Samsung The Frame 2025 (LS03F) vs Philips OLED770

The Frame LS03F is a television that can surprise with its brightness. The maximum luminance reaches around 650 nits, which already looks solid on paper. But as we know, lab tests are one thing, and real movie scenes tell a completely different story. When watching HDR content in natural conditions, The Frame 2025 maintains very good results. In most film scenes, peak brightness remained at levels of 550–650 nits. This is enough to feel the difference between standard image quality and that of HDR – bright highlights, reflections on water, and moonlight appear clear and impressive.

It’s also worth noting that the LS03F is a QLED television, which translates to solid color saturation. The coverage of the DCI-P3 color space reaches about 92%, allowing for vibrant, intense colors in HDR content. It may not be at the level of top premium models, but for a lifestyle screen, the result truly deserves recognition.

The Philips OLED770 does not attempt to compete with the brightest OLEDs on the market, and it would actually be hard to expect that, as it is the lowest model in Philips's series for 2025. In our measurements, it achieved a maximum brightness of about 700 nits, which allows for enjoyment of HDR effects in scenes where light appears point-wise – for example, in the flash of headlights or a starry sky. In such moments, the picture can truly impress. However, it is different when there are more bright elements on the screen. The television, like many cheaper OLEDs, limits brightness in those cases, and the entire picture noticeably dims. This was best seen in a scene from the movie The Meg, where the sun rises behind an oil rig – at that point, the brightness dropped to about 250 nits, nearly three times less. The HDR effect remains visually pleasing, but it is worth being aware that this model performs best in scenes with less intense light. Fortunately, the OLED770 has an ace up its sleeve – the coverage of the DCI-P3 color palette is as high as 99%, so colors in movies and games are saturated and very close to what the creator intended to convey.

When it comes to image quality right out of the box, even in Filmmaker mode, which is supposed to be the closest to reference, there were issues. In both HD and 4K HDR content, we noticed noticeable deviations in white balance. The image was heavily skewed towards red and blue, giving the screen a characteristic rosy tint. This effect was most visible in bright scenes – for example, in shots with a lot of white, where neutral light should naturally dominate. In such moments, the screen clearly leaned towards pink tones, which can also be seen in the attached comparison photo. As for brightness characteristics – it wasn't as bad as one might expect given such color inaccuracies. Analysis of the gamma curve and EOTF showed a slight brightening of the image compared to the reference, but not enough to drastically affect the perception of the material.

The first measurements already show that the factory settings of the Philips OLED770 have a lot to improve even in Filmmaker mode. The white balance chart clearly shows a lack of blue, which gives the image a slightly yellowish tint. In practice, the white is not snow-white, but leans towards warmer hues – which some may even like, but from the accuracy perspective, this is a deviation from the norm. The gamma, on the other hand, tends to be on the darker side – the average value is about 2.6 instead of the reference 2.4. In the mid-tones, the image appears muted and more saturated, which may look too "filmic," but takes away some naturalness. However, the biggest issues can be seen in color reproduction. The average error is relatively high, and some colors – especially shades of gray – clearly deviate from what should be seen. In everyday viewing, this means that sometimes colors may look less natural than we would wish.

After calibration, the movie mode gained a completely new quality. The issue of pink tint, which had previously been clearly visible, especially in bright scenes, was effectively eliminated. Colors began to look much more natural, and the white balance no longer dominated the rest of the image. It was no longer the same exaggerated “box picture” – everything gained coherence and a cinematic character. Additionally, the tendency of the television to slightly brighten scenes, previously visible in the EOTF curve analysis, was partially corrected. Of course, this was within the limits of what the design allows without local dimming – it’s hard to speak of perfect brightness management here. Nevertheless, the final effect was definitely closer to what one would expect from a mode called Filmmaker.

Philips OLED770 has shown signs from the beginning that it houses significant potential, but it was difficult to fully see this in the factory settings. The image was sometimes too warm, and some colors seemed to have lost their naturalness along the way. However, calibration revealed that it is a television very receptive to adjustments – it reacted to every correction and almost immediately unveiled another layer of its capabilities. The white balance was successfully set both in SDR and HDR, eliminating the yellowish glow and presenting a neutral, clear white. Gamma stabilized closer to perfection, allowing midtones to regain their naturalness, and shadows no longer appeared artificially darkened, possibly even with a slight brightening effect. The effect was obvious... Movies are watched with greater ease; the image has cinematic depth, but without the feeling that something is exaggeratedly darkened. However, the most interesting part was the work on colors. Out of the box, the errors were not dramatic but slightly noticeable – skin tones were sometimes too warm, and gray didn’t always have the shade we expected. After calibration, the error values dropped to around 2, and in many cases even below 1. This is a level significantly lower than the threshold of perception for the human eye. In other words, after correction, the colors finally “clicked” into place. Looking at the screen, we had the impression that the television had begun to speak with a full voice. Like an instrument that has finally been well-tuned.

The LS03F is equipped with the NQ4 processor, which is responsible for improving image quality—especially in lower-quality materials. In practice, it works surprisingly well, particularly with older content and recordings with lower resolution. Activating the "noise reduction" feature yields noticeable effects. The television effectively smooths tonal transitions and removes digital noise that can appear in darker areas of the image. Compared to previous generations, there is a clear improvement—previously, this feature often smoothed everything too much, including details that it shouldn't have removed. In this year's model, the smoothing still occurs, but it is done in a much more acceptable manner. Textures of materials, skin, or fabric details are no longer so heavily muted as before—the image retains more naturalness. However, this does not change the fact that film grain is still removed by the television, which may not be to everyone's liking. On the other hand, it is no longer as aggressive an intervention as in previous models. It is also worth mentioning that the LS03F may struggle with very weak signals—such as recordings from VHS tapes or video in low resolution. In such cases, we noticed slight clipping of the image at the edges—so-called overscan. This can lead to situations where a small part of the image (e.g., subtitles at the bottom edge) gets cut off.

The problem of the previously mentioned color connections can largely be mitigated by the "distortion reduction" feature, which is an algorithm for smoothing tonal transitions in Philips TVs. It works best at a low setting—effectively eliminating unwanted color bands while not introducing strange artifacts or losing image detail. It's one of those features that is truly worth keeping switched on.

The issue with upscaling is somewhat less favorable. The image from a lower resolution can be too soft, while at the same time, distinctive "jaggies" appear in certain areas. The impression is that the algorithm is trying to reconcile two contradictory directions—smoothing and sharpening—and ultimately hasn't found the golden mean. As a consolation, it's worth noting that the television has no issues with overscan, meaning it doesn't cut off the edges of the image, which sometimes happens with other competing models.

A novelty in The Frame for 2025 is the panel with a refresh rate of 144 Hz. Yes – in a television primarily associated with displaying artwork, you can now not only watch Van Gogh but also comfortably play on a console or follow dynamic sports action. This is a definite step towards greater versatility. In the case of Samsung films, as usual in models with a 120 Hz panel and above, it allows you to adjust motion smoothness according to your own preferences. You can set a more cinematic representation while maintaining frame rate or opt for full motion smoothing. The range of options is wide, allowing you to tailor the effect to your taste – whether the viewing experience is meant to resemble classic cinema or a presentation on a modern theater panel.

*this part of the test refers to the model LS03FAU in sizes 55 and 65 inches, which is equipped with a 144Hz panel; the 43 and 50-inch sizes have 60Hz panels, and therefore perform much worse in terms of motion smoothness.

The issue of the panel in the Philips OLED770 is not entirely straightforward. The manufacturer claims a 120 Hz panel, but our measurements showed that the screen can accept a 4K signal even at 144 Hz. This sounds like great news – because who wouldn't want an extra mode for PC gaming at this price? However, the reality turned out to be more complex. With 120 Hz materials, the television behaves like most OLEDs – the picture is absolutely clear, with no trace of ghosting or blurring, making it ideal for both fast-paced games and sports broadcasts. The problem arises only at 144 Hz. Unlike models with official support for that frequency, here we observe the phenomenon of so-called frame skipping. This means that the television is unable to display all frames – some of them are skipped, causing the motion to lose fluidity, and double outlines appear on the screen. The effect resembles the operation of the BFI function, which Philips does not offer in this model anyway.

As we mentioned earlier – although The Frame likely displays images and works of art most of the time, Samsung has recognized that a Van Gogh enthusiast can just as easily be an avid gamer. And it must be admitted that The Frame 2025 has almost everything it needs to become a fully-fledged gaming television.

On board, we find support for ALLM (automatic game mode) and variable refresh rate (VRR) thanks to the implementation of one HDMI 2.1 port. The television handles lower resolutions at higher refresh rates without any issues and features an expanded Game Bar – already known from other Samsung models – which allows for quick previewing and changing of the most important gaming-related settings. For this, it earns additional points from us. The proprietary motion smoother Auto Motion Plus Game also deserves special mention, which – and it's worth emphasizing – works without increasing input lag. Samsung remains the only manufacturer that has managed to implement this feature in a practically noticeable way in terms of delays. The result? Much better fluidity in games, especially those that struggle to maintain stable 60 frames. This solution can realistically improve the gaming experience in more demanding titles – especially on consoles that don’t always manage full fluidity, especially in AAA games.

As for the downsides – the lack of Dolby Vision is already considered standard in Samsung televisions, so there's nothing to particularly complain about here. However, the problem is something entirely different. In the latest version of the Tizen system, the HGiG option has disappeared. Literally – it's not there. This is a significant setback when configuring a console for proper HDR content display in games. It’s hard to understand why such a decision was made, but one thing is certain – this should be fixed as soon as possible. We are talking about a brand that has set standards for gaming on televisions for years. If HGiG comes back – and we hope that it will – The Frame LS03F can confidently aspire to be a true gaming television. Not just as a decoration on the wall, but as equipment that really provides joy in gaming.

If someone is looking for a gaming TV, the Philips OLED770 is a candidate that's hard to ignore. The mere fact that we have an OLED here provides a great starting point – perfect blacks and infinite contrast make evening sessions in atmospheric games look like they’ve been pulled straight from the cinema. On top of that, there’s the Ambilight system, which features LEDs on the back of the TV that extend the image onto the wall behind the screen. The effect is such that even regular gameplay in FIFA can look like a small spectacle, and in horror games, the atmosphere becomes really intense. On the technical side, it’s pretty good as well. The Philips OLED770 supports Variable Refresh Rate (VRR) up to 120 Hz, has an automatic low latency mode for gamers (ALLM), and if someone is using an Xbox Series X, they can also count on Dolby Vision support in games. You just need to know that in this mode, input lag is slightly higher than standard, although still at an acceptable level. As a bonus, we get the “Game Bar” panel, which is a special tool strip for gamers. It's not the most conveniently designed solution, but it allows you to check key parameters without leaving the game. In total, this presents a picture of a TV that on one hand has all the most important gaming features, and on the other can add something unique – Ambilight. And it’s this mix of technology and visual effect that makes the OLED770 one of the better screens for gaming in a home environment.