Christie 2000, 4000, 6000 User Manual

User’s Manual

Table of Contents

Section Contents Page

Introduction

Installation & Setup

Operation

1.1 The Projectors...................................................................................................1-1

1.2 Components......................................................................................................1-2

1.3 Purchase Record and Servicing.........................................................................1-2

2.1 Quick Setup.......................................................................................................2-1

2.2 Installation Considerations................................................................................2-3

2.3 Projector Position and Mounting......................................................................2-8

2.4 Source Connections ........................................................................................2-13

2.5 Power Connection...........................................................................................2-20

2.6 Operating Orientation .....................................................................................2-20

2.7 Leveling..........................................................................................................2-21

2.8 Zoom, Focus & Lens Offset............................................................................2-21

2.9 Serial Port Connections...................................................................................2-24

2.10 Keypad Protocols and Conversion..................................................................2-30

3.1 Overview...........................................................................................................3-1

3.2 Projector Basics................................................................................................3-1

3.3 Using the Keypad..............................................................................................3-4

3.4 Navigating the Menus.....................................................................................3-13

3.5 Using Inputs and Ch annels..............................................................................3-17

3.6 Adjusting the Imag e........................................................................................3-22

3.7 Configuring System Parameters......................................................................3-39

3.8 Working With the Lam p.................................................................................3-46

3.9 Projector Status...............................................................................................3-49

3.10 3D Images.......................................................................................................3-50

3.11 Using Multiple Projectors...............................................................................3-58

3.12 Error Conditions .............................................................................................3-69

Maintenance

Specifications

Appendices

NOTE: Due to continuing research, all information in this manual is subject to change without notice

54-017142-06P Software Version 2.1 (08/02) Mirage 2000/4000/6000 User's Manual

4.1 Warnings and Guidelines..................................................................................4-1

4.2 Cleaning............................................................................................................4-3

4.3 Replacing Keypad Batteries..............................................................................4-3

4.4 Replacing the Lamp and Filter..........................................................................4-4

4.5 Replacing the Lens............................................................................................4-9

4.6 Troubleshooting..............................................................................................4-12

5.1 Specifications....................................................................................................5-1

A Glossary...........................................................................................................A-1

B Keypad Reference ...........................................................................................B-1

C Menu Tree........................................................................................................C-1

D Serial Communication C a bles..........................................................................D-1

E Throw Distance................................................................................................ E-1

F Optional Input Modules................................................................................... F-1

iii

1.1 The Projectors

Section 1

Introduction

Mirage 2000/4000/6000 projectors are professional quality DMD multimedia projectors that use Digital Light Processing Instruments to produce high-brightness stereoscopic three-dimensional graphics. These models can interface with IBM



(DLP) technology from Texas



-compatible PC, Macintosh computers and workstations and, with an optional video decoder installed, are compatible wi th stand ard international video formats. Mirage 2000/4000/6000 projectors offer exciting realism with large three-dimensional g raphic images for simulation, virtual reality and other related 3D applications, all with a brilliance that can stand up to even high levels of ambient light. Features and other options include:

Features and Options

◊ Native resolution of 1280 x 1024, with other 2D resolutions fully scaleable ◊ Achievable brightness (ANSI lumens):

• Mirage 2000 = 2000

• Mirage 4000 = 4000

• Mirage 6000 = 6000 ◊ Contrast Ratio, all models: 300:1 ANSI, 800:1 full field ◊ 3D images ◊ Built-in Stereo3D interface for flexible le ft /r ig ht fram e inversion ◊ Intuitive software for uniform color and light output in multiple-projector walls ◊ Tandem horizontal and vertical sizing software control, with vertical stretch for

changing aspect ratio when desired

◊ Interchangeable lenses for diagonal screen sizes up to 40 or more feet ◊ Display of NTSC, PAL and SECAM video input ◊ Display from PCs, VCRs, laser disc players, video cameras, etc. ◊ Memory for up to 99 custom “channels” or source setups, switched via keypad ◊ Intuitive on-screen menus as well as option allowing hidden direct control ◊ Identical built-in and remote keypads, with controller and switcher compatibility ◊ Built-in RS-232 and RS-422 ports for computer control and networked projectors ◊ Motorized lens mount upgrade available fo r sm ooth and vers atile re mote control

of lens, with Intelligent Lens System (ILS™) for automatic recall of lens settings from source-to-source

◊ Optional shutter ◊ Optional interfaces for connecting additional analog or digital sourc es ◊ Modular components for easy serv ici ng and m inim um downtim e.

(requires customized RGB signal at native resolution)

(requires optional decoder)

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INTRODUCTION

How The Projectors Work

1.2 Components

Mirage 2000/4000/6000 models accept data/graphics and video input signals for

projection on to front or rear flat screens. High brightness light is generated b y an internal Xenon arc lamp (500W in Mirage 2000, 700W in Mirage 4000, and 1200W in Mirage 6000), then modulate d by thr ee DMD (digital m icromirror device) panels that pr ovide digitized red, green or blue col or information. Light f rom the “on” pixels of each panel is reflected, converged and then projected to the screen through a single front lens, where all pixels are perfectly superimposed as a sharp full-color 2D or 3D image.

Mirage 2000/4000/6000 models include an infrared (IR) remote keypad, line cord, a 9/64” hex socket ball driver, and a User’s Manual. Make sure that you have all these items, and note that purchasers also receive a Warranty Registration Card–complete this card and return it directly to the manufacturer as soon as possible.

Difference Between Models

1.3 Purchase Record and Servicing

Figure 1.1. Components

The models are identical except for th ei r powe r levels and lamp wattage.

Whether the projector is under warranty or the warr anty has exp ired , Christie ’s highly trained and extensive factory and d ealer service network is always availab le to quickly diagnose and correct projector malfunctions. Service manuals and updates are available to service technicians for all projectors.

Should you encounter a prob le m with the projector and require assistance, contact your dealer or Christie. In many cases, any necessary servicing can be performed on site. If you have purchased the projector, fill out the information below and keep with your records.

Purchase Record

Dealer:

Dealer Phone Number:

Projector Serial Number*:

Purchase Date:

Installation Date, if applicable:

* NOTE: The proje ctor serial number is located on the pr o jector's rear identi fication label

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Section 2

Installation & Setup

This section explains how to install and set up your projector. If you are familiar with th e proje ctor and want to quickly set it up for temporary use, fo llow the Quick Set up instructions below.

NOTES: 1) The lens is not installed for shipping. For instructions on how to install or replace a lens, refer to 4.5, Replacing the Lens. 2) This section assumes that the optional video decoder module is installed.

Follow these steps for quick setup of the projector in a standard floor mount position.

2.1 Quick Setup

STEP 1

STEP 2

STEP 3

STEP 4

Position the Projector

Set the projector at the expected throw dist ance (pro jecto r- to-screen distance) and vertical position. See 2.3, Projector Position and Mounting and Appendix E. Make sure that the projector is level from side-to-side (see 2.7, Leveling) and lens cap is off.

Connect a Source

Locate the main input panel at the rear of the projector. The lower left area, lab eled

INPUT 1

a video decoder is installed) accepts a composite video at

INPUT 4. Connect your source to the appropriate panel connectors.

Connect the Line Cord to AC Power

, accepts an RGB input via BNC connectors. The upper right area (assuming

INPUT 3 or S-video input at

Connect the projector’s line cord to the AC receptacle at the lower right rear corner of the projector and to proper AC. The Mirage 2000 requires input power of 100-240 VAC, 50- 60 Hz @ 9 amps (@ 100 V). The Mirage 4000 requires input power of 100-240 VAC, 50- 60 Hz @ 11.5 amps (@ 100 V). The Mirage 6000 requires input power of 200-240 VAC, 50-60 Hz @ 8.5 amps (@ 200 V). Use the line cord provided with the projector. See

Section 5.

WARNING

Do not attempt operation if the AC supply and cord are not

within the specified voltage and power range. See Section 5.

Turn the Projector ON

Using either the built- in or rem ote key p ad, press second to turn the projector on (or press about five minutes. The

POWER

LED, located in the lower right corner of the rear

Powe r*

and hold for approximately 1

). Let the projector warm up for

input panel, should glow a steady green.

STEP 5

Select a Source

Using either the built- in or rem ote key p ad, press

Input1, Input2, Input3

, or

Input4

to select and display the image for the source you connected in Step 2. The display will resize as needed, producing an image as large as possible for the type of source presen t.

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INSTALLATION AND SETUP

STEP 6

Adjust Image

(STANDARD NON-MOTORIZED LENS)

• ZOOM:

With the input image displayed, rotate the textured ring on the lens barrel to increase or decrease the image size (this requires a zoom lens). If you don’t have a zoom lens or you can’t adjust the image enough, the projector may not be positioned at the proper throw distance for your screen size. Power down, unplug the projector and move it towards or away from the screen. See 2.3, Projector Position and Mounting for details.

FOCUS: At the lens opening, turn the focus tabs to

•

focus the image clearl y.

OFFSETS:

•

Turn either or both of the knobs adjacent to the lens if you need to align the image with your screen—turn the top knob to raise or lower the image, turn the bottom knob to shift the image left or right. Re-check focus.

• OTHER: Press

to refine other display

parameters as described in Section 3.

Adjust Image

(REQUIRES MOTORIZED LENS)

NOTE: This projector can be upgraded to include motorized lens controls.

Lens

With the input image displayed, press

Figure 2.1. Motorized Lens Adjustments

on any keypad.

If you’ve just installed the lens, select “Calibrate Lens” before making any adjustments (see Section 3 for details). Then, with the Lens Control menu displayed, use the keypad as shown in Figure 2.1 to focus the image clearly and, if a zoom lens is present, to increase or decrease image size. If desired, adjust horizontal and/or vertical offsets to shift the lens and image location—ranges are shown in 2.3, Projector Position and Mounting.

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Press

to refine other display parameters, if necessary. See 3.5, Using Inputs and

Channels if you want to work with other source inputs or defined channels.

2.2 Installation Considerations

Liftin

Hoistin

Stackin

Installation Type

Although this projector delivers a high brightness quality output, final display qual ity could be compromised if the projector is not properly insta lled. Th is subsection discusses issues you should consider before proceeding with a final installation. Even if you do not intend to use the projector in a fixed and perma nent installation, this subsection will help you to better understand what you can do to enhance display performance.

Never lift or suspend a projector by its feet or any other component.

Remove the lens and securely wrap hoisting cabling and safe ty str aps arou nd the

entire projector. Whether inverted or not, attach to the proper Christie ceiling mount only. Never suspend or “fly” this model.

NOTE: Mirage 2000/4000/6000 projectors cannot use a Christie Hoisting/Stacking Kit for hoisting into place.

Mirage 2000/4000/6000 projectors cannot be stacked.

Choose the installation type which suits your needs: front or rear screen, floor mount

or inverted mount.

Front Screen, Floor Mount Installation

ADVANTAGES CONSIDERATIONS

• Easy to set up, move and access • Shares floor space with audience

Front Screen, Inverted Mount (ceiling) Installation

ADVANTAGES CONSIDERATIONS

• Does not take up audience space

• Projector is unobtrusive & stable

Rear Screen, Floor Mount Installation

ADVANTAGES CONSIDERATIONS

• Projector is hidden yet accessible

• Usually good ambient light rejection

Rear Screen, Inverted Mount (ceiling) Installation

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Usually good ambient light rejection

Rear Screen, Floor Mount with Mirror

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Usually good ambient light rejection

• Requires less space behind screen than

other rear screen installations

• Installation is more permanent

• It is more difficult to access the projector

• Requires separate room

• Installation cost is usually higher

• Requires separate room

• Installation cost is usually higher

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INSTALLATION AND SETUP

Screen T

Front Screen Installations

While there are two basic screen types, flat and curved, generally flat screens are recommended for this projector. Flat screens offer a gain of about 1 with a viewing angle just less than 180°. Incident light reflects equally in all directions so the audience can see the display from various angles. Becau se of the low g ain, flat screens are most effective when ambient lig htin g is reduced, although this difference may be negligible given the high brightness output from this projector.

Screen Size

Figure 2.2. Audience Coverage with Flat Screen

NOTE: Lenses for this projector are designed primarily for use with flat screens, but the projector depth-of-field range allows the lens to be focused on curved screens as well. While focus remains sharp in the corners, there may be significant pincushion distortion, primarily at the top of the screen.

Rear Screen Installations

There are two basic types of rear screens: diffused and optical. A diffused screen has a surface which spreads the light striking it. Pure ly dif fuse d scree ns have a gain of less than 1. The main advantage of the diffused screen is its wide viewing angle, similar to that of a flat screen for front screen projection. Optical screens take light from the projector and redirect it to increase the ligh t intensi ty at the fron t of the screen. This reduces it in other areas. A viewing cone, similar to that of a curved front screen installation, is created.

To summarize, optical screens are better suited for brightly lit rooms where the audience is situated within the viewing cone. Diffused screens may be better suited when a wide viewing angle is required but there is low ambient room lighting.

Screen size may be from 5 to 40 feet diagonal, depending on the lens you are using.

For instance, a 1.2:1 lens can produce a 5 to 25 foot image size, whereas a 4-7:1 zoom lens produces an 8 to 40 foot image size. Choose a screen size which is appropriate for your lens and application. Keep in mind that if the projector will be used to display text information, the image size must allow the audience to recognize all text clearly. The eye usually re cog niz es text cle ar ly if eye-to-text distance is less than 150 times the height of the letter. Small text located too far from the eye may be illegible at a distance no matter how sharply and clearly it is displayed.

2-4

To fill a screen with an image, the aspect ratio of the screen should be equal to the aspect ratio of the image. The aspect ratio of an image is expressed as the ratio of its width to its height. Standard video from a VCR has a 4:3 aspect ratio. For example,

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to display a VCR output with a 4:3 aspect ratio onto a 10 foot (3m) high screen, the width of the screen must be at least 13.3 feet (4m).

Screen Aspect Ratio

Aspect ratio describes the proportion of the screen and is expressed as the ratio of

width to height, such as “4:3” or “5:4” (see right). Although image size and image aspect ratio can both be adjusted quickly through projector software, it is still a good idea to choose a screen aspect ratio which is most appropriate for your intended applications. Ideally, to exactly fill a screen with an image, the aspect ratio of the screen should correspond to the aspect ratio of the image, which depends on the source in use. For example, standard video from a VCR has a 4:3 ratio (approximately), whereas a high resolution graphics signal typically has a 5:4 aspect ratio. By default, images from your projector will be as large as possible and, with the exception of graphics sources, will maintain their aspect ratio.

NOTE: With a few exceptions, sources with less than 1280 x 1024 resolution have a 4:3 aspect ratio. The normal aspect ratio for 1280 x 1024 sources is 5:4.

Using a 5:4 Screen

With one exception, XGA images will— by default—resize to fill an SXGA (5 :4) screen. The exception is that video signals will retain their aspect ratio, as shown in Figure 2.3. In this case, fill the screen by increasing Vertical Stretch to slightly expand the image to the top and bottom edges of the screen. For details, see 3.6, Adjusting the Image.

Figure 2.3. Adjusting a 4:3 Video Image

Using a 4:3 Screen

If you are using a 4:3 screen (but producing 5:4 images), images will—by default— slightly overlap the screen vertically. To remedy, reduce Vertical Stret ch so that the “too tall” 5:4 image no longer spills over the top or bottom of the screen (Figure 2.4). This control eliminates the need for simply moving the projector farther from the screen, which would result in black borders for all sources. See 3.6, Adjusting the

Image. NOTE: The Vertical Stretch adjustment may soften the image slightly, but is not

noticeable in most cases.

Figure 2.4. Using a 4:3 Screen for a mix of 5:4 and 4:3 sources

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INSTALLATION AND SETUP

Ideal Room Lightin

The high brightness outpu t of this pro jec tor is cer tainly well suited for locations

where ambient l ightin g is less tha n optimum for projection, yet there are still many simple things you can do to optimize your installation.

Visiting a movie theater can give you an idea of what makes an ideal projection environment. Walls, floors and furnishings are dark and matte finished. A projection room should not have white reflective ceilings or non-directional lighting such as fluorescent lights. The white ceiling sprea ds lig ht, m ak ing the room appear brighter. Keep lighting and reflections to a minimum.

If it is not possible to eliminate fluorescent lights, consider using incandescent spot lighting or parabolic refl ec tor s ("egg crates") to direct light down to the floor. Light dimmers or rheostats allow furth er cont ro l.

Outside windows are undesirable in any projection room . A small crack betwe en curtains on a sunny day can wash out a projected image. If you do have windows, make sure that window coverings are opaque and overlapping — some window coverings are designed to provide up to 100 percent blockage of outside light. Ideally, the material should have a matte finish.

To minimize the effects caused by unwanted light from door and aisle ways, carefully choose the position of your pro jector and screen. Figure 2.5 shows an installation where poor screen placement allows too much unwanted light to enter the screen. In Figure 2.6, screen and the projector are positioned so that unwanted light is minimized.

2-6

Figure 2.5. Poor Screen Placement

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Figure 2.6. Better Screen Placement

Even with all lighting removed it is still possible that room reflections within the room can slightly degrade the image. Light from the projection screen should be absorbed by the ceilings, walls and floors so that it will not be reflected back to the screen. Again, keep reflective surfaces to a minimum.

Other Considerations

Here are some other considerations and tips which can help you improve your

installation:

• Ventilation is an important factor when preparing a projection room. The ambient

temperature should be kept constant and below 35°C (95°F). Keep the projector away from heating and/or air conditioning vents. C han ges in temperature can cause drifts in the projector circui try wh ic h m ay affect per fo rm a nce.

• Keep the projector away from devices which radiate electromagnetic energy such

as motors and transformers. Common sources of these are slide projectors, speakers, power amplifiers, elevators, etc.

• For rear screen applications, less spac e is required if a mirror is used to fold the

optical path.

• Choose the right screen size for the applicat ion: ◊ As screen size increases, magnification increases and reduces brightness.

Select a screen size which is appropriate for the venue, but not larger than that required.

◊ Installing a large screen in a small room is similar to watching television

close up; too large a screen can overpower a room. A good rule of thumb is to be no closer than 1.5 times the width of the screen.

◊ Larger scre ens requ ir e greater at ten tion to lighting conditions.

• When laying out the projection room , conside r positioning the projector and

screen in a manner which wi ll achieve maximum audience coverage and space efficiency. For example, placing the sc reen along the larger wall in a rectangular room will reduce audience coverage. Figure 2.7 shows two examples of how audience coverage is maximized.

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INSTALLATION AND SETUP

2.3 Projector Position and Mounting

Figure 2.7. Screen Locations for Maximum Audience Coverage

Installation type, screen type, and lighting all affect where the projector is positioned. In addition, both throw distance (the distance between the projector and screen) and vertical position (the height of the pro jec tor in relat ion to the screen) must be determined for every new installation. Both depend on the screen size and lens type you are using. Make sure that the room can accommodate the required position of the projector for the chosen screen size.

Throw Distance

Throw distance is the distance betwe en the pro ject or's front feet and the screen. For

any installation, an accurate throw distance must be determined in order for the image to be of the right size for your screen–the farther the pro jector is from the screen, the larger the image.

NOTE: If your projector is tilted in relation to the screen, as is sometimes the case for large venues or elevated installations, throw distance still represents the smallest measurement between the screen and front feet.

Throw distance is roughly equal to the horizontal width of the screen multiplied by the type of lens you are using. For example, if you are using a 0.8:1 lens, proper throw distance will be

the screen

approximately 0.8

width. Once you know your screen size and lens, you can estimate throw distance needed (see example in Figure 2.8).

Figure 2.8. Estimating Throw Distance

IMPORTANT: For proper

(SEE APPENDIX E)

placement in an installation, always refer to the throw distance formula and/or graph for your lens as listed in Appendix E. Keep in mind that due to lens manufacturing tolerances for lens focal length, actual throw d i stance can vary ±5% between lenses described as having the same throw ratio.

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Vertical & Horizontal

Position

THE VERTICAL POSITION of the projector in relation to the screen also depends on the

size of the screen and the lens type. Correct vertical posit ion helps ensu re tha t the image will be rectangular in shape rat her than keystoned (having non-parallel sides) and that image focus and brightness both remain optimized.

In addition, vertical position of the image can be offset—that is, moved up or done— either by turning the top knob on the front of the projector (th e one nearest to th e IR sensor) in non-motorized projectors, or through software in motorized projectors. Offsets range up to 130%, depending on the specific lens, wheth er it is m otor iz ed or not, what amount of zoom is in effect and whether or not you are also offsetting horizontally.

See Table 2.1 for the maximum percentage of the image that can be displayed above or below the center of each type of motorized lens. These image offsets are also illustrated in Figure 2.9.

NOTE: Shown are approximate motorized offset ranges—manual offsets standard in Mirage 2000/4000/6000 may differ.

Table 2.1. Maximum % of Image Offset from Lens Center

Lens Type Max. Recommended Image Offset

✻ 0.8:1

1.2:1

1.5 - 2.2:1

2.2 - 4:1

✻ 2.5 – 4:1

4-7:1

✻ 4-7:1

✻ NOTE: VistaGRAPH X lens . Threaded le ns a da p ter r eq u ir ed.

The 0.8:1 lens is not recommended for use in SXGA models.

Motorized ZOOM feature is not available for VistaGRA P H X l e ns es.

×91% Ø100% ×104% Ø100% ×128% Ø100% ×128% Ø100% ×123% Ø100% ×130% Ø100% ×114% Ø100%

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INSTALLATION AND SETUP

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Figure 2.13. Maximum Vertical Offsets

Continued…

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Figure 2.9. Maximum Vertical Offsets, Continued (

ALL LENSES

)

NOTES: 1) If you cannot raise or lower the image enough using mechanical vertical offsets, try adjusting V-Position in the Size

and Position menu (see 3.6, Adjusting the Image). 2) If the

image becomes keystoned or exhibits uneven brightness, the projector may simply be too high or low in relation to the screen. 3) Recommended offset ranges can be exceeded, however this may affect image quality. 4) Simultaneous horizontal and vertical offset limits the adjustment range of each.

THE HORIZONTAL POSITION of the image can be offset—that is, shifted left or right

of lens center—either by turning the bottom knob on the front of the projector (the knob farthest from the IR sensor) in non-motorized projectors or through softw are in motorized projectors. The maximum horizontal offset for lenses that can be installed in this projector is shown in Figure 2.10. This value expresses the maximum percentage of the image that can be projected to one side of the lens center (roughly 77%, depending on the lens).

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INSTALLATION AND SETUP

Mountin

Figure 2.10. Maximum Horizontal Offsets

For typical front or rear floor mounts, mount the projector on a

(ALL LENSES)

secure table or cart. Take care with a mobile cart—avoid sudden stops, excessive force and uneven surfaces that may cause the projector and cart combination to overturn.

The table or cart should be reasonably level. Fine adjustments to the projector level can be made by adjusting the height of the projec tor leg s; re fer to 2.7, Leveling for details.

Special Mounting

Note that projector can be rotated and mounted at any vertical angle—i.e., you can tilt the face of the projector up or down as much as desired for your installation. The side-to-side tilt, however, must not exceed 15° (see Figure 2.11). This limit ensures that the arc lamp in the projector operates properly and safely. Alway s make sure that exhaust air from the projector does not vent towards the lens, otherwise you may detect heat waves in your projected image.

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Figure 2.11. Horizontal and Vertical Tilt Ranges

You must use the proper ceiling mount fixture (and/or stacking kit, if applicable) for your projector. For more information, contact your dealer.

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Folded Optics

2.4 Source Connections

In rear screen applications where space behind

the projector is limited, a mirro r may be used to fold the optical path. See right. The position of the projector and mirror must be accurately set—if considering this type of install at ion, call your dealer for assistance.

The rear panel of the projector provides standard input panels to which you may connect a variety of sources. See Figure 2.12–the lower left area (

INPUT 1) typically

accepts an RGB signal from an external RGB source, or it can also be used for YPbPr signals or additional video sources. The upper right panel–the optional Video Decoder Module–accepts only composite video at

INPUT 3

or S-video at

INPUT 4

devices such as VCRs, laser disk player s or DVD players. There are also several optional interfaces available for connecting other sources at installs in the upper left area, just above

INPUT 1

INPUT 2.

Such an option

NOTE: For all connections, use only high-quality shielded cables.

from

Figure 2.12. Rear Connector Panel

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INSTALLATION AND SETUP

RGB Signals

INPUT 1

provides 5 BNCs (connectors) for linking to a variety of sources, typically to an RGB source such as VGA, SVGA, XGA, Mac, PowerMac, DEC, Sun, SGI and others. This projector supports multiple sync types with RGB signals: sync-on-green, composite sync, and separate H & V syncs.

NOTE: Depending on the source, you may need a custom adapter cable with BNC connectors at the projector end and a different type of connector at the other (such as a 15-pin "D" connector for computer sources). Contact your dealer.

BNC input(s) first. Then connect the red, green and blue source

Connect the outputs to the

SYNC

RED, GREEN, and BLUE BNCs on the INPUT 1 panel. If the source uses

sync-on-green, only the red, green, and blue connections are required. If the source provides a composite sync output, connect it to the

SYNC

HOR/COMP

input labeled the source provides separate horizontal and vertical sync outputs, connect horizontal sync to the labeled

VERT. See Figure 2.13.

SYNC

input labeled

HOR/COMP

and connect vertical sync to

SYNC

NOTES: 1) If for some reason the projector fails to recognize as an RGB signal, specify this Color Space option within the Image Settings menu. See 3.6, Adjusting the Image. 2) To connect YPbPr signals–such as from DVD or analog HDTV sources–to

INPUT 1, use the red, green and blue BNCs as described in YPbPr Signals la ter i n this

section.

. If

input

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Figure 2.13. Connecting RGB Input

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YPbPr Signal

(COMPONENT VIDEO)

Composite Video

Connect a YPbPr signal (component video) to INPUT 1 as shown in Figure 2.14.

Figure 2.14. Connecting YPbPr Signal

NOTES: 1) If, for some reason, the projector fails to recognize a YPbPr signal, specify this Color Space option within the Image Settings menu. See 3.6, Adjusting the Image. 2) Do not connect digital component signa ls (known as YCbCr) t o

1. Use the appropriate digital interface ins ta lle d at INPUT 2..

The video decoder input panel provides simultaneous connection of both a composite

video source (

INPUT 3

) and an S-Video source (

INPUT 4

INPUT

If connecting a composite video source, use the Composite BNC connector or the RCA phono jack at

INPUT 3–do not use both as inputs. See Figure 2.15.

NOTE: If you want to loop a composite signal through to another projector or display device, see Video Loop Through later in this section.

Figure 2.15. Connecting Composite Video

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INSTALLATION AND SETUP

S-Video

The video decoder input panel provides simultaneous connection of both a composite

video source (

INPUT 3) and an S-Video source (INPUT 4).

If connecting an S-Video source, use the 4-pin mini DIN connector or the Y and C BNC connectors (luma and chroma) at

INPUT 4–do not use both as inputs. See Figure

2.16.

Figure 2.16. Connecting S-Video

NOTE: If you want to loop an S-video signal through to another projector or display device, see Video Loop Through below.

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INSTALLATION & SETUP

Video Loop Through

To loop a single incoming video signal input (connected at the video decoder)

through to another projector or display device, use the empty connector(s) adjacent to this same input as described below.

Composite Video Loop Through

CONNECTIONS:

INPUT 3

to cable from whichever

See Figure 2.17. From your source, connect a composite video signal

using either the small phono plug or the adjacen t BNC. Connect a second

INPUT 3 connector is free to one of the composite video inputs

of the next display device or projector. Continue this looping method for each projector, using either the phono plug or the adjac ent BNC as input into

INPUT 3,

then using the other connector as an output (i.e., loop through). Whether you use the BNC or the phono plug as input or output depends on the type of cable you have on hand and what type of connectors are on each end.

VIDEO TERMINATION: In the Video Options submenu, make sure “Video

Termination” is checked for the fin al projector only. All other projectors must have this option unchecked in order for the signal to continue. For other types of display devices in the chain, typically a “Hi-Z” switch position is needed.

Figure 2.17. Connections for Composite Video Loop Through

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INSTALLATION AND SETUP

S-Video Loop Through

CONNECTIONS:

INPUT 4

to Connect a second cable from whichever

See Figure 2.18. From your source, connect an S-video source signal

using either the 4- pin mini DIN or the 2 adjacent BNCs labeled Y and C.

INPUT 4

connector is free to one of the Svideo inputs of the next display device or pro jec tor. Cont inue th is loop ing method for each projector, using either 4-pin mini DIN or the 2 adjacent BNCs as input into

INPUT 4,

then using the other connector(s) as an output (i.e., loop through). Whether you use 4-pin mini DIN or the 2 adjacent BNCs as input or output depends on the type of cable you have on hand and what type of connectors are on each end.

Extra Video

– COMPOSITE OR S-VIDEO

VIDEO TERMINATION:

In the Video Options submenu, make sure “Video

Termination” is checked for only the final pro jec to r. All othe r projectors must have this option unchecked in order for the signal to continue. For other types of display devices in the chain, typically a “Hi-Z” switch position is needed.

Figure 2.18. Connections for S-Video Loop Through

If you want to use an extra video source in addition to the video source(s) connected at

INPUT 3 or INPUT 4 connect either a Composite or S-Video source to INPUT 1 as shown in

Figure 2.19. Do not connect both types here simultaneously. NOTE: For additional video inputs, install an optional Composite/S-Video Input Module at

INPUT 2.

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Figure 2.19. Connecting an Extra Video Source to Input 1

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INSTALLATION & SETUP

Optional Inputs

Optional modules from Christie allow you to increase your total number of inputs

and/or accommodate different sig nal ty pes, whethe r analog or digital. Any one of these modules can be installed in the projector area labeled

INPUT 2

. They include:

• RGB 500 Input Module

• RGB 400 Active Loop Thru Input Module

• RGB 400 Buffered Amplifier Input Module

• Composite/S-Video Input Module

• PC250 Analog Input Module

• Serial Digital Input Module

• Digital HDTV Input Module

• DVI Input Module

Alternatively, the analog interfaces (i.e., non-digital) can be installed in a Marquee Case/Power Supply or Marq uee Swit che r, if desired, for use with the projector.

NOTES: 1) Audio ports on optional interfaces are non-functional. 2) Optional digital interfaces cannot be used in a Marquee Case/Power Supply or Switcher. 3) Connect analog HDTV signals directly to

INPUT 2—the optional HDTV Input Module used in earlier Christie projectors is not

INPUT 1

or to any “RBG” input module installed at

needed or recommended . 4) See Appendix F, Optional Input Modules for a brief description of each interface.

Connecting a switcher

You may wish to use one or more external Marquee Signal Switchers or a third party

switcher in order to significantly increase the number of sources you can select. If you are using a Marquee Signal Switcher, connect the switcher’s RGB output to

INPUT 1 and connect an RS-232 serial communication cable between the switcher and

the projector serial port labeled

SWITCHER (see Figure 2.20). The switcher

communication link (perm anently se t at 9600 baud ) enables you to access inputs connected to the switcher in the same manner as those connected directly to the projector. For most other third-party switchers, connect and access sources according to the documentation provided with that switcher. Use high-quality shielded cables.

NOTE: Make sure any Marquee Signal Switcher connected directly to the projector is set as “Switcher #1”. If it is not, unplug the switcher and turn the thumbwheel to “1” before plugging back in and connecting to the projector and/or network.

Figure 2.20. Connecting a Marquee Signal Switcher

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INSTALLATION AND SETUP

Connecting Multiple

Switchers

2.5 Power Connection

If you are using more than one Marquee Signal Switcher, daisy-chain the RS-232

switcher inputs/outputs together to form a complete network of inputs accessible from the projector (you can network up to 9 switchers), and connect Switcher #1 to the projector as shown in Figure 2.20. In addition, connect the RGB output from each switcher to its matching slot on switcher #1–for example, connect the RGB output from switcher #2 to slot #2 on switcher #1, and the RGB output from switcher #3 to slot #3 on switcher #1. Note that slots used in this manner on switcher #1 are no longer recognized as inputs to the project or–if you se lect a slot location that is connected to another switcher’s RGB output, the projector will display the “no inpu t signal” error message.

Plug the projector’s high-current line cord into the line input socket located in the lower right corner of the rear panel of the projector, then plug the 3-pronged end of the line cord into a grounded AC outlet. Input voltage to Mirage 2000 /4000 must be 100-240 VAC. Input voltage to Mirage 6000 must be 200-240 VAC. Use the proper

power source and the high-current rated line cord provided. See Section 5, Specifications for all power requ irements.

WARNING

Do not attempt operation if the AC supply and cord are

not within the specified voltage and power range.

2.6 Operating Orientation

Caution: Once the projector is turned off, the lamp cooling fans will continue to

run for approximately five minutes to ensure that the projector and lamp have sufficiently cooled, at which point the fans will automatically shut off. To avoid thermal stress to the lamp, do not unplug the line cord while the lamp cooling fans are running—and do not unplug the projector in order to power down.

The projector is set up at the factory for use in a front screen, floor mount orientation. If your initial installation is ceiling mount or rear screen, displayed images may be upside down and/or reversed. To correct, you must change the image orientation from within the Menu Preferences menu (you may prefer to do this before physically installing the projector in its final position/orientation).

In the Menu Preferences menu, highlight and select the "Image Orientation" pulldown list. Select from Rear, Inverted Rear, Front or Inverted Front according to your intended installation. See Section 3, Operation for further information.

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2.7 Leveling

2.8 Zoom, Focus & Lens Offset

INSTALLATION & SETUP

For most installations, the lens surface of the projector is parallel to the screen—this prevents major keystoning of the image (i.e., an image with non-parallel sides). In addition, the projector must be kept level from side-to-

Figure 2.21. Adjusting the Feet Height

side in order for the lamp to function safely. To make small corrections to the projector's level, rotate each leg as necessary to raise or lower. For angled installations, see “Special Mounting” under

2.3, Projector Position and Mounting earlier in this section.

Once the projector is properly set up and producing an image, you are ready to make quick lens adjustments. Refer to 3.3, Using the Keypad and 3.4, Navigating the

Menus if you are unfamiliar with using the keypad and menu system.

NOTE: A non-motorized lens mount is standard.

Zoom

Focus

Lens Offset

NON-MOTORIZED:

If you h ave a zoom lens installed, turn the textured ring of the lens

barrel to decrease or increase the size of the imag e at the cu rrent throw distance.

MOTORIZED: If you have a zoom lens installed, press

menu. Select the “Zoom” option (

) and adjust image size as desired with or

Lens

to display the Lens Control

. Refer back to Figure 2.1.

WARNING

Keep fingers away from the lens opening when

operating the motorized zoom function.

NON-MOTORIZED:

Near the lens opening, turn the lens focus tab until the im age is as

sharp as possible.

MOTORIZED: Press

desired with

Lens

to display the Lens Control menu. Adjust image clarity as

or . Refer back to Figure 2.1.

NOTES: 1) Initially, your image may be so blurry you cannot recognize the “Focus”

Lens

menu option. Remember that press

or to adjust. 2) If focus is not uniform throughout the image, bore

activates the “Focus” control (#1)—from here,

sight is likely poor. Contact your dealer for service.

Lens offsets move the lens and image. Try to achieve the desired overall image

position and best brightness while maintaining a rectangular image. If the brightness looks uneven, or the edges do not look perfectly straight, the projector may not be in the optimal position for your screen. See 2.3, Projector Position and Mounting for full details. Lens offset ranges are also listed on page 5-1.

NON-MOTORIZED:

To relocate the image, turn eit her or both of the front knobs adjacent to the lens. The top knob “Vertical” will raise or lower the image, the bottom knob “Horizontal” will shift the image left or right.

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INSTALLATION AND SETUP

Intelligent Lens System

(ILSTM)

MOTORIZED: Press

option (

Lens

to display the Lens Control menu. Select either lens offset

) and move the image as desired with or . Refer back to

Figure 2.1. Other display adjustments are available through keypad commands and on-screen

menus—refer to Section 3, Operation.

NOTE: Requires motorized lens, available as an upgrade.

Once you’ve defined lens settings for the current display, you can automatically recall these positions whenever you use this channel. This Intelligent Lens Syste m

(ILSTM) function is particularly useful if you are working with a variety of source types that may differ in size and/or aspect ratio, since the custom lens settings you’ve chosen for any channel will be quickly and accura te ly applied whenever you use that channel.

ENABLING ILS

option (highlight it and press

In the Lens Control menu, enable the “Intelligent Lens System”

Enter

). This will add the 4 lens positions—focus, zoom, horizontal and vertical offse t—to the cur rent chan nel se ttin gs recorded in proje ct or memory (see 3.5, Using Inputs and Channels if you are unfamiliar with channels). The lens will then autom atic al ly reposition itself according to these len s settin gs ea ch

time you use this channel. The ILS

is a global function—any lens settings you subsequently define for other chann el s will also be recal led whenev er you use those channels.

You can still change lens settings as usual when the ILS

is enabled. Changes will be

recalled the next time you use the channel.

DISABLING ILS

delete the “Intelligent Lens Sy stem ” che c kmark (highlight th e op tion and press

: To use consistent zoom, focus, and offset settings for all channels,

Enter

The lens will not move until y ou adjust one of its sett ings.

Operating Tips for Lens Settings and ILS

NOTES: 1) ILSTM requires motorized lens mount. 2) Accurate ILSTM performance requires a calibrated lens mount. Calibrate after installation of a lens, and repeat if the lens is moved or bumped. See Section 3.

When defining the focus, zoom, horizontal offset and vertical offset slidebar settings for a given channel, keep in mind the following cons ider ations for optimized ILS

performance:

• The lens mount must be calibrated.

• When decreasing (

• When increasing (

), values are always even (1004-1002-1000-etc.). ), values are always odd (1001-1003-1005-etc.).

• Lens movements begin slowly and subtly before reac hing fu ll spee d—ch ang es

may not be ev ident on screen until after a se cond or two of

• When holding

or , lens movement gradually accelerates.

or .

• As with any setting, you can directly enter a value using the numbers on the

Enter

keypad, if desired. Press

before and after.

• Because of how gears function, movement to an even value is always

approached from a higher value, even if the direction of lens movement must

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INSTALLATION & SETUP

reverse to do this. Likewise, an odd value is approached from a lower value.

This protocol helps ensure ILS

accuracy. In general:

◊ If decreasing to an odd value, movement will reverse its approach. ◊ If increasing to an even value, movement will reverse its approach.

• To make small adjustments for ILS

recall, always maintain the current odd or even status for the new value—th is wil l prevent the lens fr om reversing at a point very near to the requested setting and settling in the area of extra trav el known as the “backlash” zone, an area which is not recognized by the ILS For accurate tweaking of an odd setting, press

FOR EXAMPLE:

If the current setting is 1001 and you enter 1002, the lens must

. If even, press .

move slightly beyond the reques ted se tt ing befo re quick ly rev ers ing back down to 1002. Although 1002 will appear in the menu, the physical location of

the lens will not be accurately recalled by the ILS

Instead, if you need to slightly increase a current odd setting (such as 1001), either press

as often as necessary or go to a nearby odd setting (1003, 1005, etc.) rather than switching to an even setting (1002, 1004, etc.). This technique will prevent the lens from reversi ng and sett ling in the backla sh zone.

• Try to release the

or key before reaching a desired lens setting, then continue as necessary with sm all inc rem enta l adjus tments in the same direction. If you “overshoot” slightly, do not reverse and “tweak” into place unless you have overshot beyond the backlash zone (which can vary from 10

to 600 increments, depending on the function). Otherwise, the ILS

function will not recognize the final “twe ak ed” value wh en you return to this channe l, and lens performance will appear inaccurate. In general, use small “incremental” fine- tuning only if the direct ion of lens movement has not changed during an adjustment. See Figure 2.22.

Alternatively, simply enter a new position to reverse direction. For example, if the current setting is 2000, enter 2001 to star t mov ing up—then press current setting is 2001, enter 2000 to start moving down—then press

Figure 2.22. Lens Settings and the ILS

• When adjusting lens offsets, slidebar values will not reach extremes of 0 or

9999. This is normal and does not mean that corresponding lens mount movements failed to reach their physical extremes.

. If

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INSTALLATION AND SETUP

2.9 Serial Port Connections

NOTE: Communication software is required for serial control. Contact your dealer.

You may wish to use equipment other than the ke ypad for controllin g t he pr oj ect or or for performing other special functions. Such equipment—such as most personal computers—requires a seri al in ter fac e for send ing and rece iv ing com munications through the serial ports on the projector. Note that there are two different types of serial communication ports on this projector as described below.

If using a computer

RS-232 Ports

From most computers, connect an computer and the projector serial port labeled

RS-232 serial communication cable between the

RS-232 IN

—this 9-pin D connector port

is located near the bottom center of the projector's rear control panel (see Figure

2.23). Then set the projector baud rate to match that of the computer (chang ing the baud rate is described in 3.7, Configuring System Parameters).

NOTE: Refer to Appendix D for complete cable wiring details.

Figure 2.23. RS-232 Serial Connection to a Computer

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RS-422 Ports

Some computers can provide adapter or external converter) rather than the more common RS-232. RS-422 communication has differential “transmits-and-receives” and is generally better suited for long distances than is RS-232 communication. RS-422 is not compatible with RS-232—connecting one to the other could damage the equipment at either end.

If you wish to control the projector with a computer and/or other controlling device (such as the Two-Way Controller) having RS-422 capability, connec t communication cables between the computer (or other device) and either (or both) of the projector serial ports labeled locate d near the upper right corn er of the projector's rear control pa nel (see Figure

2.24). Use an first consult the documentation supplied with your equipment.

Mirage 22000/4000/6000User’s Manual

RS-422 serial communications (often through a plug-in

RS-422 serial

RS-422—these 6-pin XLR connector ports are

RS-422 port only if your equipment has RS-422 capability—always

INSTALLATION & SETUP

If usin

a switcher

If using multiple projectors

Figure 2.24. RS-422 Serial Connection to a Computer

WARNING

Do not use an RS-422 port unless you are using a

computer with RS-422 capability. The voltage levels of

this signal can damage incompatible equipment.

You may wish to use one or more external Marquee Signal Switchers or a third party

switcher in order to significantly increase the number of sources you can select. If you are using a Marquee Signal Switcher, connect the switcher’s RGB output to

INPUT 1 and connect an RS-232 serial communication cable between the switcher and

the projector serial port labeled

SWITCHER (refer back to Figure 2.20). The switcher

NOTE: See 2.4, Source Connections, “Connecting a Switcher” for complete details.

Serial Communications

RS-232 NETWORK: To control multiple projectors with a computer/controller having

an RS-232 interface, first set them all to the same baud rate needed, then chain the projectors together by conne c ting the (already connected to the computer/controller) to the

RS-232 OUT connec tor of the fi rst projector

RS-232 IN connector of the next

projector in the chain.

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INSTALLATION AND SETUP

Figure 2.25. Adding Another Projector via RS-232

RS-422 NETWORK

: To control multiple projectors with a computer/controller having an RS-422 interface, first set them all to the same baud rate needed, then chain the projectors together by conne ct ing th e

RS-422 PORT 2

(already connected to the computer/controller) to the

connector of the first projector

RS-422 PORT 1 connector of the

next projector in the chain.

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Figure 2.26. Adding Another Projector via RS-422

Mirage 22000/4000/6000User’s Manual

INSTALLATION & SETUP

For either type of network, continue connect ing projectors in this manner until you’ve reached the last projector in the chain, so that only the last projector has an empty

RS-232 OUT

(or

RS-422 PORT

, if applicable). See exam ples below .

Figure 2.27. Assorted Networks

Note that communication parameters such as baud rate must be set to match the particular controlling device before connecting as a network —re fer to the documentation that came with your controlling device in orde r to determ ine the proper baud rate. See 3.7, Configuring System Parameters if you need help changing the projector baud rate from its default of 19200.

NOTES: 1) To avoid damage, connect only properly wired serial communication cables. See Appendix D for details. 2) It is recommended that each RS-232 communication cable be no more than 25 feet in length. Use high quality cables.

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