The 2025 OLED TV Showdown Heats Up – Beyond Just Brightness

The OLED TV Market: A Battle for Supremacy

The competition between LG and Samsung in the OLED TV market has been fierce, especially since Samsung made a strong return with its QD-OLED technology. These two Korean giants have consistently dominated the market, outpacing other brands like Panasonic, Sony, and Philips in terms of market share. While these other brands offer high-quality TVs, they often fall short when it comes to features, design, and pricing.

One of the main reasons for LG and Samsung's success is their comprehensive range of features. Their smart TV interfaces are more user-friendly, and they provide better gaming capabilities, including support for higher refresh rates and multiple HDMI 2.1 ports. Additionally, their sleek designs make them more appealing to consumers who value aesthetics as much as performance.

Despite this, it’s important to note that Panasonic, Sony, and Philips still produce excellent TVs. For example, Sony and Panasonic are known for delivering some of the best sound quality in the industry, while Philips offers unique features like Ambilight to differentiate itself from competitors.

Picture Brightness and Innovation

A key area where LG and Samsung have had an edge is in picture brightness. Traditionally, OLED TVs were not ideal for bright room conditions, but recent models from LG and Samsung have significantly improved in this aspect. Samsung introduced the OLED Glare Free screen on the S95D, which enhances visibility in well-lit environments. This innovation has helped LG and Samsung maintain their lead in picture quality.

However, price has also played a crucial role in their dominance. Until recently, LG and Samsung were able to offer their flagship OLED TVs at lower prices than their rivals. For instance, the LG G4 and Samsung S95D were available for around $2,600, while the Panasonic Z95A was priced at $3,100. Despite the Z95A’s superior sound system and potentially better picture quality, the price gap made it less attractive to many consumers.

Sony’s Bravia 9 mini-LED TV offered a competitive alternative, but the preference for OLED over mini-LED remained strong for some buyers.

Current Pricing Trends in 2025

In 2025, the landscape has shifted slightly. The LG G5 and Samsung S95F launched at similar prices, around $3,399 for the 65-inch model. However, both saw price drops in anticipation of major sales events. What caught many off guard was how aggressively Sony and Panasonic priced their new models.

The Sony Bravia 8 II and Panasonic Z95B were launched at prices close to those of LG and Samsung. As of mid-August 2025, the prices have continued to fluctuate:

• LG G5 65-inch: $2,999 / £2,699 / AU$5,295
• Samsung S95F 65-inch: $3,299 / £2,799
• Panasonic Z95B 65-inch: $2,999 / £2,799
• Sony Bravia 8 II 65-inch: $2,999 / £2,499 / AU$5,295

This shift indicates that Panasonic and Sony are now offering competitive pricing, making them more attractive options for consumers.

Performance and Preferences

Opinions on these four TVs vary widely. Recent blind tests revealed different preferences among viewers and experts. One test, conducted by The Shiro Copr, favored the Samsung S95F and LG G5 for their brightness and vibrant colors. Another test by Value Electronics highlighted the Sony Bravia 8 II and Panasonic Z95B for their accurate SDR and HDR performance.

While the Z95B and Bravia 8 II may lack some of the advanced gaming features found in the G5 and S95F, they offer superior built-in sound systems. Comparisons between the Z95B and Bravia 8 II showed that both outperformed LG and Samsung in audio quality, reducing the need for additional soundbars.

Although LG and Samsung still lead in picture brightness, the gap in other aspects of picture quality has narrowed significantly. As the year progresses, the competition between these OLED TVs is expected to intensify, making the choice for the “OLED TV of the Year” increasingly difficult.

Final Thoughts

The OLED TV market continues to evolve, with LG and Samsung maintaining a strong presence. However, the emergence of competitive models from Sony and Panasonic has created a more balanced playing field. Consumers now have more choices than ever, and the decision will depend on individual priorities such as price, features, and performance.

The 2025 OLED TV Showdown Heats Up – Beyond Just Brightness

The OLED TV Market: A Battle for Supremacy

The competition between LG and Samsung in the OLED TV market has been fierce, especially since Samsung made a strong return with its QD-OLED technology. These two Korean giants have consistently dominated the market, outpacing other brands like Panasonic, Sony, and Philips in terms of market share. While these other brands offer high-quality TVs, they often fall short when it comes to features, design, and pricing.

One of the main reasons for LG and Samsung's success is their comprehensive range of features. Their smart TV interfaces are more user-friendly, and they provide better gaming capabilities, including support for higher refresh rates and multiple HDMI 2.1 ports. Additionally, their sleek designs make them more appealing to consumers who value aesthetics as much as performance.

Despite this, it’s important to note that Panasonic, Sony, and Philips still produce excellent TVs. For example, Sony and Panasonic are known for delivering some of the best sound quality in the industry, while Philips offers unique features like Ambilight to differentiate itself from competitors.

Picture Brightness and Innovation

A key area where LG and Samsung have had an edge is in picture brightness. Traditionally, OLED TVs were not ideal for bright room conditions, but recent models from LG and Samsung have significantly improved in this aspect. Samsung introduced the OLED Glare Free screen on the S95D, which enhances visibility in well-lit environments. This innovation has helped LG and Samsung maintain their lead in picture quality.

However, price has also played a crucial role in their dominance. Until recently, LG and Samsung were able to offer their flagship OLED TVs at lower prices than their rivals. For instance, the LG G4 and Samsung S95D were available for around $2,600, while the Panasonic Z95A was priced at $3,100. Despite the Z95A’s superior sound system and potentially better picture quality, the price gap made it less attractive to many consumers.

Sony’s Bravia 9 mini-LED TV offered a competitive alternative, but the preference for OLED over mini-LED remained strong for some buyers.

Current Pricing Trends in 2025

In 2025, the landscape has shifted slightly. The LG G5 and Samsung S95F launched at similar prices, around $3,399 for the 65-inch model. However, both saw price drops in anticipation of major sales events. What caught many off guard was how aggressively Sony and Panasonic priced their new models.

The Sony Bravia 8 II and Panasonic Z95B were launched at prices close to those of LG and Samsung. As of mid-August 2025, the prices have continued to fluctuate:

• LG G5 65-inch: $2,999 / £2,699 / AU$5,295
• Samsung S95F 65-inch: $3,299 / £2,799
• Panasonic Z95B 65-inch: $2,999 / £2,799
• Sony Bravia 8 II 65-inch: $2,999 / £2,499 / AU$5,295

This shift indicates that Panasonic and Sony are now offering competitive pricing, making them more attractive options for consumers.

Performance and Preferences

Opinions on these four TVs vary widely. Recent blind tests revealed different preferences among viewers and experts. One test, conducted by The Shiro Copr, favored the Samsung S95F and LG G5 for their brightness and vibrant colors. Another test by Value Electronics highlighted the Sony Bravia 8 II and Panasonic Z95B for their accurate SDR and HDR performance.

While the Z95B and Bravia 8 II may lack some of the advanced gaming features found in the G5 and S95F, they offer superior built-in sound systems. Comparisons between the Z95B and Bravia 8 II showed that both outperformed LG and Samsung in audio quality, reducing the need for additional soundbars.

Although LG and Samsung still lead in picture brightness, the gap in other aspects of picture quality has narrowed significantly. As the year progresses, the competition between these OLED TVs is expected to intensify, making the choice for the “OLED TV of the Year” increasingly difficult.

Final Thoughts

The OLED TV market continues to evolve, with LG and Samsung maintaining a strong presence. However, the emergence of competitive models from Sony and Panasonic has created a more balanced playing field. Consumers now have more choices than ever, and the decision will depend on individual priorities such as price, features, and performance.

Brilliant British Engineers Shun Whitehall's Quangos

The Rise and Fall of the UK Space Agency

The UK Space Agency (UKSA) was disbanded last week, returning its functions to Whitehall. Many saw this as a welcome move, given the agency's troubled history. A year earlier, a National Audit Office (NAO) report had exposed serious inefficiencies within the organization. Industry insiders even suggested that the agency might have been one of the worst creations of New Labour.

This situation raises an important question: how did the UK, once a leader in space exploration, end up in such a position?

The story of the UK’s involvement in space is one of brilliant engineering talent, often overshadowed by bureaucratic neglect. In contrast, countries like Italy and France, which have maintained stronger industrial bases, are now far ahead in space technology.

Today, British entrepreneurs are making waves with innovative projects. For example, companies like SpaceForge are developing advanced materials in space, while others are working on removing space debris using robotic arms. These developments highlight the potential of the UK’s engineering sector, especially with the drop in launch costs creating new opportunities.

However, there is a gap between these small startups and major players like Airbus, which played a key role in the Mars Rover project. This lack of middle-tier support has hindered growth.

David Whitehouse, a well-known author and former BBC science correspondent, argues that the UK has lost its place in the space race. He notes that even Russia, once a dominant force, is now struggling. Rebuilding the UK’s presence in space would take decades, he says.

Forty years ago, advocates pushed for a British equivalent of NASA—an independent agency capable of making strategic decisions without political interference. This led to the creation of the British National Space Centre (BNSC), which had a dynamic leader, Roy Gibson, who had previously headed the European Space Agency (ESA).

Despite initial enthusiasm from the Foreign Office and Ministry of Defence, the BNSC faced challenges due to political divisions. Margaret Thatcher was not fully supportive, and after Gibson left, the agency lost momentum.

In 2009, Labour replaced the BNSC with the UKSA. Over the next 15 years, the agency received a £1.75 billion budget. However, it largely passed this money to the ESA, which controls three major space powers: the US, China, and the ESA itself.

While the UK gained valuable projects like the Mars Rover and the Jupiter orbiter "Juice," the NAO criticized the lack of proportionality between the funding provided and the contracts received. The report also pointed out that the Department for Science, Innovation and Technology lacked a clear understanding of its funding and requirements for the space sector.

The UKSA also developed some strange priorities. One was focusing on exporting regulations to other countries, despite having little influence with major powers like the US and China. Another was the push for domestic spaceports, such as the Shetland Space Centre at SaxaVord, which some critics describe as little more than a large car park.

There were also questionable investments, such as the disastrous Virgin Orbit project, which ended in bankruptcy. The agency also approved the sale of Inmarsat to a US company, while resisting further investment in OneWeb, a promising satellite navigation startup.

Despite these issues, the disbanding of the UKSA didn’t generate much public outcry. Most people saw it as a necessary step, given the agency’s failures.

Whitehouse notes that the UK government has always wanted to be part of the space future but has never been willing to invest the necessary funds or develop a clear strategy. As the country faces financial difficulties, the prospects for a larger UK space sector seem increasingly distant.

Brilliant British Engineers Shun Whitehall's Quangos

The Rise and Fall of the UK Space Agency

The UK Space Agency (UKSA) was disbanded last week, returning its functions to Whitehall. Many saw this as a welcome move, given the agency's troubled history. A year earlier, a National Audit Office (NAO) report had exposed serious inefficiencies within the organization. Industry insiders even suggested that the agency might have been one of the worst creations of New Labour.

This situation raises an important question: how did the UK, once a leader in space exploration, end up in such a position?

The story of the UK’s involvement in space is one of brilliant engineering talent, often overshadowed by bureaucratic neglect. In contrast, countries like Italy and France, which have maintained stronger industrial bases, are now far ahead in space technology.

Today, British entrepreneurs are making waves with innovative projects. For example, companies like SpaceForge are developing advanced materials in space, while others are working on removing space debris using robotic arms. These developments highlight the potential of the UK’s engineering sector, especially with the drop in launch costs creating new opportunities.

However, there is a gap between these small startups and major players like Airbus, which played a key role in the Mars Rover project. This lack of middle-tier support has hindered growth.

David Whitehouse, a well-known author and former BBC science correspondent, argues that the UK has lost its place in the space race. He notes that even Russia, once a dominant force, is now struggling. Rebuilding the UK’s presence in space would take decades, he says.

Forty years ago, advocates pushed for a British equivalent of NASA—an independent agency capable of making strategic decisions without political interference. This led to the creation of the British National Space Centre (BNSC), which had a dynamic leader, Roy Gibson, who had previously headed the European Space Agency (ESA).

Despite initial enthusiasm from the Foreign Office and Ministry of Defence, the BNSC faced challenges due to political divisions. Margaret Thatcher was not fully supportive, and after Gibson left, the agency lost momentum.

In 2009, Labour replaced the BNSC with the UKSA. Over the next 15 years, the agency received a £1.75 billion budget. However, it largely passed this money to the ESA, which controls three major space powers: the US, China, and the ESA itself.

While the UK gained valuable projects like the Mars Rover and the Jupiter orbiter "Juice," the NAO criticized the lack of proportionality between the funding provided and the contracts received. The report also pointed out that the Department for Science, Innovation and Technology lacked a clear understanding of its funding and requirements for the space sector.

The UKSA also developed some strange priorities. One was focusing on exporting regulations to other countries, despite having little influence with major powers like the US and China. Another was the push for domestic spaceports, such as the Shetland Space Centre at SaxaVord, which some critics describe as little more than a large car park.

There were also questionable investments, such as the disastrous Virgin Orbit project, which ended in bankruptcy. The agency also approved the sale of Inmarsat to a US company, while resisting further investment in OneWeb, a promising satellite navigation startup.

Despite these issues, the disbanding of the UKSA didn’t generate much public outcry. Most people saw it as a necessary step, given the agency’s failures.

Whitehouse notes that the UK government has always wanted to be part of the space future but has never been willing to invest the necessary funds or develop a clear strategy. As the country faces financial difficulties, the prospects for a larger UK space sector seem increasingly distant.

Advance Labels Expands Capacity with Second Proflex 330 Press

Expanding Production Capacity with Advanced Label Printing Technology

Advance Labels, a UK-based label printing company, has taken a significant step forward by installing a second Proflex 330 flexographic press from Focus Label Machinery. This strategic move is designed to enhance the company's production capacity and expand its capabilities in medium to high-volume label manufacturing. The new press complements an existing Proflex 330 that is already in operation, reinforcing Advance Labels' commitment to staying at the forefront of the industry.

The Proflex 330 is engineered for flexible and high-speed production, featuring a modular design that allows for future upgrades. This adaptability ensures that the press can be configured in various ways to meet different application needs. According to Focus Label Machinery, the system’s versatility makes it ideal for a wide range of label production requirements.

David Gregory, managing director of Advance Labels, highlighted the importance of this investment. He stated, “At Advance Labels, we are constantly seeking new and improved manufacturing processes and have made this substantial investment in state-of-the-art printing technology.” As a family-owned business, Advance Labels prides itself on maintaining a 100% staff retention rate, which reflects its strong family-mindset business ethics.

Gregory also emphasized the long-term partnership between Advance Labels and Focus Label Machinery. “This latest investment represents a further continuation of our partnership with Focus and supports our growth in the market,” he said. Over the past three years, the company has experienced consistent growth, with an annual increase of around 20%.

Key Features of the Proflex 330 Press

The Proflex range includes both servo and line shaft models, making it suitable for a variety of production environments. It also features fast-change cylinder systems and multiple drying technologies such as infrared (IR), ultraviolet (UV), and light-emitting diode (LED) UV. These technologies ensure efficient and high-quality printing, even on challenging substrates.

Focus Label Machinery offers a 250mm-wide version of the press, catering to smaller-scale production needs. The company provides solutions for printing on various materials, including unsupported films and cartons. This flexibility allows Advance Labels to serve a broader range of clients and applications.

In addition to flexographic presses, Focus Label Machinery supplies hybrid and digital presses, as well as finishing solutions tailored to the narrow web printing market. This comprehensive range of products enables businesses like Advance Labels to streamline their operations and improve efficiency.

Strengthening Industry Partnerships

James Thomas, sales head at Focus Label Machinery, spoke about the value of the partnership with Advance Labels. “Our partnership with Advance Labels brings together their market knowledge excellence, plus our own considerable printing and finishing expertise and support,” he said. “This partnership continues to open up exciting new avenues for Focus and Advance Labels as they are always looking for an alternative way to provide quality production print services.”

The collaboration between the two companies highlights the importance of combining technical innovation with deep industry experience. By leveraging each other’s strengths, they are able to deliver superior results to their clients.

As the demand for high-quality labels continues to grow, companies like Advance Labels must remain agile and adaptable. The installation of the second Proflex 330 press is a clear indication of their commitment to meeting this demand and maintaining a competitive edge in the market.

With ongoing investments in cutting-edge technology and a focus on continuous improvement, Advance Labels is well-positioned for future success. Their partnership with Focus Label Machinery not only enhances their production capabilities but also reinforces their dedication to delivering exceptional service and quality.

Advance Labels Expands Capacity with Second Proflex 330 Press

Expanding Production Capacity with Advanced Label Printing Technology

Advance Labels, a UK-based label printing company, has taken a significant step forward by installing a second Proflex 330 flexographic press from Focus Label Machinery. This strategic move is designed to enhance the company's production capacity and expand its capabilities in medium to high-volume label manufacturing. The new press complements an existing Proflex 330 that is already in operation, reinforcing Advance Labels' commitment to staying at the forefront of the industry.

The Proflex 330 is engineered for flexible and high-speed production, featuring a modular design that allows for future upgrades. This adaptability ensures that the press can be configured in various ways to meet different application needs. According to Focus Label Machinery, the system’s versatility makes it ideal for a wide range of label production requirements.

David Gregory, managing director of Advance Labels, highlighted the importance of this investment. He stated, “At Advance Labels, we are constantly seeking new and improved manufacturing processes and have made this substantial investment in state-of-the-art printing technology.” As a family-owned business, Advance Labels prides itself on maintaining a 100% staff retention rate, which reflects its strong family-mindset business ethics.

Gregory also emphasized the long-term partnership between Advance Labels and Focus Label Machinery. “This latest investment represents a further continuation of our partnership with Focus and supports our growth in the market,” he said. Over the past three years, the company has experienced consistent growth, with an annual increase of around 20%.

Key Features of the Proflex 330 Press

The Proflex range includes both servo and line shaft models, making it suitable for a variety of production environments. It also features fast-change cylinder systems and multiple drying technologies such as infrared (IR), ultraviolet (UV), and light-emitting diode (LED) UV. These technologies ensure efficient and high-quality printing, even on challenging substrates.

Focus Label Machinery offers a 250mm-wide version of the press, catering to smaller-scale production needs. The company provides solutions for printing on various materials, including unsupported films and cartons. This flexibility allows Advance Labels to serve a broader range of clients and applications.

In addition to flexographic presses, Focus Label Machinery supplies hybrid and digital presses, as well as finishing solutions tailored to the narrow web printing market. This comprehensive range of products enables businesses like Advance Labels to streamline their operations and improve efficiency.

Strengthening Industry Partnerships

James Thomas, sales head at Focus Label Machinery, spoke about the value of the partnership with Advance Labels. “Our partnership with Advance Labels brings together their market knowledge excellence, plus our own considerable printing and finishing expertise and support,” he said. “This partnership continues to open up exciting new avenues for Focus and Advance Labels as they are always looking for an alternative way to provide quality production print services.”

The collaboration between the two companies highlights the importance of combining technical innovation with deep industry experience. By leveraging each other’s strengths, they are able to deliver superior results to their clients.

As the demand for high-quality labels continues to grow, companies like Advance Labels must remain agile and adaptable. The installation of the second Proflex 330 press is a clear indication of their commitment to meeting this demand and maintaining a competitive edge in the market.

With ongoing investments in cutting-edge technology and a focus on continuous improvement, Advance Labels is well-positioned for future success. Their partnership with Focus Label Machinery not only enhances their production capabilities but also reinforces their dedication to delivering exceptional service and quality.

Music Photographer Learns from Samsung's Concert Tips

Festival Photography Hacks

When heading to a concert or festival, it's essential to have the right techniques to capture the best moments. Whether you're using a smartphone or a dedicated camera, there are several tricks that can elevate your photography game. These hacks, shared by Kadesh Beckford, Samsung’s Smartphone Specialist for Mobile Experience, can help you make the most of your phone's camera capabilities.

Utilize Golden Hour Rules

One of the most effective tips is to take advantage of golden hour lighting. This time of day, just after sunrise or before sunset, provides soft, warm light that can create stunning images. Using portrait mode on your camera phone allows you to blur out distractions and focus on the subjects, resulting in those glowing crowd shots that are perfect for sharing on social media.

Ultra-Wide for Atmosphere

Switching to the ultra-wide lens on your phone can capture the full scale and essence of the stage and crowd. This perspective is ideal for showing the sea of hands in the air and the artist performing on stage. It gives a more immersive feel to your photos and videos, making them more engaging for viewers.

Go Low for Drama

Kadesh suggests holding your phone lower than eye-level when shooting the stage. This technique not only creates a unique point of view but also makes the artist appear larger than life. It adds a dramatic element to your shots, making them stand out from the typical crowd photos.

Switch Off the Flash

Stage lighting is usually sufficient for photographing a concert, so using the flash can wash out your subject. As a photographer, it's important to follow the "first 3, no flash" policy, which means no flash and only capturing the first three songs of an artist's setlist. This helps maintain the integrity of the event and ensures that your photos are well-lit without any harsh shadows.

Keep It Steady

Using a tripod is essential for long exposure shots of lasers or fireworks. However, if you don't have a tripod, you can rest your phone on a barrier to keep it steady. This will result in smoother clips without relying on in-phone stabilization, giving you more control over the quality of your footage.

Concert Videography Tips

Shooting high-quality video at concerts requires attention to detail and the right settings. Here are some tips to help you capture the best footage.

Shoot in 4K at 60fps (UHD60)

If your camera phone supports it, shooting in 4K at 60fps offers crisp, smooth footage. This resolution provides flexibility for editing later without losing any quality. You can then share the clip across your social media platforms in the highest possible resolution.

Note: Shooting in 4K consumes a lot of battery power, so be sure to pack a portable charger or one of the best power banks to keep your phone charged throughout the event.

Turn HDR On for Concerts

Enabling HDR (high dynamic range) in your camera settings can help balance out stage lighting. This feature prevents highlights from being blown out or faces from being left in shadow, ensuring that your footage looks professional and well-balanced.

Ensure Super Steady Stabilization Is OFF

This tip might be controversial, but Kadesh recommends turning off Super Steady stabilization. While this feature is designed to stabilize your footage, it can sometimes make the stage lighting look artificially wobbly when the phone tries to correct big movements. When filming live music, the energy comes through in the crowd, and you want to capture that naturally rather than have your phone fight it.

Lock Your Focus and Contrast

Focus the camera on your artist and turn the contrast down slightly using the on-screen slider. Then, lock these settings in place by tapping the lock icon. This prevents blown-out spotlights or auto-adjusts from ruining your clip, ensuring consistent quality throughout your footage.

Stick to Pre-Set Zooms, Not Pinch-and-Zoom

Pre-set zoom levels on camera phones, such as 2X or 5X, keep your videos sharper. Using the custom pinch-to-zoom method can lead to grainy footage, so it's better to stick with the pre-set options for the best results.

Elevate Your Audio

For Samsung users, the Audio Eraser feature is a game-changer. This built-in AI sound tool can strip out unwanted noise, whether it's wind, crowd chatter, or a drunk fan singing along to a song. After filming, head into the Gallery app, find your video, tap the Galaxy AI icon, and use this feature to enhance the audio quality.

Kadesh also suggests investing in an external microphone for better sound quality. A small clip-on mic can significantly improve the audio in your concert clips, giving you professional-grade recordings.