly purchased television as true to what the director wanted us to see as possible. Sounds great… but, as often happens, a great-sounding theory doesn’t always translate into perfect practice.

In the tested unit, it quickly became apparent that the image – due to an excess of blue and red – looked as if someone had overdone the saturation a bit. As a result, quite significant color errors appeared, particularly in 4K content. To make matters worse, there was a brightness issue – the S85F could brighten most scenes more than it should, taking away their intended mood.

Fortunately, Samsung televisions, including the S85F, offer an impressive number of settings for advanced calibrators. This means we could check what this panel is truly capable of when it gets into the right hands.

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.

Thanks to the vast number of settings in the menu, we managed to bring the S85F almost to perfection. White balance in SDR content? Literally perfect – deviations do not exceed a value of "1". Thus, it can be confidently said that in materials with not very high dynamics, we have an image close to reference.

In HDR content, minor issues did arise, but they are of little significance in practice – most errors fall below the threshold of perception, which is a value of "3". We also managed to tame the S85F regarding brightness management – the EOTF curve, even in films, adheres to an almost perfect line. This is one of those cases where after calibration, you can comfortably forget about the settings and simply enjoy movies and series at the highest level.

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.

The tone transition smoothing feature in the S85F works really well – it can completely eliminate the problem of visible bands in very poor quality materials, even from YouTube. Unfortunately, even the lowest level of this option comes with compromises. Noise reduction is aggressive enough that it can smooth out film grain, which many of us consider an element of the cinematic atmosphere. At the "Standard" level, we did not notice that this feature removed anything significant from the image, so we can recommend this setting. On the other hand, the "High" level is a different story – it can smooth not only noise but also fine, desirable details such as the texture of objects.

When it comes to image scaling, the S85F performs very well. The material looks sharp, and the only minor imperfection is slightly visible contour jaggedness. And there’s the ongoing issue with Samsung televisions – overscan. This can cause some scenes to have their frames slightly trimmed, which is worth keeping in mind when watching very old content.

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.

S85F is a hellishly fast television – and this is not just an empty catchphrase for effect. Thanks to the 120 Hz OLED panel, dynamic scenes, whether in games or while watching a live match, look exactly as they should – smoothly, sharply, and without the feeling that something is "escaping" from the frame. The lightning-fast pixel response time, typical of OLEDs, plays a crucial role here. Transitions between frames are practically instantaneous, and the image remains clear even during the fastest camera movements. A ball flying across half the field? A car racing in a chase scene? Everything here is clear and free of the characteristic "trail" found in LCDs.

This is exactly what we expect from a good OLED – zero compromises in motion fluidity. The S85F gives the feeling that regardless of the pace of the action, we can focus on what is happening on the screen, rather than on the imperfections of the image.

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.

[UPDATE] We have updated our 2025 Samsung TV reviews following the release of firmware version 1131, which officially restores the essential HGiG (HDR Gaming Interest Group) support.

The S85F has practically everything it needs to become the dream screen for gaming. Four fully-fledged HDMI 2.1 ports with a bandwidth of 48 Gb/s, support for VRR, ALLM, a super-detailed Game Bar that clearly shows all parameters – and on top of that, a gem in the form of Game Motion Plus. This is a motion interpolator that makes animation in games more enjoyable, with only a slight increase in input lag. This is a rare combination, and Samsung deserves a big plus for it. Now comes the moment where we have to complain a bit. The lack of Dolby Vision in Samsung TVs is already standard, so there's no point in hoping (unless something changes in a few years) – but the disappearance of HGiG after the software update is something that’s hard to explain. HGiG (which stands for HDR Gaming Interest Group) is a mode that allows for precise reproduction of brightness in HDR games, according to the creators' intention. Without it, HDR calibration on the console becomes less precise, so we might end up with an image that's too dark in the shadows or overly bright. Perhaps Samsung will fix this in the next update – and we have high hopes for that. Because if HGiG returns, the S85F will become almost the perfect TV for gamers.

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.