Turning my attention to motion (an area of difficulty for some of LG’s lower-rent TVs), the 42LF7700 also does rather well. The TruMotion 100Hz system does a really credible job of reducing response time blur, and is especially effective when joining forces with the 24P Real Cinema mode for viewing Blu-rays, making them look fluid, but not unnaturally so. What’s more, provided you make sure you never set the TruMotion routine any higher than its ‘Low’ setting, you’ll also be able to enjoy the extra fluidity without having to suffer too many processing artefacts. Only the occasional face moving quickly across the screen tends to catch the system out, resulting in momentary lag and flicker.
From my initial viewing of the 42LF7700’s Freesat pictures, I also formed the opinion that the TV’s black levels were good. Certainly the sheer amount of punch to the image suggests an expansive dynamic range between the TV’s brightest whites and deepest blacks.
Yet switching to the demands of a dark movie scene, such as the early scene in ”There Will Be Blood” where Daniel is injured at the bottom of a gold mine, I was a touch disappointed to see signs of tell-tale milkiness over the supposedly black background.
You can improve matters in this respect if you drastically reduce the TV’s backlight setting; in fact, the TV’s own ‘Cinema’ preset knocks the backlight all the way down to 20%. But this clearly takes away quite a bit of the vibrancy that so first attracted me to the TV, and creates a different problem in the form of a shortage of shadow detailing in the darkest corners.
To put what I’m saying here in perspective, the 42LF7700’s black levels certainly aren’t bad. It’s just that the issues I’ve described stand in stark contrast to the exceptional black response of Panasonic’s Freesat plasma TVs. Though to be fair, it should be said that the Panny plasmas can’t compete with the LG’s extreme colour saturations and brightness – a potential issue if your TV viewing generally takes place in a particularly bright room.