The full HD panel, for instance, is driven by a 100Hz engine to reduce motion flaws. And the onscreen menus are impressively well stocked with features and calibration aids, including a special LED motion mode for reducing judder; multiple black level and gamma adjustments; and white balance tweaking (via red, green and blue and ‘10-point’ adjustments). Not for the first time we’re left wondering why, with so many adjustments at its disposal, Samsung doesn’t follow the lead of arch Korean rival LG in seeking endorsement from the Imaging Science Foundation (ISF).
To be honest, we’d expected the 32C6000’s most obvious signs of corner cutting to emerge in its picture quality. But for the most part it performs very well indeed.
The first thing that strikes us is a familiar Samsung LED strength: dynamism. By which we mean the raw, almost visceral impact generated by a combination of high brightness levels, extremely fully saturated colours and also, crucially, a satisfying depth to the black colours that give most video images their foundation.
Looking for more subtle strengths is rewarding too. Colours prove surprisingly natural in tone despite their strong saturations, and enjoy a good degree of tonal subtlety when showing blends. Though admittedly not as much as you get with Samsung’s C8000 and C9000 models.
It’s also clear that the screen knows how to get the best from its full HD resolution, serving up plenty of detail and texture when showing HD material. Standard def upscaling works pretty well too, leaving non-HD sources looking reasonably sharp while only losing marginal colour accuracy. The edge is taken off the general sharpness a little when the TV has to deal with motion, even with the set’s motion processing in play. This is a key area where Samsung’s higher-spec edge LED TVs outperform the 32C6000. But to be fair, motion doesn’t actually look at all bad compared with the 32in TV world at large, at least once the TV has warmed up from each day’s cold start (many LED TVs seem to need to run for an hour or so before each day before they look their best).
Don’t be afraid to turn the motion processing off with really fast action films, though, as these can cause the processing to generate an artefact or two – especially a flickery, ghosty look to the edges of fast-moving objects.