Sharp GP7 vs TCL C69K / Q6C

In terms of HDR, the Sharp GP7 can pleasantly surprise us. The maximum brightness around 500 nits is the threshold at which the real advantages of high dynamic range become visible. During our tests, we achieved stable values between 430 and 500 nits, which translated to clearer distinction of elements in both bright and slightly darker scenes. Additionally, there is a DCI-P3 color gamut coverage of around 95%, which allows for vibrant, visually pleasing colors. Of course, this is not the highest league, but for this price range – a big plus.

In terms of brightness, TCL C69K / Q6C is a moderate model. Under optimal movie conditions, it shows its full potential, reaching a maximum of around 600 nits. In scenes with large, intense light sources, the HDR effect can be truly satisfying, providing a cinematic sparkle. However, it should be noted that when managing the backlight zones, there are situations where some elements of the image become dimmed, and sometimes they are barely visible. This suggests that there is still a lack of proper optimization of algorithms, though considering the technical parameters in this price range, the construction still looks very good.

Upon taking it out of the box, in movie mode, the GP7 doesn’t perform badly at all. In HD materials, we noticed slight disturbances in white balance – drops in red and blue, which made the image have a slightly greenish tint. This is visible, for example, on the faces of characters, which become less three-dimensional. The gamma is somewhat brightened in places, resulting in less deep blacks. In 4K HDR content, a cooler, bluish tone additionally emerges, making colors appear less natural. On the other hand, looking from the "out of the box" perspective, these settings are not bad – just minor adjustments are needed, and we will try to improve them with special tools.

The Filmmaker mode, which has arrived in this year's TCL televisions (including the C69K / Q6C), is definitely the best choice "to start with." This is the mode we recommend for everyday viewing of movies and series. Unfortunately, as is often the case, best does not mean perfect. In SDR content, the image turned out to be too warm, with a strong red tint in the white balance. We had the opposite impression with HDR content – here the image became cooler than it should have, due to an excess of blue color. Additionally, the brightness characteristics sometimes resulted in overexposure. In practice, this translated to quite noticeable errors in color tests, which is hard to accept in a mode labeled as “by the creators.”

Calibration really makes a difference in GP7. After implementing the adjustments, we achieved a better white balance in HD content, and the colors started to look much more natural, with minimal deviations and without a clear dominance of individual colors. In 4K HDR, the change is not as spectacular, but still noticeable. The gamma has been brought to a more neutral level, although there is still a visible issue with a slight boost in the brightest details on the screen. The lack of control over dynamic tone mapping limits our maneuvering room, but nonetheless, this is a significant step forward compared to the factory settings.

Through white balance adjustment, we were able to significantly reduce the tendency of C69K / Q6C to distort colors, which resulted in a very good final outcome. After calibration, the issue of excessive warmth in SDR scenes and overly cool images in HDR disappeared. However, it is worth closely analyzing brightness characteristics. While there are few complaints about SDR content - the image looks really good, especially in older movies, TV programs, or on YouTube - the situation is much worse with HDR content. Analysis of the EOTF curve suggests that everything is fine, but in practice (EOTF in films), the limitations of the design become apparent. This model tends to excessively brighten small parts of the frame, while in other situations it dims the entire scene too much. The effect of calibration is undeniable, and in terms of color accuracy, C69K / Q6C gains a lot. Unfortunately, certain limitations resulting from local dimming management simply cannot be overcome.

The TV can quite well scale lower quality content. Our test panels were well reproduced, and although there was minimal aliasing on small, delicate shapes (for example, thin branches), it still looked satisfactory. Additionally, the GP7 offers a "10-bit color reproduction" feature to smooth out tonal transitions in poor quality materials. It is useful, but at the expense of some details, which is why we recommend turning it on only when we are really watching something of poor quality.

In terms of image scaling, TCL C69K / Q6C performs quite well. Lower quality content is displayed acceptably, and thanks to the lack of overscan issues, the image is presented in full without any cropping. However, one shouldn't expect miracles – very low-quality materials won't gain a new life here, as the image processor has its limitations.

On thin lines and details, one can see characteristic jitter, indicating a lack of more advanced image enhancement algorithms. It's also a pity that the C69K / Q6C lacks the function for smoothing tonal transitions. As a result, in older movies or video materials, color banding can be noticeable and may become distracting during longer viewing sessions.

With a 60 Hz refresh rate and an average response time, it's hard to expect miraculous smoothness. In dynamic tests, like the one with the "little green man," it is evident that the image can blur and occasionally lose sharpness. For watching movies and series, this is acceptable, especially since one can use a motion smoother with three levels of adjustment. However, if we care about ultra-smooth sports broadcasts or super responsive gaming, we may feel underwhelmed.

The use of a 144 Hz panel in TCL C69K / Q6C is a significant advantage in this price range. It represents an important step forward compared to its predecessor (C655 PRO), which only offered 60 Hz at 4K. The difference is particularly noticeable when watching sports or playing games – the ball, players, or dynamic action in games are displayed more clearly and without losing details. An interesting feature is also the ability of the panel to operate at 240 Hz (which the manufacturer does not officially mention) – we will return to this topic in relation to the PC gaming mode. TCL has also added a feature for movie fans: “Motion Clarity.” This allows users to adjust the picture to their preferences using two simple sliders. We can either keep the visible film frame or opt for very smooth, "

Let's not kid ourselves – the GP7 is not a television for the most demanding console gamers. Yes, it has ALLM that will automatically switch the TV to low latency mode, but it lacks VRR or G-Sync. There is also no advanced menu to facilitate the adjustment of settings during gameplay. Dolby Vision in games? Yes, but with such high input lag that it's hard to talk about comfort. If we play occasionally and do not aim for the highest standards, we can get by, but fans of technical innovations will be disappointed.

TCL C69K / Q6C is a television that can boldly be called equipment created with gamers in mind. Here we have 4K at 144 Hz, VRR support, automatic game mode (ALLM), and Dolby Vision Gaming. Additionally, there's a practical Game Bar, which is a panel with the most important settings right at hand – useful when we want to quickly change something during gameplay (e.g., aspect ratio: Yes, it’s possible!). The wide range of VRR, reaching up to 240 Hz, is noteworthy. This option is primarily for PC gamers who will lower the resolution below native 4K. In that case, the TV can spread its wings and show additional smoothness, especially in fast esports titles. For consoles, we stick to the classic limit of 120 Hz, but the possibilities are still quite broad. The only drawback is slight motion blur that can sometimes be seen in dynamic scenes. Other than that, C69K / Q6C offers everything gamers expect from a television.