Christie HD14K-M, WU14K-M User Manual

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User Manual

020-101942-01

Mirage M Series

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User Manual

020-101942-01

Mirage M Series

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NOTICES

All brand names and product names are trademarks, registered trademarks or trade names of their respective holders.

GENERAL

Every effort has been made to ensure accuracy, however in some cases changes in the products or availability could occur which may not be reflected in this document. Christie reserves the right to make changes to specifications at any time without notice. Performance specifications are typical, but may vary depending on conditions beyond Christie's control such as maintenance of the product in proper working conditions. Performance specifications are based on information available at the time of printing. Christie makes no warranty of any kind with regard to this material, including, but not limited to, implied warranties of fitness for a particular purpose. Christie will not be liable for errors contained herein or for incidental or consequential damages in connection with the performance or use of this material. Canadian manufacturing facility is ISO 9001 and 14001 certified.

WARRANTY

Products are warranted under Christie’s standard limited warranty, the complete details of which are available by contacting your Christie dealer or Christie. In addition to the other limitations that may be specified in Christie’s standard limited warranty and, to the extent relevant or applicable to your product, the warranty does not cover:

a. Problems or damage occurring during shipment, in either direction. b. Projector lamps (See Christie’s separate lamp program policy). c. Problems or damage caused by use of a projector lamp beyond the recommended lamp life, or use of a lamp other than a Christie lamp supplied by

Christie or an authorized distributor of Christie lamps.

d. Problems or damage caused by combination of a product with non-Christie equipment, such as distribution systems, cameras, DVD players, etc., or

use of a product with any non-Christie interface device.

e. Problems or damage caused by the use of any lamp, replacement part or component purchased or obtained from an unauthorized distributor of

Christie lamps, replacement parts or components including, without limitation, any distributor offering Christie lamps, replacement parts or

components through the internet (confirmation of authorized distributors may be obtained from Christie). f. Problems or damage caused by misuse, improper power source, accident, fire, flood, lightening, earthquake or other natural disaster. g. Problems or damage caused by improper installation/alignment, or by equipment modification, if by other than Christie service personnel or a Christie

authorized repair service provider. h. Problems or damage caused by use of a product on a motion platform or other movable device where such product has not been designed, modified

or approved by Christie for such use. i. Problems or damage caused by use of a projector in the presence of an oil-based fog machine or laser-based lighting that is unrelated to the projector. j. For LCD projectors, the warranty period specified in the warranty applies only where the LCD projector is in “normal use” which means the LCD

projector is not used more than 8 hours a day, 5 days a week. k. Except where the product is designed for outdoor use, problems or damage caused by use of the product outdoors unless such product is protected

from precipitation or other adverse weather or environmental conditions and the ambient temperature is within the recommended ambient

temperature set forth in the specifications for such product. l. Image retention on LCD flat panels. m.Defects caused by normal wear and tear or otherwise due to normal aging of a product.

The warranty does not apply to any product where the serial number has been removed or obliterated. The warranty also does not apply to any product sold by a reseller to an end user outside of the country where the reseller is located unless (i) Christie has an office in the country where the end user is located or (ii) the required international warranty fee has been paid.

The warranty does not obligate Christie to provide any on site warranty service at the product site location.

PREVENTATIVE MAINTENANCE

Preventative maintenance is an important part of the continued and proper operation of your product. Please see the Maintenance section for specific maintenance items as they relate to your product. Failure to perform maintenance as required, and in accordance with the maintenance schedule specified by Christie, will void the warranty.

REGULATORY

The product has been tested and found to comply with the limits for a Class A digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference when the product is operated in a commercial environment. The product generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instruction manual, may cause harmful interference to radio communications. Operation of the product in a residential area is likely to cause harmful interference in which case the user will be required to correct the interference at the user’s own expense.

CAN ICES-3 (A) / NMB-3 (A)

이 기기는 업무용 (A 급 ) 으로 전자파적합등록을 한 기기이오니 판매자 또는 사용자는 이점을 주의하시기 바라며 , 가정 외의 지역에서 사용하는 것을 목적 으로 합니다 .

Environmental

Theproductisdesignedandmanufacturedwithhigh‐qualitymaterialsandcomponentsthatcanberecycledandreused.

This symbol meansthatelectricaland

electronicequipment,attheirend‐of‐life,shouldbedisposedofseparatelyfromregularwaste.Pleasedisposeoftheproductappropriatelyandaccordingtolocal regulations.IntheEuropeanUnion,thereareseparatecollectionsystemsforusedelectricalandelectronicproducts.Pleasehelpustoconservetheen

vironmentwe

livein!

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Addendum

The CD included with this printed manual contains an electronic copy in English. Please read all instructions before using or servicing this product.

手册中包含的光盘，带有着中文的电子副本，使用或维修本产品前，请仔细查阅所有的指示。

手冊中包含的光盤，帶有着中文繁體的電子副本，使用或維修本產品前，請仔細查閲所有的指示。

Le DC fourni avec ce manuel imprimé contient une copie électronique en français. S'il vous plaît lire toutes les instructions avant d'utiliser ou de réparer ce produit.

Das CD, das mit diesem gedruckten Handbuch eingeschlossen ist, enthält eine elektronische Kopie auf in deutscher Sprache. Vor der Anwendung oder der Instandhaltung dieses Produktes lesen Sie bitte alle Anweisungen.

Il CD fornito con il manuale stampato contiene una copia elettronica in lingua italiano. Si prega di leggere tutte le istruzioni prima di utilizzare o riparare questo prodotto.

この印刷されたマニュアルに同梱されております CD には、日本語での説明書が入っております。この製品を使用あるいは修理点検される際に、ご参照下さい。

매뉴얼과 함께 포함되어 있는 CD 에는 한글로 된 전자사본을 포함하고 있습니다 . 본 제품을 사용 혹은 서비스하기 전에 모든 지침 사항들을 읽어 보시기 바랍니다 .

O CD incluído com o impresso livro contém um eletrônico cópia em Português. Por favor lido todas as instruções antes de usar ou prestando serviço esse resultado.

Поставляемый в комплекте с документацией компакт-диск (CD) содержит электронную копию руководства пользователя на русском языке. Перед началом использования изделия или проведения сервиса пожалуйста прочтите все инструкции изложенные в руководстве.

El DC incluido con este manual impreso contiene una copia electrónica en español. Por favor, lea todas las instrucciones antes de usar o dar servicio a este producto.

Компакт диск, що постачається з цим друковане керівництво містить електронну копію українською мовою. Будь ласка, прочитайте всі інструкції перед використанням або обслуговуванням цього продукту.

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Content

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Purchase record and service contacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13

Projector models . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

How the projector works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

User interface overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

List of components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Key features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Safety warnings and guidelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

General Precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

AC/power precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Lamp precautions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Installation and Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

About the projector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Installation considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19

Front screen installations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Rear screen installations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Screen size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Ambient lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Ventilation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Other considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Installing a projection lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Positioning the projector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Throw distance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Vertical and horizontal position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Mounting the projector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Ceiling mount . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Special mounting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Stacking projectors in a frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Stacking multiple projectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Aligning stacked projectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Adjusting projector height and tilt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Adjusting height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Adjusting tilt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

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Connecting a source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Connecting the line cord . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Powering on the projector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

Selecting a source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Aligning the image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Aligning boresight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Powering down the projector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Connect communications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Configuring Ethernet settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Serial port connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Connecting through RS232 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Connecting through RS422 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Connecting multiple projectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Separate networks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Communicating to all ports . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Connecting to the GPIO connector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43

Configuring the GPIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44

Connecting sources through option cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

LEDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Twin HDMI input card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Analog BNC input card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

Dual 3G/HD/SD-SDI input card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Dual link DVI input card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Video decoder input card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

DMXC interface card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Twin DisplayPort Input card . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

Configuring the output options cards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

Connecting tiled projectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Defining the communication method between projectors . . . . . . . . . . . . . . . . . .52

Specifying serial communication parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Adding a Serial Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Configuring DMX512 support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Adding a DMX Channel event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Operating the projector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Controlling the projector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Built-in Keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Wired Remote . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

IR remote keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

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Managing users . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Creating a user . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Changing a password . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Deleting a user . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Uploading a logo file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .59

Logging On . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

Setting the power management parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Setting the date and time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Navigating the interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Changing the language used for menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

Adjusting the menu appearance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Selecting an input or channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Creating a new channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Selecting a channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Displaying a list of channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Copying a channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67

Deleting a channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Deleting multiple channels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Editing a channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Configuring the lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Configuring up the lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Selecting the lamp operation mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .69

Selecting the lamp mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Specifying the amount of power sent to the lamp . . . . . . . . . . . . . . . . . . . . . . .70

Setting the target brightness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Configuring lamp failover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Using multiple projectors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Tiling an image over multiple screens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Performing preliminary calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71

Automatically correct frame delay issues in tiled images . . . . . . . . . . . . . . . . . . 71

Matching colors across multiple screens . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Refining the displayed colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

Matching colors across multiple screens . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Displaying Picture-in-Picture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Enabling PIP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

Selecting the main and PIP inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Swapping the main and PIP inputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Changing the size and position of PIP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

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Configuring the PIP image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Fading between images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

Locking image frames to the input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

Automatically searching for input signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

Configuring the HDMI output options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

Looping video signals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .76

Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Connecting the 3D Stereo Sync Cable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Active and Passive Stereo 3D Configurations . . . . . . . . . . . . . . . . . . . . . . . . . . 78

3D Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

Performing diagnostics and calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84

Adjusting the image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Automatically optimizing display parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . .86

Selecting a test pattern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Changing the size and position of the image . . . . . . . . . . . . . . . . . . . . . . . . . . . . .87

Resize Presets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Configuring how an image is cropped . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90

Adjusting an image for keystone correction . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Adjusting the main image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92

Configure the video sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

Manually optimize input levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Correcting gamma settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

Adjusting the sharpness of the image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Selecting the noise reduction Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Adjusting the color for the output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Selecting a color space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99

Changing color performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .99

Defining user color gamuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Adjusting the color saturation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Ensuring brightness uniformity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Creating a seamless image with edge blending . . . . . . . . . . . . . . . . . . . . . . . .103

Adjusting the intensity of black . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Uploading a Gamma file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Monitoring and Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Backing up the projector configuration and preferences . . . . . . . . . . . . . . . . . . . . 107

Creating a backup file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

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Restoring a backup file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Performing a diagnostic test using interrogator . . . . . . . . . . . . . . . . . . . . . . . 108

Monitoring the projector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Viewing the projector status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

Alarm Conditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108

Configuring SNMP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109

Adding a scheduled event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Adding a system event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Adding a GPIO event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Adding a function key event . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

LED and Key States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Status LEDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Maintaining the cooling system . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Ventilation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Maintaining the optics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Viewing the lamp history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115

Notifying users after a set number of hours of lamp use . . . . . . . . . . . . . . . . .115

Replacing the Lamps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Changing the lamp serial number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Optical (Excluding Lens) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Supplies or Cleaning Optical Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Clean the projection lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

dust from the projection lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Removing fingerprints, smudges, or oil from the projection lens . . . . . . . . . . . . 118

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Projector Does Not Power ON . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Lamp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Lamp Does Not Ignite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Lamp Suddenly Turns OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Flicker, Shadows Or Dimness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

LCD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Blank Screen, No Menu Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Remote Keypad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .121

Remote Keypad Does Not Seem to Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

OSD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

The OSD Menu Does Not Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Ethernet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

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Can Not Establish Communication with Projector . . . . . . . . . . . . . . . . . . . . . . 121

Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

The Projector is ON but There is No Display . . . . . . . . . . . . . . . . . . . . . . . . . .122

Severe Motion Artifacts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

Image Appears ‘Squeezed’ or Vertically Stretched into Center of Screen . . . . . . 122

The Display is Jittery or Unstable . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

The Display is Faint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

The Upper Portion of the Display is Waving, Tearing or Jittering . . . . . . . . . . . . 123

Portions of the Display are Cut Off or Warped to the Opposite edge . . . . . . . . . 123

Display Appears Compressed (Vertically Stretched) . . . . . . . . . . . . . . . . . . . . . 123

Data is Cropped from Edges . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Display Quality Appears to Drift from Good to Bad, Bad to Good . . . . . . . . . . . .123

Display Suddenly Freezes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Colors in the Display are Inaccurate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Display is Not Rectangular . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Display is “Noisy” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Web Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

After a Projector Software Upgrade, The Web Pages Do Not Display Correctly . . . 124

A Backup Or Interrogator File Cannot Be Saved . . . . . . . . . . . . . . . . . . . . . . . 124

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Pixel Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Gamma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Grayscale/Color Resolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Color Temperature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Input (Source Signal) Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Analog (Only) Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Twin HDMI Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Dual Link DVI Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Video Decoder Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Dual 3G/HD/SD-SDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

DisplayPort Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Power Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Physical Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

Environment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Temperature/Humidity/Altitude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

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Regulatory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Safety . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Electro-Magnetic Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Environmental . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Marking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Appendix: DMX/ArtNET . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

DMX and Real Time Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Lens Control Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

DMX Channel Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Mirage M Series Setup Personality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Mirage M Series Show Personality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Mirage M Series Nitro VIP Projector Yoke Personality . . . . . . . . . . . . . . . . . . . .140

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Introduction

This manual is intended for trained users operating professional high-brightness projection systems. Such users may also be trained to replace the lamp and air filter, but cannot install the projector or perform any service functions on the M Series projector.

Only Christie accredited technicians knowledgeable about all potential hazards associated with high voltage, ultraviolet exposure and high temperatures generated by the lamp and associated circuits are authorized to assemble/install the projector and perform service functions inside the projector.

Purchase record and service contacts

Whether the projector is under warranty or the warranty has expired, Christie’s highly trained and extensive factory and dealer service network is always available to quickly diagnose and correct projector malfunctions. Complete service manuals and updates are available for all projectors. Should a problem be encountered with any part of the projector , contact your dealer. In most cases, servicing is performed on site. If you have purchased the projector, fill out the information below and keep with your records.

Dealer: Dealer or Christie Sales/Service Contact Phone Number: Projector Serial Number*: Purchase Date: Installation Date:

* The serial number can be found on the license label located on the back of the projector.

Default Gateway: DNS Server: Projector DLP Address: Projector Mgmt IP Address: Subnet Mask:

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Introduction

Projector models

The Mirage M Series is a family of high resolution video/graphics three chip 1080p HD, SXGA+, and WUXGA projectors. These projectors are based on next generation DLP™ technology provided by Texas Instruments.

Model name Part number

Mirage DS+10K-M2 118-053109-XX Mirage DS+14K-M2 118-050117-XX Mirage HD10K-M2 118-051107-XX Mirage HD10K-M2

(Runco Model) Mirage HD14K-M2 118-059105-XX Mirage WU12K-M2 118-055101-XX Mirage WU14K-M2 118-051118-XX

118-051208-XX

How the projector works

The projector accepts data/graphics and video input signals for projection onto front or rear screens. Light is generated by dual mercury lamps, then modulated by three Digital Micro-mirror Device (DMD) panels that provide digitized red, green or blue color information. Light from 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 image.

User interface overview

The projector is controlled through a menu system displayed on the image. The menu system is controlled by an IR remote, wired remote, or through the built-in keypad. The LCD screen and built-in keypad allow some functions to be controlled without the need of an OSD display, and provide an accessible interface to view error reporting. The functions on the OSD can also be controlled using the Christie Serial Protocol, through a serial or Ethernet connection to the projector. The Web interface provides access to the menu system as a Virtual OSD (On-screen display) and to features that maintain the software and settings.

List of components

Ensure the following components were received with the projector:

•IR remote keypad

•Line cord

• Lens Mount Security Screw (M6x10mm long, Qty. 2)

• Lens Mount Security Screw (5mm Hex, Qty. 1)

•Warranty Card

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•Web Registration Form

Key features

• Up to 14,000 lumens

• HD (1080p), SXGA+, or WUXGA resolution

• Dual Mercury lamp illumination with 350W and 450W options

• Contrast aperture providing up to 10,000:1 contrast ratio (available on 350W models)

• Ultra-compact design and weighs less than 55lbs

• 10-bit image processor electronics with modular design

• Fully sealed optical system

• Active fan control for minimum noise level

• Selectable, motorized Yellow Notch Filter for expanded color gamut

• User interchangeable projection lenses with no-tool mounting

• Picture-in-picture (PIP)

Introduction

•LiteLOC for constant brightness maintenance

• Intelligent Lens System (ILS)

• Motorized lens mount for all models

• Auto-setup feature

•Integrated ChristieNET

• Networking ability through RS232 and RS422 connectors

• Status LED display on built-in keypad for easy projector status monitoring

• Control with remote keypad, wired remote, or built-in keypad

• Four input slots for Optional Input Modules

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Safety warnings and guidelines

General Precautions

Danger! Failure to comply with the following results in death or serious injury.

• FIRE HAZARD. Keep hands, clothes and all combustible material away from the concentrated light beam of the projector. Position all cables where they cannot contact hot surfaces or be pulled or tripped over.

Warning! Failure to comply with the following could result in death or serious injury.

• All installation and maintenance procedures must be performed by a Christie qualified technician.

Warning! Failure to comply with the following could result in death or serious injury.

• Projector must be operated in an environment that meets operating specifications.

AC/power precautions

Warning! Failure to comply with the following could result in death or serious injury.

• Use only the AC power cord supplied. Do not attempt operation if the AC supply and cord are not within the specified voltage and power r ange. See t he license label on the back of the projector rated voltage and power.

Introduction

for

Warning! Failure to comply with the following could result in death or serious injury.

• The projector is equipped with a three-wire plug with a grounding pin. This is a safety feature. If you are unable to insert the plug into t he outlet , contac t an elect rician to h ave the outle t replace d. NEVER defeat the safety purpose of the grounding-type plug.

Warning! Failure to comply with the following could result in death or serious injury.

• Do not allow anything to rest on the power cord. Locate the power cord where persons walking on it or objects rolling over it cannot damage the cord.

Lamp precautions

Warning! Failure to comply with the following could result in death or serious injury.

• Never attempt to access the lamp while th e lamp is ON. After turning the lamp OFF, it is crucial that you wait at least 10 minutes before handling the lamp. This provides sufficient time for the lamp cooling fans to properly cool the lamp.

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Installation and Setup

This section explains how to install, connect, and optimize the projector for delivery of superior image quality.

Danger! Failure to comply with the following results in death or serious injury.

• Always power down the projector and disconnect all power sources before servicing or cleaning.

About the projector

Built-in keypad The built-in keypad is located on the side of the projector. Use it similarly to the

Lamp doors The lamp doors are located at the side of the projector, which provides easy

C D

Top cover —

LED status indicators See LED and Key States on page 112.

IR remote to control the projector. An LCD display is located above the keypad for displaying projector status.

access to the lamp module for replacement. The lamp doors are fitted with safety interlocks which switch the lamp off when the door is opened. The lamp doors are provided with clear windows to indicate when the lamps are on.

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Installation and Setup

Input panel All source connections are made to the input panel located at the back of the

AC receptacle The AC receptacle is located above the AC receptacle at the back of the

Kensington lock Located at the rear of the projector to the left of the AC receptacle, is a

Adjustable feet Located on the underside of the projector are three adjustable feet. Raise or

Rear IR sensor The two IR sensors receive transmissions from the IR remote from up to 100

Cooling air vents There are numerous air vents located around the pr ojector. It is important these

projector. Any of the available optional input cards can be installed in the four option card slots. The slots are labelled 1 through 4. All option cards have LEDs to indicate their status.

projector. Use this receptacle to plug in an appropriately rated line cord.

Kensington lock attachment point. This provides the ability to secure the projector against possible theft.

lower these feet when positioning the projector to ensure it is level on all sides so the displayed image appears rectangular without any keystone. For instructions on how to adjust the projector feet see Adjusting height on page

32.

feet away. It is important to keep the transmission path to these sensors unobstructed for uninterrupted communications with the projector. The rear IR sensor is located at the back of the projector between the status LEDs. The front IR sensor is located next to the front nameplate.

vents remain unobstructed to allow adequate airflow through the projector and prevent it from overheating.

Projection lenses, lens mount and other features

The projector includes a motorized lens mount that allows automated lens control and adjustment: vertical and horizontal offsets, zoom and focus. The projection lens is shipped separately from the projector. Use the lens cap when transporting the lens to avoid scratching and damaging the lens, which could affect your displayed image.

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Installation and Setup

Motorized lenses should not be adjusted by hand without first setting them for manual operation, otherwise the zoom and focus motors may be damaged.

• Zoom and Focus: There are two internal lens motors that allow for quick motorized adjustment of zoom and focus. Adjust zoom to fit the displayed image on the screen and adjust focus to improve the clarity of the image.

• Lens Offset: The motorized lens mount allows vertical and horizontal offset of the displayed image.

• Shutter: Allows the screen to become absolute black, when in the “closed” state.

Installation considerations

Proper installation of the projector ensures the quality of the display. Whether installing a projector temporarily or permanently, take the following into account to make sure the projector performs optimally. Choose the installation type that best suits your needs: front or rear screen, floor mount

or inverted mount.

Front screen / floor mount installations

Advantages Considerations

• Easy to set up.

• Can be moved or changed quickly.

• Easy to access.

• Shares floor space with audience.

Front screen / inverted mount (ceiling) installation

Advantages Considerations

• Does not take up audience space.

• Projector is unobtrusive.

• Projector cannot be accidentally moved.

• Installation is more permanent.

• It is more difficult to access the projector.

Rear screen / floor mount installation

Advantages Considerations

• Projector is completely hidden.

• Projector is easily accessed.

• Usually good ambient light rejection.

• Requires separate room or enclosure.

• Installation cost is usually higher.

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Rear screen / inverted mount (ceiling) installation

Advantages Considerations

Installation and Setup

• Projector is completely hidden.

• Usually good ambient light rejection.

• Requires separate room.

• Installation cost is usually higher.

• More difficult to access projector.

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.

• Requires separate room or enclosure.

• Installation cost is usually higher.

• More involved to perform setup.

Front screen installations

In front screen installations, the projector and audience are positioned in front of the screen, which can be flat or curved.

Flat screens offer a gain of about 1.0 with a viewing angle just less than 180 degrees. This type of screen reflects incident light equally in all directions so the audience can see the display from vari o u s a n g l es.

Curved screens have a gain greater than 1.0 with a viewing angle much less than 180 degrees. This type of screen does not reflect incident light equally in all directions; instead it is concentrated in a viewing cone. The audience sitting within the viewing cone area see a brighter image than those sitting just outside the area.

Rear screen installations

There are two basic types of rear screens:

• Diffused—A diffused screen has a surface which spreads the light that strikes it. Purely diffused screens have a gain of less than 1.0. The advantage of the diffused screen is its wide viewing angle, similar to that of a flat screen for front screen projection. This type of screen is suitable when a wide viewing angle is required but there is low ambient room lightening.

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• Optical—Optical screens take light from the projector and redirects it to increase the light intensity at the front of the screen and reduce it in other areas. A viewing cone, similar to that of a curved front screen installation is created. This type of screen is better suited for brightly lit rooms where the audience is situated within the viewing cone.

Screen size

Choose a screen size appropriate for your lens and application. If the projector is used to display text information, the image size must allow the audience to recognize all text clearly. The eye sees a letter clearly if eye-to-text distance is less than 150 times the height of the letter. Small text located too far from the eye is illegible at a distance no matter how sharply and clearly it is displayed.

To fill a screen with an image, the aspect ratio of the screen should be equal to the aspect ratio of the image (expressed as the ratio of its width to its height). Standard video from a VCR has a 4:3 or 1.33:1 aspect ratio. For example, 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).

Ambient lighting

The high brightness of this projector is well suited for locations where ambient lighting might be considered less than ideal. A typical room with ceiling lights and windows rarely requires special attention. Contrast ratio in your images is reduced if stray light directly strikes the screen.

For example, when a shaft of light from a window or floodlight falls on the image, the image may appear washed out and less vibrant. Avoid or eliminate stray light sources directed at the screen.

Ventilation

The projector vents and louvers provide ventilation, both for intake and exhaust. Never block or cover these openings. Do not install the projector near a radiator or heat register, or within an enclosure. To ensure adequate airflow around the projector, allow free air exchange to the projector with a minimum clearance of 25cm (10-inch) on the left, right and rear sides of the projector from any walls or other obstructions. Never obstruct the air exchange to the projector.

Other considerations

Other considerations and tips to improve your installation:

• Keep the ambient temperature constant and below 40 heating and/or air conditioning vents. Changes in temperature may cause drifts in the projector circuitry, which may affect performance.

• Keep the projector away from devices that radiate electromagnetic energy, such as motors and transformers, slide projectors, speakers, power amplifiers, elevators, etc.

• Use a screen size appropriate for the venue but not larger than required. Installing a large screen in a small room is similar to watching television at a close range; too large a screen can overpower a room and interfere with the overall effect. As a rule, be no closer than 1.5 times the width of the screen.

°C (104°F). Keep the projector awa y from

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LOCKING CLAMP OPEN

Installing a projection lens

The projection lens, shipped separately from the projector, must be installed prior to setting up the projector.

Warning! Failure to comply with the following could result in death or serious injury.

• Remove the lens plug from the lens opening in the projector before installing the lens. Retain the lens plug for projector transportation to protect the optical components from dust and debris.

Notice. Failure to comply with the following may result in property damage.

• The lens seals the projector, preventing contaminants from entering the interior of the projector. Never operate a projector without a lens. Remove the rear lens cap from the lens. Keep the front lens cap on the lens to protect it during installation.

• When installing the lens, ensure that the lens is not inserted at an angle, as this can cause damage.

1. Rotate the lens clamp to the OPEN position, as shown.

2. Align the lens interface plate with the lens mount and align the lens electrical connector with the mating connector on the lens mount.

3. Fully insert the assembly straight into the lens mount opening without turning and press with your hand as shown.

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4. While holding the lens flat against the lens mount, rotate the lens clamp clockwise to lock the lens assembly in place.

5. Remove the front lens cap.

6. For added stability such as motion application, fasten the security screws provide with the lensmount.

7. Use a 5mm hex driver to fasten the red security screws provided with the lens mount, or hand tighten the lens retaining screws attached to the lens. This is recommended for heaviest lenses such as 0.73:1 and 1.2:1.

8. If the projector is hoisted or installed in an overhead position use the lens red security screws or the lens retaining screws.

Positioning the projector

Warning! Failure to comply with the following could result in death or serious injury.

• Two people are required to safely lift and install the projector.

Place the projector on a sturdy, level surface and position it so that it is perpendicular to the screen at a suitable distance. The further back the projector is positioned for the screen, the larger the image will be.

To level the projector adjust its three feet. With the projector positioned perpendicular to the screen the image will appear rectangular instead of keystoned.

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Throw distance

Throw distance is the distance measured from the front feet of the projector to the screen. This calculation determines if there is enough room to install your projector with a desired screen size and if the image is the right size for your screen.

Use the lens and screen size to calculate the precise throw distance using the lens throw calculator provided in the Dealer Section of the Christie website, or use the tables provided in 020-100221XX. Due to lens manufacturing tolerances for lens focal length, actual throw distance can vary ±5% between lenses with the same nominal throw ratio.

To estimate the throw distance take the horizontal width of the screen and multiply it by the lens throw ratio. The result determines approximately the distance the projector should be positioned from the screen to project a focused image large enough to fill the screen. For example, using a

0.73:1 lens, throw distance would roughly be 0.73 times the screen width.

Vertical and horizontal position

The correct vertical and horizontal position of the projector in relation to the screen depends on the lens type and the screen size. Ideally, the projector should be positioned perpendicular to the screen. This way, the image appears rectangular instead of keystoned (trapezoidal).

The vertical position of the image can be offset (moved above or below the optical axis) by adjusting the motorized lens mount. The amount of vertical offset available depends on the type of lens installed in the projector and can be limited if horizontal offset has been applied. Vertical offset can be expressed as the percent of half the image height or the number of pixels of shift from lens center.

• Offsets are subject to ±7% centering tolerance.

• % Offset = number of pixels of offset/half vertical panel resolution x 100.

WUXGA Vertical Offset Ranges

WUXGA lens description Lens part 

number

Lens ILS 0.73:1SX+/0.67:1HD 118-100110-XX ±22% ±132 pixels Lens ILS 1.25-1.6SX+/1.16-1.49HD 118-100111-XX ±82% ±492 pixels ALL OTHER LENSES ±112% ±672 pixels

Minimum offset above or below lens center

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HD 1080p Vertical Offset Ranges

Installation and Setup

HD 1080p lens description Lens part 

number

Lens ILS 0.73:1SX+/0.67:1HD 118-100110-XX ±35% ±189 pixels Lens ILS 1.25-1.6SX+/1.16-1.49HD 118-100111-XX ±102% ±551 pixels ALL OTHER LENSES ±119% ±643 pixels

Minimum offset above or below lens center

SXGA+ Vertical Offset Ranges

SXGA+ lens description Lens part

number

Lens ILS 0.73:1SX+/0.67:1HD 118-100110-XX ±23% ±121 pixels Lens ILS 1.25-1.6SX+/1.16-1.49HD 118-100111-XX ±73% ±383 pixels ALL OTHER LENSES ±100% ±525 pixels

Notice. Failure to comply with the following may result in property damage.

• Offsets are subject to ±7% centering tolerance.

• % Offset = number of pixels of offset/half vertical panel resolution x 100.

Minimum offset above or below lens centers

The horizontal position of the image can also be offset (that is moved to the left or right of optical center) by adjusting the motorized lens mount. The amount of horizontal offset available depends on the lens installed and if the image has already been vertically offset. Horizontal offset can be expressed as the percent of half the image width or the number of pixels of shift to one side of lens center.

• Offsets are subject to ±7% centering tolerance.

• % Offset = number of pixels of offset/half horizontal panel resolution x 100.

WUXGA Horizontal Offset Ranges

WUXGA lens description Lens part 

number

Lens ILS 0.73SX+/0.67HD 118-100110-XX ±6% ±58 pixels Lens ILS 1.25-1.6SX+/1.16-1.49HD 118-100111-XX ±38% ±365 pixels ALL OTHER LENSES ±54% ±518 pixels

Minimum offset above or below lens center

HD 1080p Horizontal Offset Ranges

HD 1080P lens description Lens part

numbers

Lens ILS 0.73:1SX+/0.67:1HD 118-100110-XX ±12% ±115 pixels Lens ILS 1.25-1.6SX+/1.16-1.49HD 118-100111-XX ±40% ±384 pixels

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Minimum offset above or below lens center

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Installation and Setup

HD 1080P lens description Lens part

numbers

ALL OTHER LENSES ±42% ±403 pixels

Minimum offset above or below lens center

SXGA+ Horizontal Offset Ranges

SXGA+ lens descriptio Lens part

numbers

Lens ILS 0.73:1SX+/0.67:1HD 118-100110-XX ±13% ±91 pixels Lens ILS 1.25-1.6SX+/1.16-1.49HD 118-100111-XX ±45% ±315 pixels ALL OTHER LENSES ±50% ±350 pixels

Minimum offset above or below lens centre

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Mounting the projector

There are several methods for mounting the projector. In typical front and rear screen installations the projector can be mounted to a secure and level surface, such as a table or cart. Carts are useful when the projector has to be moved often. To prevent accidental movement during a presentation, lock the wheels on the cart.

Ceiling mount

The projector can be inverted and suspended from the ceiling using a specially designed ceiling mount fixture 118-100108-XX. This mounting is recommended for installations that want the projector out of plain view or have limited amount of space for the projector. For more information, contact your dealer.

Warning! Failure to comply with the following could result in death or serious injury.

• Use only the Christie approved ceiling mount kit designed for your projector.

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Special mounting

The projector can also be rotated (front-to-back) up to 360 degrees and fixed in a rotated position without affecting performance. However, to ensure optimal performance of the projector the sideto-side tilt limit of the projector must not exceed +/-15 degrees.

Stacking projectors in a frame

The Mirage M Series projectors can be stacked up to a maximum of three projectors high using the Christie stacking frame (118-100107-XX).

1. Turn the projector OFF and disconnect the AC power cord after the cooling fans have stopped.

2. Make sure the base plate is flat.

3. Place the projector into the stacking frame from the top or from the front.

4. Prior to placing the projector from the front make sure the pitch is to its maximum.

5. Make sure the bottom base plate of the frame is aligned with the projector.

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6. Use a 6 mm Allen key to tighten the six M8 bolts securing the base plate to the bottom of the projector.

7. When flying projectors overhead use the M8 safety point.

Stacking multiple projectors

The projectors can be stacked and hoisted in either an upright or inverted positions. Remove the locking pin from each stacking leg prior to alignment and ensure the four stacking legs are fully seated on the lower stacking frame.

1. With one person positioned on each side of the stacking frame, lift the top stacking frame onto the bottom stacking frame, aligning all four stacking legs between the frames.

Warning! Failure to comply with the following could result in death or serious injury.

• Failure to engage the locking pin may cause the projectors to separate.

2. Insert the locking pin through the holes in the stacking legs. Make sure each pin is fully inserted.

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The steel ball on the end of the pin keeps the pin from releasing inadvertently.

3. When required, repeat steps 1 and 2 for the additional projectors in the stack.

Aligning stacked projectors

Stacked projectors must be correctly aligned to one another so the resulting display is optimized. If hoisting the stack, do so first and then align.

1. Prior to aligning the image, turn the locking nut to unlock then use the knob to adjust the image.

2. To align the image, use pitch, yaw, or roll.

Pitch: Move the image up and down. Roll: Rotates the image clockwise and counter-clockwise. Yaw: Moves the image left and right.

If the projector is parallel to the screen, some keystone is introduced with Pitch and Yaw adjustment.

3. Ensure to lock the locking nut to maintain the image adjustment.

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Adjusting projector height and tilt

Adjusting height

You can modify the height of the projector to remedy a slightly uneven mounting surface by adjusting the three feet threaded into the bottom chassis. Turn each foot clock-wise or counterclockwise until the projector is level on all sides.

The front feet are adjusted by turning the collar and the feet do not rotate when adjusted. The rear foot is adjusted by turning the entire foot.

Adjusting tilt

1. Before adjusting tilt, ensure the projector is centered. Check with site personnel for the degree of screen tilt, or measure this incline with a protractor

at the screen.

2. Tilt the projector to closely match the screen tilt angle by extending or retracting the three adjustable feet.

For an ideal installation, the lens surface should be centered and parallel to the screen to help ensure optimized lens performance with minimal offset. Choose a sturdy mounting surface that allows for this. If this position is not possible (such as when the projector is significantly higher than the center of the screen), it is better to rely on offset rather than extra tilt.

Connecting a source

The input panel where all source connections are made, is located at the back of the projector . Each input is clearly labeled for easy identification. Depending on the type of option card installed, connect your source using the appropriate cable(s), as follows:

Option card Connection

Analog Input Card Connect three-, four-, or five-wire RGB source to Red/Pr, Green/Y , Blue/Pb, H/C

and V using three, four or five BNC connectors as required.

Dual 3G/HD/SD-SDI input card Connect the SDI (Serial Digital Interface) cable to one of the two i nputs, 1-IN or

2-IN. Both standard-definition (SD) and high-definiti on (HD) signals are accepted and automatically recognized on either input.

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Option card Connection

Installation and Setup

Dual Link DVI input card Connect a single or dual DVI video signal to the DVI-I connector, an analog

Twin DHDMI input card Connect HDMI (High-Definition Multimedia Interface) cable to one of the two

Video Decoder input card Depending on the source you can apply the following;

DMX512 interface card Has two 5pin XLR connectors - one (input) male and one (output) female. If

TwinDisplay input card Accepts DisplayPort 1.1a inputs from one or two DisplayPort sources.

video signal to the DVI-I connector, or an analog video signal to the VGA connector. The DVI signal may contain HDCP (High-Bandwidth Digital Content Protection).

inputs, 1-IN or 2-IN.

• Composite video source to 1-CVBS, using a BNC Cable — the same signal can be used on 4, 5, or 6 when input is selected as CVBS.

• A component signal on Inputs 4(Pr), 5(Y), 6(Pb) using BNC Connectors — grouped as a component input, YPbPr,

• S-Video to one of the two, 2-SVID or three-SVID using S-Video cable.

• S-Video using two BNC cables, with Luma (Y) connected to 4 (Sy) and Chroma (C) connected to 6 (Sc) — must be grouped as one S-Video + one CVBS.

there is active communications on the DMX512 Interface card the power LED will blink between low intensity and high intensity.

See Connecting sources through option cards on page 45 for more details.

Connecting the line cord

Warning! Failure to comply with the following could result in death or serious injury.

• Do not attempt operation if the AC suppl y an d cor d is not within the specified ratings . Us e t h e l ine cord provided with the projector, or ensure you are using a line cord, power plug, and socket that meet the appropriate rating standards. Voltage and current requirements are listed on the license label, located at the back of the projector.

• On power down, wait 5-10 minutes for the fans to turn OFF before unplugging the projector. Always switch off the projector before unplugging the AC line cord.

1. Connect the projector line cord to the AC receptacle at the AC inlet of the projector.

2. Push the wire clip over the plug to retain it. This prevents the line cord from inadvertent disconnection.

3. Plug the three-pronged plug end into a suitably rated grounded AC receptacle.

4. Switch the projector ON. The switch is located just above the AC receptacle.

Powering on the projector

After the AC Power has been switched on, the LCD display above the keypad indicates “Please wait” and the four LED status indicators on the top cover window switch on to amber. These indicate that the projector is changing its state from powered down to standby. The message “Standby Mode” appears in the display when the projector has completed its initialization and is ready for power up.

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The two lamp status LEDs go off to indicate that the lamps are off. The Power status LED shows amber, indicating that the projector is in standby mode. The shutter LED displays amber, indicating the shutter is closed. For a full description of the status indicator, see Connecting sources through

option cards on page 45.

1. Press and hold the power button on the keypad or remote for two seconds, or press twice quickly. The lamps power on and the fans will come on.

The default settings for the projector are to perform a lens calibration after the insertion of a new lens. If this is the first time the projector has been powered up with the lens, expect a short period (about 15 seconds) where the lens will move slightly.

Selecting a source

1. To select and display the image for the connected source, press one of the input keys on the remote, or on the built-in keypad.

Aligning the image

Only perform image alignment once the projector is fully assembled and powered up in its final location. Basic image alignment ensures the image reflected from the DMDs is parallel and wellcentered with the lens and screen. This initial optical alignment is the foundation for optimizing images on the screen and must be completed before final boresight adjustments. Before beginning, make sure the projector is properly positioned in relation to the screen.

1. To display a test pattern press the Test key on the remote keypad or use the built-in keypad and press the soft key that displays Test on the LCD display.

2. Select a pattern appropriate for analyzing image focus and geometry, such as the Grid test pattern showing the cross-hair centered across the image.

3. Do a quick preliminary focus and (if available) zoom adjustment with the primary lens. Do not worry about consistency across the image at this point, just center focus. It is good

practice to have zoom adjustment color and focus adjustment color in the center of its range.

4. Holding a piece of paper at the lens surface, adjust offsets as necessary until the image is centered within the lens perimeter. A full white field works best for this.

5. If the projector is mounted off center to the screen axis, offset the lens as much as required. Aim the projector over slightly towards the center of the screen, but use caution when doing so, as too much tilt will cause excessive keystone distortion.

6. With the framing pattern on screen, double-check projector leveling so the top edge of the image is parallel to the top edge of the screen.

7. Ensure the projector is positioned in the throw distance range for the particular lens.

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Folded optics

In rear screen applications where space behind the projector is limited, a mirror may be used to fold the optical path. The position of the projector and mirror must be accurately set. If considering this type of installation call your dealer for assistance.

Aligning boresight

1. Display the boresight test pattern.

a. Pressing the Test key on the remote keypad or use the built-in k eypad and press the soft

key that displays Test on the LCD display. b. Press the Up Arrow key to cycle to Boresight. c. Press Enter.

2. Focus the image on cross-hair image I.

3. Evaluate the focus on cross-hair image II and III. If all three images are in focus, no further action is required. If boresight is required, continue to step 3. The adjustment screws on the lens mount affect the corresponding cross-hairs on the test

pattern. The cap screw (B) may be under a plastic cap. Remove and retain before adjusting.

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A B

Capscrew

Setscrew

4. Use a 5 mm hex driver to loosen three setscrews (A) on the lens mount. The setscrews must be backed out several turns to avoid contact with the inner lens mount plate.

Cross-Hair Pattern Screw Locations

5. Fine tune the focus of cross-hair pattern I by adjusting the appropriate cap screw. Adjust until the cross-hair image is in focus with minimal flare.

6. Adjust cross-hair pattern II, by adjusting the appropriate cap screw image is in focus with minimal flare.

7. Adjust cross-hair pattern III, by adjusting the appropriate cap screw. Adjust until the crosshair image is in focus with minimal flare.

8. Repeat step 5, 6, and 7 as required until all three cross-hair patterns are in equal sharp focus. If the boresight is acceptable, proceed with step 11. If the boresight does not appear to be converging to an acceptable level of image quality, or if

the lens will not focus over the correct range of throw distances, proceed with step 9.

. Adjust until the cross-hair

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9. The original factory boresight can be approximately recovered, by positioning the three setscrews flush with the front face of the lens mount plate, and in contact with the inner lens mount plate. This may require adjusting both setscrews and cap screws.

10. If further action is required. Repeat step 2.

11. Lock the setscrews, and re-check the boresight quality. Tighten the setscrew enough to ensure they will not shift.

Powering down the projector

The projector can be powered down by using one of the following methods:

Remote keypad/built-in keypad

• Press and hold Power. or

• Press Power twice. or

• Press Power once, then immediately press the Down key. If the second key is not pressed immediately, a confirmation window appears. The second key

must be pressed within one second of the window appearing.

After powering down, the Status LEDs will cycle, and the LCD displays the message “Cooling Down” until cool down is complete.

Web user interface (UI)

1. From the Main tab, select Power > OFF.

2. Select Yes.

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Connect communications

Configuring Ethernet settings

This menu should only be accessed by administrators. In Configuration > Communications > Ethernet Settings, configure the following:

• DHCP—Users may enable Dynamic IP (DHCP) support if the network is equipped with a DHCP server. Once enabled, the projector configures the IP address, subnet mask, and default gateway with the settings provided by the DHCP server. When disabled, the projector resets the address back to the default static address (0.0.0.0). If the projector cannot contact a DHCP server, the projector software reverts to using the Link-Local IP settings.

• Link-Local IP—When set to Dynamic IP, the projector configures itself to a valid IP address, even if no DHCP server is available to provide a dynamic IP. If the PC is configured to obtain an IP address automatically (by default in Windows), both the PC and the projector uses compatible IP addresses.

• IP Address—If DHCP is disabled, enter a valid and unique IP address for use on the network to which the projector is currently connected. This address overwrites any previous IP address such as the projector’s factory-defined default. It takes approximately 10 seconds for the projector to respond at its new address.

• TCP Port—On some Ethernet networks, firewall restrictions may require that the port number of the projector be changed from its default of 3002. If so, enter a new v alid port number h ere. It is highly recommended not to use a port number below 1000, as these ports are typically reserved for and used by common IP applications.

• Subnet Mask—Determines the subnet for the IP address and must be set manually, if not using DHCP.

• Default Gateway—The IP address of the gateway used to reach any non-local IP addresses. All PCs and projectors must be on the same subnet and it must be set manually, if not using DHCP.

• Host Name—Set the host name for the device.

• Domain Name—Set the domain for the device.

• Mac Address—Displays the MAC address of the projector (read-only).

Serial port connections

RS232 and RS422 serial ports are both available on the projector: You can connect a device with a serial interface, such as a computer to either of these connectors (not both) and control the projector remotely by entering specific serial communication commands. See Tiling an image over

multiple screens on page 70 and the M Series Serial API Commands Technical Reference (020-

100224-XX).

Connecting through RS232

Two nine-pin D-sub connectors, labeled RS232 IN and RS232 OUT on the input panel, are dedicated to serial communication.

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1. Using the appropriate serial communication cables, connect the controlling source, such as a personal computer to the RS232 IN connector.

2. Set the projector baud rate to match that of the computer. See Specifying serial communica-

tion parameters on page 52 for details on changing the baud rate.

Connecting through RS422

To control the projector with a computer or other controlling device with RS422 capability, connect a RS422 serial communication cable between the controlling device and the RS422 port on the projector. RS422 is better suited than RS232 for serial communication over distances greater than fifty feet.

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RS422 PINS PIN # SIGNAL DIRECTION

Pin 1 DNC N/A Pin 2 RXD- IN Pin 3 TXD- OUT Pin 4 RXD+ IN Pin 5 TXD+ OUT Pin 6 DNC N/A Pin 7 GND N/A Pin 8 NC N/A Pin 9 +12V(500mA) OUT * DNC are do not connect pins. * NC are no connect pins.

Installation and Setup

Connecting multiple projectors

Notice. Failure to comply with the following may result in property damage.

• Connect only high quality, properly wired serial communication cables.

• Each RS232 communication cable should be no more than 50 feet in length.

RS232 Network:

To connect multiple projectors in a ne twork with serial communication:

1. Connect the controller source to the RS232 IN connector of the first projector in the network.

2. Use another serial communication cable to connect one end to the RS232 OUT connector and the other end to the RS232 IN connector of the next projector.

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3. Continue this pattern of connection with all projectors in the network.  The last projector in the network only has a connection to the RS232 IN connector.

Mixed Network:

Communication parameters, such as baud rate, must be set to match the particular controller device, before connecting as a network. See the documentation that came with your controller device to determine the proper baud rate. See Specifying serial communication parameters on page 52 for help changing the projector baud rate. To communicate to all projectors, set the Network Rout i ng to RS232 and RS422 Joined.

To control multiple projectors with a computer/controller having an RS422 interface:

1. Set them all to the same baud rate as your RS422 controller.  NOTE: You must enable this combination of RS422 and RS232 in the Communications menu.

Set the Network Routing option to RS232 and RS422 Joined, see

communication parameters on page 52

2. Chain the projectors together by connecting an RS232 OUT (Null Cable) of the first projector (already connected to the computer/controller) through the RS422 port straight thru to an RS232 IN on the next projector in the chain. Continue connecting projectors in this manner until the last projector in the chain, so that only the last projector has one unused port RS232 OUT.

Specifying serial

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Ethernet Network Setup:

To add one or more projectors to an Ethernet network, use standard CAT5 cables to connect each projector Ethernet port to a hub on the network. A controller or PC must also be connected to the hub. A wireless router can be used to communicate to the projectors over 802.11b/g.

Setting the Projector IP Address, Subnet Mask and Gateway

See Configuring the lens on page 68.

Changing the Port Number:

On some Ethernet networks, firewall restrictions may require that the port number of the projector be changed from the default of 3002. If so, enter a new port number in the Ethernet Settings menu or include the new port number.

Separate networks

By default, communications which originate from one type of serial controller—RS232 vs. RS422 vs. Ethernet—stay on the corresponding network path. A “separate” setting indicates this separation for Network Routing, see Tiling an image over multiple screens on page 70. For example, if you are using an RS422 controller it communicates only with the projector to which it is connected

unless you change this setting to either RS232

and RS422 Joined or All Joined.

Communicating to all ports

To relay all messages to all ports—RS232, RS422, and Ethernet—set the Network Routing option for each projector to All Joined, see Specifying serial communication parameters on page 52. This configuration is useful if you are using a non-RS232 controller with the RS232 linking available between these projectors. For example, you may want to use both an RS422 compatible controller

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and an Ethernet connected PC for working with a network of projectors linked through their RS232 IN/OUT ports.

To isolate just RS422 communications, select RS232 and Ethernet Joined. Only projector 1 responds to the RS422 controller.

To isolate just Ethernet communications, select RS232 and RS422 Joi ned. Only projector 1 responds over Ethernet.

Connecting to the GPIO connector

The GPIO connector located on the input panel provides a flexible method of interfacing a wide range of external I/O devices to the projector. There are seven GPIO pins available on the 9 pin DSub GPIO connector, which are configurable with RS232 commands. The other two pins are reserved for ground and power - see table below for pin identification.

The serial cable required for connecting the external device to the projector’s GPIO connector must be compatible with the external device.

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Pin Open (0 or L) Pin Closed (1 or H)

GPIO PINS PIN # SIGNAL

Pin 1 + 12V (200mA) Pin 2 GPIO 2 Pin 3 GPIO 4 Pin 4 GPIO 6 Pin 5 Ground Pin 6 GPIO 1 Pin 7 GPIO 3 Pin 8 GPIO 5 Pin 9 GPIO 7

Configuring the GPIO

Installation and Setup

The GPIO connector can be configured to automate any number of events using the serial command code GIO. Each Pin is defined as either an input or output depending on the desired outcome. Configure the pin as an input if you want the projector to respond to something the device does and as an output if you want the external device to respond to an action taken by the projector. For example, configure the pin as an output if you want the lighting in a room to automatically dim when the projector is turned on.

By using the GIO command, you can also set the state of each output pin as high or low. By default, the state of each pin is high. The voltage applied to pins in the high state is +3.3 V.

A low state (or value of 0) is read on an input pin if the circuit attached to the pin is open. A high state (or value of 1) is read on an input pin if the circuit attached to the pin is shorted to ground. This corresponds to a switch closing event.

Example: Turn room lighting on when the projector is turned off (Assumes a control/automation unit is configured to turn the lights on when pin 2 of its input goes high).

(GIO+CNFG “OOOIIII”) Set pin #2, 3 and 4 configuration to output and pin 6, 7, 8 and 9 to input (GIO+STAT “HLXXXXX”) Set pin #2 to high, pin 3 to low and the state of all other pins unchanged (GIO+STAT) Request the state of all pins (GIO+STAT “HLLHLLH”) Reply of pin states - H means pin is high, L means pin is low (GIO+CNFG) Request the configuration of all pins (GIO+CNFG “IIIOOOO”) Reply of pin configurations - pins 2, 3 and 4 are Inputs, pins 6, 7, 8 and 9 are

The strings in the commands refer to pins 2, 3, 4, 6, 7, 8, 9 in order from left to right.

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Outputs

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Installation and Setup

Connecting sources through option cards

Sources are connected to the input panel located at the back of the projector. The Input Panel allows one image processor board and up to four input cards to be inserted. The input cards are hot swappable, meaning they may be plugged in and out while the projector is active. The image processor should only be replaced when the projector is off or when it is in standby mode.

There are seven option input cards available:

• High-Definition Multimedia Interface/Twin HDMI (High-Definition Multimedia Interface)

•Analog BNC

• Dual 3G/HD/SD-SDI (Serial Digital Interface)

• Dual Link DVI

•Video Decoder

• DMX512 Interface

•Twin Display Port

These cards slide into the option slots located at the rear of the projector and can be used in any slot. One or more of the option slots may be used with any combination of option cards, including multiples of the same card type. There may be up to two active inputs displayed at any time, either from one card or from two cards. These two inputs can be routed to outputs or to the main or PIP video image.

LEDs

LEDs are located on the faceplate of each input card and indicate the following:

• Power ON -Green

• Signal Valid - Green

• Signal Invalid - OFF

Twin HDMI input card

This card accepts one or two HDMI inputs and can route one or both inputs to the card’s outputs. Any input from any card can be looped out of this card. The output label 1-OUT loops out the main image being displayed on the projector. The output labelled 2-OUT loops out the image displayed in the picture in picture (PIP). Any input from any optional input card can be looped out of this card. There are five LEDs on the module faceplate. The PWR on the left side indicates power is applied, and that the card is initialized. The LEDs to the right side of the corresponding connectors indicate that a valid signal is detected. In the case of the output, the LED indicates a signal is currently being looped out.

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Analog BNC input card

This card accepts several types of sync modes. In five-wire sync mode all five BNC connectors are used. If H and V connectors are swapped, this card operate normally. An analog graphic source such as a VGA from a PC can be connected. The card can operate in four-wire sync mode, which accommodates four-wire RGBC sources. The composite sync cable can be connected to either the H/C BNC or the V BNC. The card supports three-wire RGB or YPbPr sync modes, sometimes called sync-on-Green (SOG). In this mode the H/C and V connectors are not used. The sync is connected to the Green/Y BNC connector. This card offers no loop out capability. There are two LED’s on the module faceplate. PWR indicates power has been applied and the card is initialized, signal indicates a valid signal has been detected.

Dual 3G/HD/SD-SDI input card

This card accepts both standard-definition (SD) and high-definition (HD) serial-digital-interface (SDI) signals from one of two SD or HD 3GHz SDI sources. Both single-link HD and dual-link HD signals are accepted. The card has two SD/HD-SDI outputs, each of which is loop through for its respective input. There are three LEDs on the module faceplate. PWR indicates power has been applied and the card is initialized, and the two signal LEDs indicate a valid signal has been detected on the respective input.

Dual link DVI input card

This card accepts a single DVI signal with or without High-Bandwidth Digital Content Protection (HDCP) video signal over a DVI-I connector and analog video signals over the DVI-I or fifteen-pin VGA connector. The module can simultaneously support a digital signal on the DVI input and an analog signal on the VGA port, however it does not support two analog signals at the same time. There are four LEDs on the module faceplate. PWR indicates power is applied and the card is initialized, and the other three on the right side of the corresponding connectors indicate that a valid signal has been detected.

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Video decoder input card

This card accepts and decodes standard definition (SD) video, including CVBS (composite video), SVideo, and component sources. This card supports as many as six video signals, four of them on BNC connectors and two on four-pin mini-DIN connectors. Each mini-DIN connector accepts one SVideo signal. The first BNC accepts composite video (only), while the remaining three BNC’s can be grouped to allow one of the following combinations:

• three CVBS sources on 4, 5 and 6

• one CVBS source, one S-Video source: Luma (Y) connected to 4(Sy) and Chroma (C) connected to 6 (Sc)

• one YPbPr source: component signal on 4 (Pr), 5 (Y) and 6 (Pb)

The video decoder input card has eight LED indicators. The PWR LED indicates that the module is installed properly, and has been successfully configured. The YPbPr LED indicates that a valid component signal has been detected on inputs 4, 5, and 6. Component input grouping must also be

selected in the projector menu indicate a valid signal has been detected on that input.

. The remaining LEDs are each associated with one of the i nputs, and

DMXC interface card

The DMXC card is a communication interface which allows the projector to be controlled using the standard E1.11 USITT DMX512-A protocol (DMX512-A 2008). DMX-512 is a serial protocol which is used for controlling lighting and staging equipment from a lighting console or similar host device. ArtNET (defined by Artistic License's Art-Net II Specification) is an Ethernet implementation of the DMX protocol. The Mirage M Series projector supports the DMX protocol through two data input interfaces, a DMX card and ArtNET through the Ethernet connector.

The DMXC card is not an input interface for video signals, but it plugs into a standard input card option slot. The card can always be active, even when the projector is in standby mode. Only one DMXC card is allowed per system. If more than one card is installed, only the first card is activated.

The card has two five-pin XLR connectors—one (input) male and one (output) female. There are two LEDs on the faceplate of the card: the green power LED which is on when the card is powered, and the green termination LED which is on when termination is enabled.

Input termination (2 Watt, 120 Ohm) is required on the last DMXC card in a loop through configuration (i.e. only on the last projector). Termination may be either hardware (by plugging in a termination dongle, etc.) or may be switched by software, but should not be both. Software termination is only in place when the projector has AC applied. If there are cases where the network is required to be terminated without AC applied to the last projector, then a hardware terminator should be used.

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Installation and Setup

DMX 108-314101-01

INPUT OUTPUT

PWR

Software Te rm i n at e d

DMX512-A Isolated

PUSH

For information about setting up the ArtNET and DMX interfaces, see Configuring DMX512 support

on page 53.

Twin DisplayPort Input card

The Twin Display Input card accepts DisplayPort 1.1a inputs from one or two DisplayPort sources. The card has two DisplayPort outputs, each of which is loop through for its respective input (loop through of encrypted content is not supported). Five LEDs are on the card faceplate. The PWR on the left side indicates power is applied and the card is initialized. The LEDs on the right side of the corresponding connectors indicate a valid signal is detected. In the case of the output, the LED indicates a signal is currently being looped out.

Configuring the output options cards

In Configuration > Output Options, configure the following:

• Screen Image Orientation—Selects the on-screen image orientation from Front, Rear, Front Inverted, and Rear Inverted.

• Frame Locking—Selects how the projector controls the output frame timing based on the input signal.

• Framelock output image frames are locked to the input if possible.

• Locked output is always locked to the primary input, never the PIP/Secondary image.

• Free Run sets the output to close to 60Hz for all sources. When switching to a new input with frame locking enabled, the image appears black for a short duration while the system locks onto the new input.

• Set Frame Delay—Delays the output signal timing relative to the input signal timing by a fraction of a frame, and up to several frames. The minimum latency can vary based on the amount of scaling applied to the image. When using keystone or warping, an additional latency is required, depending on the amount of warp. This is only available when the input signal is frame locked. In Free Run mode, or in cases where the signal cannot be frame locked, the minimum latency defined by the scaling and keystone/warp is applied to the signal.

• Actual Frame Delay—Dynamically calculated by the software with the achievable range being smaller than the set range. The image parameters include, image shift, scaling, warp/keystone applied and format. The menu displays both the user selected value and the actual frame delay

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Installation and Setup

(ROW 1, COL 1) (ROW 1, COL 2)

(ROW 1, COL 3)

From Source

Distribution Box

value. When setting up tiling of projectors, all projectors in the tile should be set to the worst case, which is the projector with the highest minimum for the setup.

• Free Run Frequency—Sets the output video vertical frequency.

• Fade To Black Time—Sets the amount of time (in seconds) that it takes to fade the image to and from black. The OSD only allows the fade time to be set. To initiate a Fade to Black, the Christie Serial command should be used.

• HDMI Output Loop Source—Configures the HDMI output options. Selecting Direct Loop directly passes the HDMI input signals: on the same T win HDMI Input Card, the Input1 signal is looped to Output1 and the Input2 signal is looped to Output2. Selecting Main/PIP Loop loops the Main and PIP video to the outputs, regardless from which card these signals originate. The Main video signal is looped to Output1 and the PIP video signal is looped to Output2. Selecting Disable turns off the HDMI outputs completely.

PIP functionality is disabled in 3D mode.

Connecting tiled projectors

Wiring requirements

A distribution box or digital signal switcher may be used to feed the same video signal to all the units of the tiling array.

FIGURE 1-1 USE OF DISTRIBUTION BOX

Christie loop-through may be used to set up a tiling array. The system allows wiring (providing the HDCP requirement is met) when HDCP is used by the source. The cascade level of devices must be no more than seven levels deep. If single wire loop-through is used, then PIP is not supported.

The wiring diagrams are provided to:

• Meet the HDCP requirement,

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• Minimize the length of HDMI cables to be used, and

From Source

• Balance the connection tree to ensure the level of loop-through is minimized. This enables the downstream projectors to finish source switches in a minimum amount of

time. (Applicable to arrays with HDCP only)

1x3 Wiring Solution

2x2 Wiring Solution

Installation and Setup

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2x3 Loop-through wiring solution

From Source

(ROW 1, COL 1) (ROW 1, COL 2) (ROW 1, COL 3)

(ROW 2, COL 1) (ROW 2, COL 2) (ROW 2, COL 3)

From Source

(ROW 1, COL 1) (ROW 1, COL 2) (ROW 1, COL 3)

(ROW 2, COL 1) (ROW 2, COL 2) (ROW 2, COL 3)

2x3 Single wiring loop-through - no pip is supported

Installation and Setup

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3x3 Loop-through wiring solution

From Source

Installation and Setup

Defining the communication method between projectors

In Configuration > Communication define and control how single or multiple projectors are linked with each other and with a controlling device. For serial commands see the M Series Serial

Commands Technical Reference (P/N 020-100224-XX).

Specifying serial communication parameters

In Configuration > Communication > Serial Options, configure the following:

• Baud Rate—Determines the speed of communication to and from the projector on the RS232 or RS422 links. The maximum rate for the RS232 is 115200; for RS422 it is 19200. Serial communication is always eight data bits, no parity.

Set the baud rate to match that of your controlling device, such as your PC. Refer to the documentation for the controlling device to determine the baud rate.

In an existing network of projectors, if you discover that a projector has a different baud rate, use the pull-down list and select the correct baud rate using the Enter key. Do not scroll this control with left or right arrow key .

• Serial Flow Control—Determines whether software flow control or no flow control is used when transmitting and receiving data on the serial port.

• Projector Address—Assign a three-digit number (such as “001”) or change a number to the projector currently in use. If the current projector already has a number assigned, that number appears. Numerical identity for projectors enables you to communicate with a single projector within a multiple-projector application (see also Proj key in Wired Remote on page 57). If you

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make a mistake in assigning or changing the projector number, press Exit to cancel. When multiple projectors are being used and you want to adjust the color for individual

projectors to create one seamless image, you must assign different numbers for each projector to allow switching back and forth between projectors while adjustments are being made.

• Network Routing— This is not applicable for stand-alone projectors or simple serial networks with only one type of controller and linking.

• Separate—Keep RS232, RS422 and Ethernet messages on their respective paths instead of being broadcast to the other types of ports.

• RS232 and RS422 Joined—Messages originating from an RS232 or RS422 controller are relayed to all RS232 or RS422 ports; any Ethernet communication, however, is not.

• RS232 and Ethernet Joined—Messages to and from the RS232 ports are relayed to the Ethernet port, and vice versa. Any RS422 communications are isolated. In the case of multiple Ethernet sessions over the single Ethernet connector , input on the RS232 port is relayed to all Ethernet sessions; however, input from any Ethernet session is only relayed to the RS232 ports.

• All Joined—All messages reach all ports, regardless of type in the case of multiple Ethernet sessions, input on one Ethernet session is relayed to all other Ethernet sessions as well as to the RS232 and RS422 ports.

Adding a Serial Command

For serial commands see the M Series Serial Commands Technical Reference (P/N 020-100224-XX).

1. Click Advanced > Serial.

2. Enter a serial command in the Serial Command field.

3. Click Send to add the serial command.

Configuring DMX512 support

The projector supports the DMX512 protocol through the DMXC option card and through the ArtNET communications with an the Ethernet connector, as configured in Configuration > Communications > DMX/ArtNET. For the DMX Channel Allocation, see Appendix: DMX/ArtNET on page 132.

Both input methods share the same feature list, and can share the same configuration methods as follows:

• The user may select to monitor both, neither, or a single interface through a DMX control.

• If both interfaces are selected, the DMXC input card takes priority if it is actively receiving data. While data is active on this card, ArtNET packets are ignored.

• Only one DMXC card can be used at a time. If more than one is populated, the second and subsequent cards are not activated.

• The DMXC card is always active, even when the projector is powered down or in standby mode.

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• When controlling a projector with DMX, it is recommended that no other interfaces (such as the IR Remote or Web UI) are used.

• The menu for setting the ArtNET and DMX interface is always available at: Configuration > Communications > DMX/ArtNET Settings.

When a DMXC card is installed, the same menu is available at: Configuration > Option Card Settings > DMX Input Card > DMX/ArtNET Settings.

• DMX Interface—Select whether to monitor the DMXC input card only, the ArtNET interface only, both, or neither. ArtNET is ignored if the DMXC card is actively receiving data.

• DMX Personality—Determines how many contiguous channels the projector responds to. Fewer channels mean more devices can be used per universe. More channels mean greater control of the projector, but fewer devices.

• Show Personality (18 channels)—This is th e default setting. The 18 Show channels are those controls which are expected to be used throughout the course of an actual show (ie. shutter, channel change). These channels are a subset of those in the Setup Personality.

• Setup Personality (38 channels)—The 38 Setup channels are those controls which are expected to be used during the setup of an actual show (ie. Projector orientation, Color, Brightness, etc.)

• Nitro Personality (25 channels)—The Nitro personality includes channels with Load/ Execute style functionality for critical functions that require security so that they cannot be changed by a single button press and are not affected by a Grand Master. This personality cannot be used with a control board containing only sliders. The Load/ Execute channels operate as follows:

• The user must load a value, then send 86 (LOAD), then send 171 (EXECUTE) to execute the loaded value.

• If this sequence of three values is not sent to the projector, the command is ignored.

• Base Channel—Specifies the starting channel for this projector. There are 512 channels per universe. If multiple projectors are used on the same universe and are to be controlled independently, this value must be changed. If both projectors are using the Show personality (18 channels), projector 1 should start at base channel 1 and projector 2 should start at base channel 19.

The Base channel setting must allow enough space for the channels required by the selected personality . If the Show P ersonality is selected, the Base Channel may be in the range 1-494. If the Setup Personality is selected, the Base Channel may be in the range 1-474.

• Software Termination—Supplies a signal to the card to switch termination resistance in/out of the circuit. It may be necessary to clear this setting upon card removal. By default software termination is disabled. The Input termination (2 Watt, 120 Ohm) is required on the last DMXC card in a loop through configuration. (i.e. only on the last projector). Termination may be either hardware (by plugging in a termination dongle, etc) or may be switched in by software, but should not be both.

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Hardware termination is recommended because software termination is only in place when the projector has AC applied. If there are cases where the network is required to be terminated without AC applied to the last projector, then a hardware terminator should be used.

• ArtNET Universe—Specifies which universe the projector belongs to, so it can filter out all other data packets. For DMX512, each universe represents a separate electrical circuit of up to 512 devices/channels. For ArtNET however, 'DMX' data is broadcasted over an Ethernet network, so every device receives every packet of data, whether they belong to that universe or not. This control specifies which universe the projector belongs to, so it can filter out all other data packets. The Universe applies to ArtNET only, and does not apply to the DMXC input card.

• ArtNET Subnet—Specifies which ArtNET subnet (group of universes) the projector belongs to. This is the highest level address in an ArtNET network, providing expandability beyond the universe level. The Subnet applies to ArtNET only, and does not apply to the DMXC input card.

• Input Noise Filter—The Input Noise Filter eliminates DMX/ArtNET input oscillation, which can occur on some DMX control boards. This can cause fine resolution controls (e.g. Lens, Brightness) to continually change. A filter setting of 0 turns off the filter; a setting of 1 filters +/

- 1 step changes. Using this filter decreases the fine control precision of some slider controls. By default this filter is set to 0 (Off). It is not recommended to use this feature unless you are experiencing problems with your DMX input.

• Host Name—Responds to ArtNET polling queries. By default the host name is composed from the projector name and serial number. (Default = “<unit name>_<serial no>”).

The hostname is also defined at Configuration > Communications > Ethernet Settings > Host Name.

Adding a DMX Channel event

1. Click Advanced > RTE.

2. Click Add to open the RTE Wizard.

3. Select the DMX Channel Event tab.

4. Select a DMX channel (DMX -56 to DMX -61). See Configuring DMX512 support on page 53 for detailed information.

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Operating the projector

This section describes the controls and switches used for basic projector operation once it is properly installed, aligned and configured by a Christie accredited service technician.

Controlling the projector

Warning! Failure to comply with the following could result in death or serious injury.

• Laser radiation is emitted from the laser diode in the remote. DO NOT look directly into the beam of the laser.

The projector is typically controlled using either the remote or built-in keypad. While each of the keypads provides complete control of the projector, they differ slightly in their arrangem ent of keys and in what functions can be accessed directly with a key press rather than requiring use of the menu system. You may find one keypad more convenient than another for your specific installation and application.

• Remote Keypad—For wired or wireless control up to 25 feet (8 m) away . The remote keypad controls the projector by way of wireless communications from a battery-powered infrared (IR) transmitter. Use the remote keypad the same way you would use a remote keypad supplied with a TV or VCR. When pressing a function key , direct the keypad toward the projector’s front or rear IR sensor. One of the two IR sensors on the projector detects the signal and relay the commands for internal processing. A laser pointer is built into the remote keypad.

• Built-in Keypad—Located at the side of the projector.

Keep these guidelines (common to both keypads) in mind:

• Press keys one-at-a-time; there are no simultaneous key combinations required. Use Power, Shutter, and OSD functions by doing one of the following:

• “press-and-hold” (2 seconds)

• press twice quickly, followed by pressing either the Up Arrow Key to switch on or the Down Arrow Key to switch off once.

• In serial networks, pause briefly between adjustments to make sure that more distant projectors can “keep up” with the commands. If you press a key while the projector is still responding to the previous action, such as during power-up, the second key press may not take effect.

As an alternative to using a keypad, most projector functions can be controlled remotely, typically at a controller such as a PC, through a web interface.

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• ASCII Messaging—Connect a serial link between your controller and the RS232 or RS422 port (recommended), or open an Ethernet socket (i.e., Telnet) between your controller and the valid projector address. Valid ASCII codes and messages are documented in the Christie Serial Communications document available at the Christie website.

• Web Interface—Connect the PC to the projector’s Ethernet port. In the web browser (i.e., Internet Explorer), enter the IP address of the projector you wish to control. This prompts a login screen. The default login ids are: admin, service, and guest.

Up to a maximum of three users can connect at any given time. Two users can use the same account to log in. Each user sees a different set of tabs. The default passwords can be edited by an administrator or a service user in the Admin tab. Guest users do not see this tab. Basic operations of the projector can be controlled from this interface and the Virtual OSD can be accessed from here.

Built-in Keypad

The built-in keypad has a LCD status display window which displays all states of the keypad controls. The LCD displays status information when the projector is powering up “Warm up: Lamp is warming up” and when the projector is cooling down “Cool down: Lamp is cooling down.” The display shows the state of the keys, menu structure, and menu items.

Wired Remote

You can conv ert the remote k eypad into a wired remote k eypad using any standard 3-pin XLR cable (male to female). Connect one end into the remote and the other to the XLR connector on the Wired Keypad input panel. The wired remote is recommended when:

• The built-in keypad is inaccessible

• The lighting conditions are unsuitable for proper IR transmission

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Operating the projector

IR remote keypad

The IR remote keypad controls the projector by way of wireless communications from a batterypowered infrared (IR) transmitter. To use the IR remote, direct the keypad toward the projector’s front or rear IR sensor and press a function key. One of the two IR sensors on the projector will detect the signal and relay the commands for internal processing. The remote also offers a connector for wired connections to the projector.

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Managing users

Creating a user

Do not use capitalization for user names or passwords. If capitalization is used for the user name or password, it automatically converts it to lower case. User names can be a minimum of four and maximum of 32 characters. Passwords can be a minimum of four and maximum of 128 characters.

1. Click Admin > Users.

2. Click Add User.

3. Type your username and password.

4. Re-type your password.

5. Click OK.

Changing a password

1. Click Admin > Users.

2. Select the user whose password you wish to change.

3. Click Change Password to open the Password Change window.

4. Type the new password in the Password field.

5. Re-type the password in the Re-type Password field.

6. Click OK.

Deleting a user

1. Select the user that you wish to remove.

2. Click Delete User.

3. In the confirmation dialog click Yes.

Uploading a logo file

The projector must be powered on to enable the Upload drop-down list.

1. Click Admin > System.

2. Click the Upload Browse button to open the Choose file window.

3. Locate and select the file you wish to upload from a Network drive location or from your hard drive.

4. Select Logo as the file type. The file must be a 24-bit bitmap file to enable the Logo Position and Background Color section.

5. Enter the Logo position for the X and Y fields.

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IJK

E F

6. Click the Color square to open the Choose Background Color window, choose the desired background color from the color palette, and click OK. The color square changes to the selected color.

7. Click the Upload button to display the Logo Upload window.

8. Enter a descriptive name in the Display Name field.

9. Click Yes to confirm the upload.

Logging On

Before logging on to the system, ensure that you select the appropriate language required. Your language selection only affects the web user interface. The language used by the projector’s onscreen display (OSD) is not affected.

1. Open your web browser and type the IP address (in the address bar) assigned to your projector.

2. Select the appropriate language from the Language drop-down list, located in the upper lefthand corner.

3. Type your user name and password in the User Name and Password fields respectively. Both entries are case-sensitive.

4. Click the Login button. The Main window appears.

The following table describes each area found in the Main window.

Secondary Tabs (specific to a primary tab) located along the bottom of the Main window.

Active Input Window section is read-only.

Status Indicator displays the overall status of the

projector, based on the 12 categories of information available.

Click the Status Indicator LED to display the Status window and obtain more information about any current errors and warnings.

Logout Button (located at the top right corner of

the web browser) is used to logout you off of the web user interface and the projector.

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These sections provide list selections.

Primary T abs lo cated along the top of the Main window.

Current Status Bar provides information messages according to the current status of the projector.

Projector Information section is read-only.

Power section contains an On and Off button.

Only one is enabled depending on the current powered state of the projector.

Shutter section contains an Open and Close

button. Only one is enabled depending on the current state of the projector’s shutter.

OSD (On Screen Display) section contains an On

and Off button. Only one is enabled depending on the current state of the projector’s on-screen display.

Setting the power management parameters

In Configuration > Power Management, configure the following:

• LCD Backlight—The backlight for the LCD has three states. Always On, Always Off, or Timer. The backlight turns on again when any key on the LCD is pressed or if an alarm is raised.

• LCD Backlight Timer—Sets how long the LCD backlight stays on (in seconds) when in timer mode.

• LCD Backlight Level—Sets the LCD backlight brightness level. Maximum 25/Minimum 0.

• Auto Power Up—If there is an AC power interruption, while Auto Power Up is enabled, the projector resumes operation in the same state as it left off. If the lamps are on and an image showing when AC power is lost, the projector automatically powers back up with the lamps on and an image shows when AC is restored.

• Auto Shutdown Enable—When Auto Shutdown Mode has been selected, and no projector activity has been seen for the activation time-out period, the projector enters a power saving mode in which the lamps dim and the shutter closes.

If this condition persists for an additional time-out period, the projector automatically goes to Standby mode. The presence of any activity within this combined interval cancels Auto Shutdown and returns the projector to normal operation.

• Turn Off Image After (Min)—Sets the activation interval (in minutes) for Auto Shutdown. If all activity (input signals, web or serial port activity, key presses) is lost for this length of time, and Auto Shutdown is enabled, an Auto Shutdown cycle begins.

• Enter Standby After (Min)—Sets the interval (in minutes) between starting Auto Shutdown and entering Standby mode. Once Auto Shutdown has been entered, and all activity continues to be absent for this interval, the projector automatically enters power Standby mode.

• Lamp Regeneration Start Time—Sets the time of day (in 24 hour format) when the regeneration cycle starts. For 24/7 operation, the lamp regeneration cycle is required or lamp life is reduced.

In Dual Lamp mode, the cycle is performed on each lamp separately. The second lamp waits for the first lamp to come back on before it begins the cycle. In single lamp mode, the projector goes into Standby mode for the regeneration cycle. The regeneration cycle runs for 15 m inutes

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for each lamp. The lamp(s) must run for a minimum of 24 hours or the regeneration cycle is skipped.

• Over-temp Fan Assist—When enabled, this option causes all fans to come on at full speed if any enabled thermal sensor has an over-temperature fault. This may help to prevent an emergency shutdown if the extra cooling can bring the temperature within limits before the shutdown occurs. The fan assist causes increased noise levels due to the simultaneous full speed operation of all the fans. Normal operation resumes when all over-temperature conditions are removed or fan assist is turned off.

Setting the date and time

Configure the current year-month-day, hour-minute-second in Configuration > Date & Time. Changes here reset the projector real-time clock.

Navigating the interface

Most of the projector controls are accessed from within the menu system. There are several groups of related functions, with each group selectable from the Main menu.

On the remote keypad, enter the number that corresponds to the function menu you wish to access, such as 2 for the Image Settings menu. Or use the Up/Down Arrow Key on any keypad to highlight the desired option, then press Enter. The corresponding function menu or pull-down list of further options appear.

With a function menu displayed, enter a menu option number for any numbered option, or use the Up/Down Arrow Key to highlight the desired option and then press Enter. Long menus have a scroll bar on the right; use the arrow keys to access the remainder of the menu. Locked items or items that do not pertain to the current action or condition appear dimmed and cannot be selected.

If there is no signal present, all source-dependent adjustments are disabled. After 15 minutes of inactivity, the projector leaves the menu system and returns to the presentation. When finished with a function menu:

• Press Exit to return to the previous screen. on

• Press Menu to leave the menu system and return to the presentation.

When navigating the web interface, it is not recommended that you use the web browser navigation functionality (i.e. the Back and Forward functions) as this causes you to lose your web connection. It is recommended that you navigate using the application interface and related functionality detailed in this section.

Changing the language used for menus

Choose the available language to use in the projector menus. The change takes effect immediately.

1. In the Configuration menu, select the language from the list.

Adjusting the menu appearance

Change the appearance, content and/or location of on-screen menus and messages in

Configuration > Menu Preferences configure the following:

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• Large Menu Font—Enter a check mark to enlarge menus and their text.

• Menu Location—Use the pull-down list to choose a pre-defined default or customized location for the display of all on-screen menus.

To create a custom menu location:

a. Choose a preset that is closest to the desired location. b. Adjust Horizontal Shift and Vertical Shift slide bars to move the menu to the desired

location. Avoid locations too close to a corner or edge to prevent cropping of larger menus.

• Display Automatic Message Boxes—Enable or disable the pop-up of automatic message boxes. These are messages to the user that are not directly triggered by user actions. Examples are signal information, function limitation, or auto calibration message boxes.

• Display User Message Boxes—Enable or disable the pop-up of message boxes that are directly triggered by user actions, for example gamma or lens control message boxes.

• Display 3D Message Boxes—Enable or disable message boxes that are triggered by 3D setup errors.

• Display Error Messages—Choose how to be notified of errors detected in either the incoming signal or projector.

• Screen or All (default) to see brief on-screen messages. This is recommended during setup or testing of the projector.

• Serial Ports to receive messages through RS232 or RS422 serial communication only.

To hide error message displays, such as during shows and presentations, select Off or Serial Ports.

• Splash Screen Setup—Choose when to display a special introductory splash screen image, such as your company logo, graphic or message.

• Always Off—A splash screen never appears

• Start-up Only—The splash screen logo appears at projector start-up only.

• Start-up And No Signal—A splash screen appears at start-up and at any time when there is no signal.

To add your own splash screen in addition to the default Christie logo splash screen, use the Web UI to download the desired bitmap (.bmp) file to the projector. This overwrites any other user splash screen that has been downloaded. Only one user splash screen can be saved in the projector.

• OSD Transparency—Check this box if you want the OSD menu backgrounds to be transparent.

• Menu Type—Select the Basic or Advanced menu type from this list box.

•The Basic menu setting gives a small number of the most frequently used menu items.

•The Advanced menu setting gives the menu options.

• Splash Screen—Choose which splash screen is to be used; the default or user downloaded splash screen.

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01.

02.

1,2 4,1

15.73kHz-

33.72kHz+

i59.94-Hz-

Main Channel: 01

iSVid pDig

p29.07-Hz+

Signal

Typ e

Horizontal Frequency

Vert ical

Frequenc y

i-Interlaced

p-Progressive

Channel#

Slot

Input

Current Channel#

• Cascading Menus—Enable or disable cascading menus. When disabled, a single menu level is displayed on the OSD at a time.

Selecting an input or channel

The projector stores and recalls up to 99 different channels (source setups) for a variety of inputs. This memory feature allows you to define and use a variety of customized setups. Depending on what you have defined, each physical source connection (i.e., input at the projector) can have several different channels associated with it. For a full explanation of how to connect sources to the projector see Connecting sources through option cards on page 45.

Input: An input is a source physically connected to the projector, and describes the source signal and which input slot it is connected to.

Channel: A channel is a collection of measurements, locations, and settings that tailor the display of a signal to your specific needs. Since source types and applications can vary greatly, adjust and define a wide variety of parameters such as brightness, contrast, and size to customize and optimize the display from or for a particular source. For example, the display settings you choose for a VCR source may be very different from those you choose for a high-resolution computer source.

Once you have adjusted a display parameter, such as pixel tracking or contrast, all current settings are collectively stored in the projector's memory as a unique two-digit channel, such as 09. You can have numerous distinct channels available for the same input, any of which can be selected by using the Channel key on the keypad followed by the two-digit channel number.

The Channel key may display a channel list or not, depending on what you have defined for the Display Channel List.

There are three methods for selecting an input:

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1. Press the INPUT key. This displays a list of the four slots, with the card type and input signal type in each slot. The

currently selected input for the main image is highlighted. Scroll up or down through the list and press ENTER to make a new selection. Press the INPUT key again to show the list and allow the selection for the PIP/Secondary image. Repeatedly pressing the INPUT key toggles between the main and PIP/Secondary image.

PIP functionality is disabled in 3D mode.

2. Press the appropriate direct SLOT key to quickly display one of the inputs on the selected slot to the main image. This does not bring up any menu selection, and is only applicable for the main image.

3. To select the source of the image for the main or PIP/Secondary image select Menu > Input Switching and PIP > Main Input and Menu > Input Switching and PIP > PIP Input.

The image is displayed according to the following:

• If it is the first time you have used the source/input (or if you used the input but did not define a channel by adjusting anything), the projector recognizes the new input signal

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01.

02.

1,2 4,1

15.73kHz-

33.72kHz+

i59.94-Hz-

Main Channel: 01

iSVid pDig p29.07-Hz+

Signal

Typ e

Horizontal

Frequenc y

Vert ical

Frequency

i-Interlaced

p-Progressive

Channel#

Slot

Input

Current Channel#

based on its frequencies and polarities, automatically displaying an image according to default settings for that signal.

• In general, the image from the new source is as large as possible without losing its aspect ratio. This and other default image settings depend on the incoming source.

• If you used the source once before and changed a display parameter, such as contrast and V-Position, then a channel was automatically created and still exists in projector memory . Using one of the input or slot keys automatically recall this channel, all its setup parameters, and update the display accordingly.

• If more than one channel exists for the input, the image is displayed according to the setup parameters for the first channel with matching characteristics.

Creating a new channel

To use a new source with the projector, a new channel must be created so that the projector responds to an input signal from that source. A new channel can be created automatically, or it can be copied from an existing channel and then edited as necessary.

When you select a direct input (Slot 1, Slot 2, Slot 3, or Slot 4), any existing channels in the projector are searched for matching input and signal parameters–this only occurs if Auto Source is enabled on these channels. If no match to the incoming input signal is found in currently defined channels, a new channel is temporarily created based on factory-defined defaults for this type of

signal. The channel number assigned is the lowest available number from 01-99.

Notice. Failure to comply with the following may result in property damage.

• An automatic channel is discarded unless one or more of its parameters are changed and will not appear in the channel list (see below).

• If two channels have the s ame disti ngui shing so urce ch arac terist ics ex cept for the rev ersal of sync connectors (H-sync and V-sync, are switched), they are still defined as distinct channels.

• You cannot define a new channel without an incoming signal.

Selecting a channel

Select a channel at any time by pressing Channel. If you want to hide a channel from appearing in this list, you must edit the channel. Such a channel can still be selected by entering its number as shown below.

The current channel is highlighted in the channel list, or, if the current channel is hidden, the first channel in the list is highlighted.

Channels created automatically do not appear in the channel list unless a parameter for the channel has been changed.

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Slot, Input

Signal

Typ e

01 02

1,2 4,1

15.73kHz-

33.72kHz+

i59.94-Hz-

Channel Setup

iSVid pDig p29.07-Hz+

Horizontal Frequenc y

Vert ical

Frequenc y

i-Interlaced

p-Progressive

A locked auto-source that appears in the channel list.

An unlocked auto-source that appears in the channel list.

Channel Setup Icons

Vert ical

Frequenc y

Displaying a list of channels

All available channels are listed in the Channel Setup menu, which describes how each channel can be accessed and provides access for editing, copying and deleting channels.

1. Press Menu from the presentation level to display the Main menu.

2. To display the Channel Setup menu, press 3, or move the highlight to the Channel Setup option and press Enter.

3. Use Up Arrow Key and Down Arrow Key to see the remaining channels not visible in the initial display of channels.

The channel setup icons list all defined channels. The far left column lists channel numbers defined. The values in the far right columns indicate horizontal and vertical frequencies or if there is a defined name for a channel, it appears here. The H and V frequencies do not appear if a name has been defined for the channel; instead the name is only seen. The H and V frequencies are inserted as, the name when the channel is first created. The vertical frequency is displayed with the sync polarity. The remaining columns pertain to each signal type; such as, input number, slot location, a variety of icons indicating access to each channel, and an abbreviated description of each signal type.

The channel list or the Channel Setup menu identifies signal types abbreviations as defined in the following table. Composite Sync on the H/C input or the V input (four-wire). These abbreviations are preceded by either an ‘i’ (interlaced signals) or ‘p’ (progressive signal).

The first five items in this table are analog RGB with various sync combinations indicating Sync Source when editing the channel:

Abbreviation Signal types

—No Sync 4WH Composite (four wire) on HC input 4WV Composite (four wire) on V input SG Sync-on-green (four wire) 5W Separate H,V (five-wire) 5WR Separate H,V swapped (five-wire) SVid S-Video CVid Composite Video Dig Digital

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Abbreviation Signal types

DSDI Digital Dual Link HD-SDI DVI Digital DVI HDMI Digital HDMI HSDI Digital HD-SDI SDI Digital SDI 3GA Digital 3G-SDI (Level A) 3GB Digital 3G-SDI (Level B) DP DisplayPort

Copying a channel

1. Highlight the desired channel in the Channel Setup menu, and press Enter to activate the Select Channel Operation submenu.

2. To go to the Select Channel Operation submenu, press Enter.

3. Select Copy and press Enter. A new channel is created that is identical to original, which still remains, but it is identified with

the next available number from 01-99. If you change your mind and do not want to copy the current channel, press Exit to cancel and return to the previous menu. Copying channels is a quick method for creating numerous channels, each of which can then be edited and adjusted for a variety of presentations in the future.

Deleting a channel

1. Highlight the desired channel in the Channel Setup menu, and press Enter to activate the Select Channel Operation submenu.

2. Select Delete and press Enter; a window appears to confirm the deletion of this channel.

Deleting multiple channels

1. Highlight the desired channel in the Channel Setup menu, and press Enter to activate the Select Channel Operation submenu.

2. Select Delete Unlocked Only and press Enter to delete all unlocked channels.

3. Select Delete All Channels to delete all channels, even those that are locked. In either case, the current channel remains but is redefined from projector defaults.

For any deletion, a window appears to confirm the deletion of the desired channel. Select Cancel (default) if you don’t want to delete after all.

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Editing a channel

1. Press Menu from the presentation level to display the Main menu. To display the Channel Setup menu, press 3 or move the highlight to the Channel Setup option and press Enter.

2. To edit parameters shown in the Channel Setup menu, select the relevant channel and press Enter.

3. If desired, review and/or edit the following channel setups in the Channel Edit menu:

Field Description

Name An alphanumeric label can be defined and/or changed here. Channel names can be up

to 12 characters in length. The default name is the horizontal and vertical sync frequencies.

Channel A two-digit channel number can be changed here. If you enter a channel number that

Slot 1-4, corresponding to which slot in the projector’s input panel the source is connected. Input 1-6, corresponding to which input on the selected slot the source is connected to. In Menu If checked (default, except for automatically defined channels with unchanged

Auto Select If checked, (default), the projector can automatically locate this channel when an

Locked If checked, all of the image settings for this channel are locked. If unchecked (default),

Previous Channel Select this option to see or change Channel Edit settings for the previous channel in

Next Channel Select this option to see or change Channel Edit settings for the next channel in the

already exists, a dialog message appears indicating that this number is already in use; assign a different channel number. You can define up to 99 channels.

parameters), this defined channel appears in the list available when Channel key is pressed. If unchecked, the channel must be accessed through Channel on the keypad or through the Auto Source function. On-screen display of the channel list is an option that must be set in the Menu Preferences menu.

incoming input signal matches. If not checked, the projector can locate the selected channel only when it is directly selected with Channel on the keypad; a change in input signal does not result in a channel change.

all available image settings can be adjusted as desired. You cannot use Auto Setup with a locked channel.

the Channel Setup list.

Channel Setup list.

Configuring the lens

In Configuration > Lens Settings, configure the following:

• Intelligent Lens System—Enables the Intelligent Lens System (ILS). When enabled, the lens position (horizontal, vertical, focus, and zoom offsets) are stored per channel. If you change channels, the lens position changes as the new signal is being displayed. When ILS is not enabled, the lens is controlled independently of channels or input signals.

• Manual Zoom/focus—When this control is selected, the holding current is removed from the zoom and focus motors so that they can be changed manually. Zoom and Focus should not be adjusted manually when this control is not selected, as this results in damage to the motors.

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• Calibrate—The lens calibration procedure is needed each time a new lens is installed in order for the ILS feature to perform reliably . This procedure calibrates; horizontal, vertical, focus, and zoom offset movements.

• Lock All Lens Motors—Prevents all lens motors from moving. It disables the Zoom, Focus, Horizontal and Vertical Position settings, effectively locking out any changes and overriding all other lens features. This prevents accidental lens position changes in multi-projector installations.

• Calibrate On New Lens—Prompts for a lens calibration each time a lens is inserted. The user is always prompted before starting the calibration.

• Calibrate On Startup—Check this box to initiate a ‘Lens Reset’ procedure on every power-up. Use this if the lens is subject to manual movement between power sessions.

• Home Position—Return the lens to the horizontal and vertical home position. F ocus and zoom are unaffected.

• Calibration Status—Displays the current lens calibration status.

Configuring up the lamp

Selecting the lamp operation mode

Select between one of the following lamp operational modes in Lamp > Lamp Operation:

• Lamp 1 single lamp use or Lamp 2 single lamp use modes only use the lamp specified. If the selected lamp does not strike, then the projector does not turn on.

• Dual Lamp Use mode uses both lamps together. The projector stays in this operational mode even if only one lamp successfully ignites. If both lamps fail to ignite then the projector goes back to standby.

• Auto-Select a Single Lamp mode ignites the lamp with the fewest recorded hours of on time.

Selecting the lamp mode

Select between one of the three different lamp modes in Lamp > Lamp Mode:

• Maximum Brightness mode sets the lamp to run at its highest power level.

• Constant Intensity mode maintains a specific brightness level over time. The brightness level can be adjusted with the Intensity control (see below). As the lamp ages, the projector increases power to maintain the desired brightness. This option is disabled if LiteLOC calibration has not been performed.

• Constant Power mode maintains a specific power level for the lamp. The power level can be adjusted with the Power controls (see below).

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Specifying the amount of power sent to the lamp

The Lamp > Power control represents the amount of power sent to the lamp(s) in Watts. Lower power levels reduce brightness and extend lamp life. This control is only enabled while in Constant Power mode.

This slide bar does not update in real-time when operating in Maximum Brightness or Constant

Intensity mode. To see the amount of power being applied to the lamp while in Maximum Brightness or Constant Intensity, see the Lamp Info page on the Status tab of the WebUI.

Setting the target brightness

The intensity control represents the target brightness for the LiteLOC system. The value at Lamp > Intensity is a percentage of the maximum brightness of the lamp(s). This control is only enabled while in Constant Intensity mode.

Configuring lamp failover

Enabling the Lamp > Single Lamp Switch on Fail option causes the projector to automatically turn on the other lamp, should the currently operating lamp turn off during normal operation or if the currently selected lamp fails to ignite.

This control is only in effect while in the following modes:

• Lamp 1 single lamp use

• Lamp 2 single lamp use

• Auto-select a single lamp

A brief period of no light occurs before the other lamp ignites and warms up sufficiently. The operational mode of the projector may change from Lamp 1 single lamp use to Lamp 2 single lamp use or visa versa with the option enabled. For example: If lamp 1 fails to ignite and lamp 2 ignites successfully, then the operational mode changes to Lamp 2 single lamp use. 3) This option does not change the operational mode if it is set to Auto-select a single lamp.

Using multiple projectors

When working with more than two projectors, work left to right, top to bottom. When an installation requires multiple projectors, use the RS232 serial ports to daisy chain the

units together and control the group with a single keypad or a computer/controller connected to the first projector. In such a network, you can choose to broadcast commands to the entire group, or use the Proj key as desired to limit responses to an individual projector.

Alternatively, you may want to add projectors to a hub on an Ethernet network. See Connecting

multiple projectors on page 40 for full routing details.

Tiling an image over multiple screens

Image tiling allows a single input image to be displayed, spread over multiple screens, with each screen displaying a fraction of the image. The image is displayed by the m × n array of projectors, where m is the number of rows (1-3) and n is the number of columns (1-3). This allows the following arrays to be set up:

1x2, 2x1, 1x3, 3x1, 2x2, 2x3, 3x2, 3x3

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Projector A Row 1, Col 1

Projector B Row 1, Col 2

Projector C Row 1, Col 3

Projector A Row 1, Col 1

Projector C Row 2, Col 1

Projector B Row 1, Col 2

Projector D Row 2, Col 2

Projectors are numbered from left to right (left column = 1), and from top to bottom (Top row = 1). For examples:

1. Set the total number of rows and columns in the array. This setting is the same on all the projectors in the array.

2. Set the relative location of the projector within the array by identifying the row number and column number for each projector.

3. Enable Tiling.

Performing preliminary calibration

All primary colors in the projector are precisely set to pre-established values to ensure that overall color performance is optimized and is as accurate as possible. Lighting and other environmental factors may slightly change how these colors appear on your screen. While the change is negligible in most cases, you may prefer to recover the originally intended color performance before trying to match colors from several projectors.

To achieve consistency use a color meter to measure the native primary colors—red, green, blue, and white—as they appear at the screen. Record these as Color Primary Settings in the Service menu (password-protected) for each projector. On the basis of these new values, which are stored in memory , each projector then automatically calculates an y necessary corrections to reproduce the original factory colors under the current environmental conditions. This essentially calibrates a projector to its surroundings, compensating for factors such as screen type; lamp and/or ambient lighting and improves color accuracy and consistency in a group of projectors. It ensures a good starting point for further customizing and matching; however, is not critical for all installations.

To access the Service menu (password-protected) return to the factory-set color primaries. Select the Reset to Factory Defaults option in the Color Primaries submenu. Then repeat the calibration process describe above and continue with matching of colors.

Automatically correct frame delay issues in tiled images

Frame Delay Compensation attempts to automatically correct for frame delay issues which may occur in three row tiling. When enabled, and using three row tiling, the manual frame delay control is disabled.

The features that act differently when Tiling is enabled are:

• The PIP border is disabled.

• Cascading menus are turned off.

• Menus show only five items, with a scroll bar to allow the rest of the menu items to be reached.

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• Projector source switching in the array is not synchronized. Therefore some latency can be seen from when the commands are issued to each projector, causing switching to not be as seamless when in a tiling configuration. When using loop-through with the Twin HDMI Input Card to distribute a signal to the tiling array, additional latency in the switching can occur during HDCP repeater negotiations with the source player.

When the FUNC+HELP key combination is pressed, the tiling settings are cleared. Tiled warps/ keystones can be enabled through Christie TWIST 1.6. Refer to the Christie TWIST User Manual (020-101380-xx).

Matching colors across multiple screens

In a multiple-projector wall, you want to precisely match color and intensity from image-to-image so that the full wall is as uniform as possible.

Refining the displayed colors

Once the Color Primary Settings are calibrated for the site (see above), use the Color Adjustments by X,Y or Color Saturation menu to further refine each projector’s fundamental

colors so that the hue and intensity of each color appears the same from one display to another. Once matched, you have created a single new shared range of colors or “color gamut” that all of your projectors can produce. This palette—named User 1, 2, 3 or 4—can be applied or disabled for a source at any time throughout a bank of adjacent displays, simplifying both the setup and maintenance of a “seamless” wall.

1. Set up and optimize all projector settings. You can ignore color temperature, since you are redefining color performance in this procedure, but do optimize each projector in every other aspect. Closely align all screen edges.

2. Assign projector numbers to make communications easier. Use desired keypad.

3. Use the same lamp mode for all projectors, and do the following:

•Set Select Color Adjustment to Max Drives

• Display a full white test pattern

• Adjust lamp power and Optical Aperture until adjacent white fields appear the same brightness.

•Display the Color Adjustments by X,Y menus for all projectors. Each menu shows the x/y coordinates defining the “Max Drives” color gamut for this projector.

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Color Adjustments by X,Y

Select Color Adjustment Color Temperature

Red X Red Y Green X Green Y Blue X Blue Y White X White Y Yellow Notch Filter Auto Color Enable Color Enable Copy From

10.

11.

12.

13.

14.

Max Drives 6521

0.655

0.341

0.332

0.575

0.093

0.320

0.330

Red Max Drives

0.144

Color Adjustments by X,Y

Select Color Adjustment Color Temperature

Red X Red Y Green X Green Y Blue X Blue Y White X White Y Yellow Notch Filter Auto Color Enable Color Enable Copy From

10.

11.

12.

13.

14.

Max Drives 6521

0.640

0.350

0.329

0.560

0.100

0.374

0.367

Red Max Drives

0.129

Color Adjustments by X,Y

Select Color Adjustment Color Temperature

Red X Red Y Green X Green Y Blue X Blue Y White X White Y Yellow Notch Filter Auto Color Enable Color Enable Copy From

10.

11.

12.

13.

14.

Max Drives 6521

0.626

0.350

0.331

0.528

0.106

0.323

0.359

Red Max Drives

0.133

Color Adjustments by X,Y

Select Color Adjustment Color Temperature

Red X Red Y Green X Green Y Blue X Blue Y White X White Y Yellow Notch Filter Auto Color Enable Color Enable Copy From

10.

11.

12.

13.

14.

User 2 6521

0.655

0.341

0.332

0.575

0.093

0.320

0.330

Red Max Drives

0.144

Color Adjustments by X,Y

Select Color Adjustment Color Temperature

Red X Red Y Green X Green Y Blue X Blue Y White X White Y Yellow Notch Filter Auto Color Enable Color Enable Copy From

10.

11.

12.

13.

14.

User 2 6521

0.640

0.350

0.329

0.560

0.100

0.374

0.367

Red Max Drives

0.129

Color Adjustments by X,Y

Select Color Adjustment Color Temperature

Red X Red Y Green X Green Y Blue X Blue Y White X White Y Yellow Notch Filter Auto Color Enable Color Enable Copy From

10.

11.

12.

13.

14.

User 2 6521

0.626

0.350

0.331

0.528

0.106

0.323

0.359

Red Max Drives

0.133

The values shown in one (any) of the displays. Use the “Copy From” function to copy them into a “User” gamut in one projector.

4. In each projector, select a “User” color adjustment (1-4) to enable Color Adjustments by X,Y changes. Then enter your recorded x/y values into each menu.

5. In each projector, judge by eye and adjust x/y coordinates slightly in the following manner:

• To match reds, decrease “Red X” until full field red screens match.

• To match greens, decrease “Green Y” until full field green screens match.

• To match blues, increase both “Blue X” and “Blue Y” until full field blue screens match. For speed, enable the “Auto Color Enable” check box. Each color coordinate you select

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Alternatively, use the Color Saturation menu for these adjustments or to fine tune. These coordinate adjustments move the three color points closer together (see below) to

establish a “shared” gamut attainable by all projectors in your group. Adjust only as necessary

automatically triggers a full field display of the corresponding color.

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Secondary

(PIP) Image

Adjust through

PIP menu.

Primary Image

Adjust through Main menu navigation.

to ensure that the resulting color palette is as large as possible. When done, you may need to adjust lamp power slightly.

6. All screens should now be color-matched. Apply the new User gamut to a source at any time by selecting it in the Select Color Adjustment list accessed in the Advanced Image Settings menu.

Matching colors across multiple screens

1. In the three Color Adjustment submenus (Red, Green, Blue, and White), set all main values to 1000 and the secondary values to 0, if applicable.

2. Judge the colors by eye and adjust the slide bars as needed. Adjustments here define new x/y coordinates in the Color Adjustments by X,Y menu. For best

results, use this menu after doing the color adjustment procedure. See Refining the displayed

colors on page 72.

Displaying Picture-in-Picture

Use the Input Switching and PIP menu to enable and define how you want to use Picture-in- Picture (PIP).

To control the primary image, access all picture controls through the Main menu. To control the secondary (PIP) image, access picture controls through the Input Switching and PIP menu. PIP function is disabled in 3D mode.

Enabling PIP

Press PIP on the remote if the menu is not present.

Toggle between displaying two sources at once (Main and PIP images) and the primary or main source only. This check box turns the secondary source on and off.

Selecting the main and PIP inputs

1. Select Input Switching & PIP.

2. From the list of active inputs, select one to be used as the primary or main image.

3. From the list of active inputs, select one to be used as the secondary or PIP.

Swapping the main and PIP inputs

Toggle the current PIP relationship so that the primary (main) image becomes secondary (PIP), and the secondary image becomes primary. Swapping is available only when PIP is enabled. You may experience a slight delay when swapping the Primary and Secondary images.

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Changing the size and position of PIP

Most controls in the PIP Size and Position menu adjust the PIP (secondary) image in the same fashion as their counterparts in the main Size and Position menu.

1. Select Input Switching & PIP > PIP Windows.

2. Set the location of the PIP (secondary) image in the display.

Configuring the PIP image

Input Switching & PIP > PIP Image Settings control adjust the PIP (secondary) image in the same fashion as their counter parts in the main Image Settings menu.

Fading between images

Use Input Switching & PIP > Fade Time to se t the amount of time (in seconds) it takes to fade between images on a source switch and fades in the PIP image.

Locking image frames to the input

When the selection is set to Frame Lock, output image frames are locked to the input. When locked, the output is always locked to the primary input, never the secondary image. Select Free Run and this sets the output to close at 60Hz for all sources.

Seamless switching is only available when free run is selected. When switching to a new input with frame locking enabled, the image is black for the short period while the system locks onto the new input.

Automatically searching for input signals

When Input Switching & PIP > Auto Input Switching is enabled, the system continually searches for the next valid signal when no signal is present or when loss of sync occurs on the current user selected input. In the case of multiple signals to choose from, the order is based on slot, followed by inputs on that slot.

Configuring the HDMI output options

Select HDMI Output Loop Source > Direct Loop to directly pass-through the HDMI input signals (from the same Twin HDMI Input Card). The Input1 signal is looped to Output1 and the Input2 is looped to Output2.

Select Main/Secondary Loop to loop the Main and secondary video to the outputs (regardless of which card these signal originate from). The Main video signal is looped to Output1 and the Secondary video signal is looped to Output2.

Select Disable to shut off the HDMI outputs completely.

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Looping video signals

In situations where a Twin HDMI Input card is being used to loop signals out to another projector, Standby Active Loop-Through ensures that video signals continue to be looped out when the projector enters standby power mode.

When the projector is in standby mode, and Standby Active Loop-Through is selected, limited channel control is available—inputs can be switched, perform auto setup and some limited input settings can be modified.

The Easy Rider projector is capable of displaying stereoscopic 3D video sources and relies on additional hardware; such as stereo emitters and glasses to complete the display system.

Images generated from a stereo 3D-video source consist of a series of images (frames) that alternate quickly between two slightly different view points, corresponding to our left and right eyes. When these frames are displayed fast enough and viewed with special stereo glasses synchronized to the left/right (L/R) changes, the resulting image appears with the same depth and perspective that is sensed in the real world.

The type of special glasses can be active stereo or passive stereo glasses depending on the type of stereo controllers and screen used.

Requirements

Stereo 3D applications require a stereo 3D-capable source, special hardware/software setups described below, and the 3D Settings menu option to control the processing, synchronizing and displaying of your stereoscopic 3D source material.

Hardware:

• Christie 3D version of Easy Rider projector.

• Christie 3D Stereo Sync Cable (required for 3D Easy Rider models; ensures minimum frame delay). This General Purpose Input Output (GPIO) cable is standard with all Easy Rider projectors.

• A source, usually a computer with a stereo 3D graphics card capable of displaying progressive scan (alternating frames) of OpenGL quad buffered stereo 3D applications (suggested cards include ATI or NVIDIA), and running under Windows (2000, XP), Windows 7, Linux, IRIX, HPUX, OSX or Solaris operating systems.

• Emitter for controlling active shutter glasses.

• An appropriate qualified device that mounts in front of the lens of the projector that processes the light from the lens into a passive polarized light. Contact your Immersive dealer for more information.

Software or content:

• Any 3D computer software that supports active or sequential 3D stereo on a supported computer with a supported graphics card.

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R232 SIN

IR emitter OR 3D filter OR Other projector 3D sync input

• A video stream from video source that has been prepared to be sequential content. The Easy Rider also supports stereo signals prepared on either a compatible Dual and Single link HDSDI format. The VGA port does not support 3D.

• Frame locked Passive sources are also compatible with the Easy Rider with the appropriate primary and secondary input card.

Connecting the 3D Stereo Sync Cable

This GPIO cable provides the means for synchronizing the various components in your 3D system. Your source, projector display output, and emitters or 3D passive filter system can then operate together with precision to minimize cross-talk and color artifacts. Connect as shown below.

For Easy Rider models, inputs A and B are not required, but recommended to ensure that stereo is configured correctly, especially for mul tiple projector setups.

Connecting Two Stereo 3D Sync Inputs (Recommended for multiple sources). Connect your video card’s stereo 3D sync cable to either Input A or either Input B on the 3D Stereo Sync Cable. These inputs are provided to allow you to connect two different Stereo 3D sources and conveniently switch the display back-and-forth between them.

Connecting One Stereo 3D Sync Output Connect the 3D Stereo Sync Cable output to your stereo 3D sync emitter or 3D passive filter system, PZE device. The L/R switching of the device can then be synchronized according to the controlling signal of choice—either the source input signal or the internally generated signal—as set in the 3D Settings menu.

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Server/PC with

Stereo 3D-capable

Graphics Card

“” Cell

3D Active Filter

Active and Passive Stereo 3D Configurations

Typical hardware configurations for active and passive Stereo 3D systems are shown below.

• Appropriate Stereo 3D Source—Use stereo 3D application software with your 3D video source (usually a workstation or PC). The source must also provide a separate stereo 3D synchronization signal that precisely controls when left/right fields are visible through the viewer’s glasses. This separate signal is usually provided using a VESA 3 pin stereo port.

• IR Emitter/3D Passive Filter System—In response to an incoming sync signal, the emitter emits L/R infrared signals to a receiver in active 3D shutter glasses, causing the L/R shutters to alternately open and close for active stereo 3D applications. Likewise, a 3D passive filter system placed in front of the lens responds to an incoming sync signal and alternately polarizes the L/R frames viewed with passive glasses for active stereo 3D applications. Connecting one of

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the 3D Stereo Sync Cable outputs to an emitter/3D passive filter system allows you to synchronize your stereo 3D display with the glasses.

• Glasses (Active/Passive)—Active glasses differ in speed and performance. Consult the documentation for your glasses and keep their specifications in mind when configuring your source signal. The input signal must be optimized for the available shutter speed to prevent obvious “ghosting” of image content (known as cross-talk in stereo 3D applications) and other more subtle color artifacts. Such problems indicate that the eyes are detecting portions of the opposing frame due to an “out-of-sync” system, and can occur in either active or passive stereo 3D configurations. Adjust the Dark Interval setting to reduce ghosting.

In the 3D Settings menu, the correct “3D Stereo Sync Delay” setting should help to synchronize glasses with the displayed images.

In a passive system, where glasses do not have shutters and instead depend on the speed and accuracy of the 3D passive filter system, the signal must be synchronized to the projector via the 3D Stereo Sync Cable.

3D Settings

Use the options in the 3D Settings menu to make the timing adjustments necessary for realistic simulation and 3D images.

• 3D State—Informs you what state the projector is in: Off, Missing Secondary Signal, Not Frame Locked, Secondary Frequency Mismatch, High Bandwidth Not Supported, Stereo Sync Not Detected, Stereo Sync Invalid, and Invalid Frequency. This is read only.

• 3D Mode—Select the mode of your 3D operation.

• Off—3D operation is disabled.

•Auto 3D—Attempts to automatically determine which 3D mode to use based on auxiliary video data, e.g. HDMI info frame.

• Native 3D—All content is shown at a native frame rate of 96 - 120 Hz input and output.

• Frame Doubled 3D—3D Content from a single 48-60Hz signal (24/30Hz per eye) is displayed twice to provide a 3D content to be viewed at 96-120Hz.

• Dual Input 3D—Content from two independent 48-60Hz ‘passive’ frame locked sources are interleaved into a native 96-120Hz native frame rate. This requires and optional input module and both signals must be from the same signal type.

• Side-by-Side 3D—Content is transmitted with each eye beside each other in a single frame, and is extracted and scaled appropriately to show in an alternate-frame sequence. Typically used for broadcast 3D-TV.

• Top-and-Bottom 3D—Content is transmitted with each eye above one another in a single frame at half resolution, and is extracted and scaled to show in an alternate-frame sequence.

• Frame Packed 3D—Content is transmitted with each eye at full resolution in a doublesized frame, and is extracted to show in an alternate-frame sequence. Typically used for Blu-ray 3D movies and 3D video gaming.

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Input A Input B None / Internal

To access the source conn ected

to Input A on the 3D Stereo Sync Cable

To access the source conn ected

to Input B on the 3D Stereo Sync Cable

3D Sync generated automatically

Off

To Emitter To Next Input

3D Sync Off

Frame sync is doubled at the output

Sync is native computer rate at the output

Free Run Frame Lock

• Triple-Flash 3D—3D Content from a single 48Hz signal (24Hz per eye) is displayed three times to provide you a 3D image to be viewed at 144Hz.

• Dark Interval—Artificially increases the amount of dark time between displayed frames for stereoscopic 3D images. Higher settings provide more time for shutters in 3D glasses to open and close, ensuring that each eye sees the full display intended for it. Symptoms of cross talk or color artifacts can indicate the need for adjustment. The Dark Interval range of adjustment depends on the vertical frequency of your source-the higher the frequency , the smaller the range. Default setting is 2.3ms.

• 3D Sync Input—The 3D sync signal is generated by the 3D source to insure left/right eye content is synchronized to the projector and you. The projector has the ability to physically connect to two different sources. Ensure that the correct 3D sync input is selected (either Input A or Input B) with each 3D signal source. If none/internal is selected the projector generates the sync internally and content is displayed; however, there is a 50% chance that the content is displayed with the left/right eyes swapped (from the remote, press This function is not used in Interleaved 3D mode. Each eye receives a selected input and no 3D sync input is required.

FUNC 6-9 to swap the eyes).

• 3D Sync Output—This option defines whether the 3D Sync is output and controls how it is processed. It is only valid when an optional cable is used to connect stereo 3D signals to the projector via the GPIO port. When there is no 3D signal, Sync Output should be 'Off'. Typically only the last projector in the 3D Stereo cable chain is connected to the emitter and should specify 'To Emitter'. All other projectors should select 'To Next Input' if other projectors are used in the chain.

• 3D Stereo Sync Delay—Adjust the output 3D emitter delay (in milliseconds) to match the active glasses to the L/R frames of the projector. Proper adjustment of this delay eliminates cross talk and odd colors caused by timing differences between the glasses and the projected image. Your specified delay is added after sync locking.

• 3D Test Pattern—Enables a 3D test pattern for diagnostics. The scrolling diagonal lines indicate how well left and right are synchronized. If ghosting is occurring the input may have to be switched or inverted. Adjustments to the emitter delay can also help correct the synchronization. To verify that your 3D is setup correctly, a small set of “L”s are visible when you close your right eye and a small set of “R”s are visible when you close your left eye.

• Frame Locking—Enable or disable Frame Lock. When set to Frame Lock, if possible output image frames are locked to the input. When Locked, the output is always locked to the primary input and never the

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secondary image, when using Dual input 3D. Free Run sets the output to close to 60Hz for all sources. This control must be set to locked if a 3D-Stereo signal is used.

• Set Frame Delay—Delays the output signal timing relative to the input signal timing by a fraction of a frame, and up to several frames. The minimum latency can vary based on the amount of scaling applied to the image. When using keystone or warping, an additional latency is required, depending on the amount of warp. The control is only available when the input signal is frame locked. In free run mode, or in cases where the signal cannot be frame locked, the minimum latency defined by the scaling and keystone/warp is applied to the signal.

• Actual Frame Delay—Displays the actual frame delay reading.

• Full Screen Eye-Motion Filter—Check this control to apply the Eye-Motion Filter to the entire screen, rather than applying just to the edge blending regions. Helps with posterization effects, sometimes seen in color ramps when viewing stereoscopic images.

• Eye-Motion Filter—Adjust this filter to reduce saccadic eye-motion artifacts, sometimes noticeable in edge blending regions. Too much filtering may result in loss of detail. For best results, adjust this setting while positioned at the nominal screen-viewing distance.

• Edit Secondary Channel Settings—When using Dual Input 3D, this allows you the option to independently control primary and secondary channel settings, or to use the same setting for both links. By default, this control is unchecked, meaning any settings applied to the primary input also applies to the secondary input. In this case, the secondary channel settings cannot be set. When checked, the secondary channel settings become editable.

• Main Input—Select an input from the drop-down list.

• Secondary Input—Select an input to be used as secondary input in a Dual Input 3D setup.

• Display 3D Message Boxes—Enable/Disable message boxes that are triggered by 3D setup. No message box is shown in “Off” and “Valid” state.

Example of 3D Multiple Display Setup

1. Setup the warp and blends.

2. If necessary, shift or scale your image to fit the display.

3. Set all projectors to the largest minimum Frame Delay value that the worst case projector in the array can achieve.

4. To enable 3D mode on all projectors, select Main Menu > Image Settings > Advanced Image Settings > 3D Settings

5. Set all projectors 3D Sync Output to “Next Projector” with the exception of the last projector; select “To Emitter.”

6. Connect the PC emitter sync to either Input A (or B) on the 3D dongle.

7. Connect the output from the 3D dongle in the first projector to Input A (or B) on the next projector in the array.

8. Repeat the same procedure to all projectors except the last projector in the array. Route the Sync output from the 3D dongle to the emitter. For the last projector, route the sync input.

9. If your emitter has a reverse setting ensure it is set to the Off position.

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10. Set all projectors to 3D Sync Input A (or B) depending on your selection in Step 6 and 7.

11. Apply the 3D test pattern to all projectors.

12. Put on your 3D glasses.

13. When 3D is setup correctly, a small set of L’s are visible by closing your right eye and a small set of R's are visible when closing your left eye.

14. If necessary, adjust the dark interval settings until the test pattern sees the least amount of ghosting for each projector.

15. Adjust the 3D Sync Delay on the last projector in your array to match the optimal sampling point for the glasses being used. The default auto setup value is typically good for all glasses.

16. Turn off the 3D test pattern on each projector. Your 3D content should look optimal.

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Setup 1

Stereo

Sync

D/A

Setup 2

Setup 3

Source

Signal

Stereo

Sync

Source

Signal

Source

Signal

Emitter

Distribution Amp

Emitter

Setup 1

Stereo Sync is split using a distribution am plifier

Each projector sees the same Stereo Sync

Any projector can send Output Sync to the Emitter

Setup 2

Stereo Sync from the source is only sent to the

first projector in the system

Each projector provides the same sync signal to the next

The last projector in the system sends output to the Emitter

Setup 3

NOTE

Internal sync is generated based on the source timing

Each projector is setup as a stand alone unit so the Inverted/

Non-Inverted setting may vary between projectors

Any projector can output to the Emitter

Using Internal Sync is not recommended unless

absolutely necessary or a quick test setup is desired since

the system may require adjustment of left/right frames

every time the projector is powered on or switches inputs.

3D SETUP

3D Sync Output

Off

Invert 3D Input

Input A

3D Sync Input

3D Sync Output

Off

Invert 3D Input

Input A

3D Sync Input

3D Sync Output

Off

Invert 3D Input

Input A

3D Sync Input

3D Sync Output

To Emitter

Invert 3D Input

Input A

3D Sync Input

3D Sync Output

To Next Input

Invert 3D Input

Input A

3D Sync Input

3D Sync Output

To Emitter

Invert 3D Input

Input A

3D Sync Input

3D Sync Output

None

Invert 3D Input

None / Internal

3D Sync Input

3D Sync Output

To Emitter

Invert 3D Input

None / Internal

3D Sync Input

3D Sync Output

To Emitter

Invert 3D Input

Input A

3D Sync Input

3D Sync Output

To Next Input

Invert 3D Input

Input A

3D Sync Input

3D Sync Output

To Next Input

Invert 3D Input

Input A

3D Sync Input

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Performing diagnostics and calibration

In Configuration > Diagnostics & Calibration, configure the following:

• Test Pattern—Choose the desired internal test pattern to display, or select OFF to turn off a test pattern. Alternatively, use the Test key for cycling through test patterns.

• Grey Level—Set the level of grey for displaying in the full grey field test pattern.

• Freeze Image—Enter a check mark to freeze (stop) an image on a single frame. Use this diagnostic tool to examine in detail a still version of an incoming image that cannot be “frozen” at the source. For example, in moving images it is sometimes difficult to observe artifacts such as external de-interlacing/resizing and signal noise. Remove the check mark to return to normal.

• Color Enabled—Select which color(s) you want to see. Use this while working with color temperature, input levels or other special setup parameters. Colors can be enabled/disabled by entering the corresponding function code listed on the back of the standard remote keypad.

• Input Peak Detector—A fast method for defining individual input levels, and improving the accuracy of input levels set by the Auto Input Level function. Enabling the Peak Detector activates a special operating mode for detecting only pixels that are considered black or white— all other levels are displayed as a mid-level grey. When used with a 16-step grey scale pattern in which the two black and white bands are known to be at opposite edges of the image, you can watch these isolated areas while adjusting individual black levels and input drives until both bands are just visible. Images from this source display correct blacks and whites without crushing or washing out. If using Peak Detector with PIP, both images must have the same color space.

• Input Level Detector—Enable specific thresholds for blacks and whites. Input levels that fall below a specified level value (see below) are displayed as black, and all others are displayed as white. To us e:

a. Enable Input Level Detector and display a continuous grey scale. b. Set Level Detector Threshold to near black (such as 200). c. Adjust Offsets to minimize area of black stripe. d. Set Level Detector Threshold to near white (such as 800). e. Adjust Gains to minimize area of white stripe.

• Level Detector Threshold—Define the value to be used by the Input Level Detector in recognizing blacks and whites.

• Aspect Ratio Overlay—Check this box to display an overlay pattern over the image. The overlay shows the boxes corresponding to the size and shape of different aspect ratios.

• Test Pattern Color Swap—Swap the green and red color when drawing the Grid test pattern. This may be helpful when adjusting convergence on the projector.

• Calibrate LiteLOC—The LiteLOC calibration process must be run to calibrate the LiteLOC sensor on all model types. “Constant Intensity” mode cannot operate correctly if the calibration has not been performed. The calibration must be done in Dual Lamp mode, after the lamps

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have warmed up for at least five minutes. The shutter closes for the duration of the calibration, and automatically open again when the calibration is complete.

• Freeze Image During Auto Setup: Hides temporary image artifacts that may appear during the auto setup procedure. Available with 3D option only.S

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Adjusting the image

The most commonly used options for image adjustments are accessed through two menus: Size and Position (Menu 1) and Image Settings (Menu 2), both of which appear in the Main menu.

From either of these two menus, you can change settings affecting the image from the current channel by working with the appropriate slide bars, check boxes and pull-down lists. Exit returns to the previous menu (or to the presentation, if from the Main menu) and accept any changes you may have entered. Settings are saved with the current channel.

From your presentation, you can access any of the individual options in these menus by pressing Menu followed by the appropriate two-digit number representing their location in the menu system. For example, press Menu 24 to quickly access the “Color Space” option in the Image

Settings menu.

Notice. Failure to comply with the following may result in property damage.

• For certain options, preference may be to use a “direct key” from presentation level to go directly to a particular option without traveling through the menu system (available for certain display parameters only). For example, press Contrast to access the “contrast” slide bar immediately. Press Exit to return to your presentation.

• To hide “direct” slide bars, disable the Display Slide bars check box in the Menu Preferences menu.

• To hide the entire menu system from view, turn off the on-screen display by pressing OSD then the Down Arrow Key.

Automatically optimizing display parameters

For a good and efficient first step in perfecting the image, press the Auto setup button on the remote. This optimizes critical display parameters such as size, position, and pixel tracking based on the type of incoming source. An Auto Setup can save considerable setup time, and you can still adjust the image as described below.

The best auto setup is obtained under the following conditions:

• Input levels, it is best to have an image with saturated (very Bright) colors.

• Phase, high contrast edges are needed.

To determine active window size:

• Video images should have whites and blacks in the image

• Wide range video images should have content (including white) that extends to all edges of the image.

When AUTO is pressed, the auto setup process shall begin. In some cases for analog video a menu may appear that presents multiple choices that allows the user to select the format that best suits their source. This selection helps the auto setup get the correct settings for the tracking and phase

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controls for analog sources that contain the same number of active lines, but have a different

Default No Resizing Full Size Full Width Full Height Anamorphic

Resize Presets

= maximize for current source

= display in native resolution

= fill the screen (regardless of source)

= fill display width & keep aspect ratio

= fill display height & keep aspect ratio

= retain 16:9 aspect ratio = non-preset values for

Size, Vertical Stretch, H-Position, V-Position and/or Blanking

Custom (not selectable)

aspect ratios.

• All digital and decoder option cards do not present an additional auto setup menu since digital hardware provides enough information to perform the correct auto setup.

• Analog PC graphics sources (four/five-wire sync) present a list of formats based on the current active lines detected in the video.

• Analog Video Sources (three wire sync on green) always have the options Default and Advanced. Video sources use a look up table to determine their format based on video standards. The Advanced auto setup selection measures the start pixel and start line whereas Default uses the table values as is.

Selecting a test pattern

1. Select Configuration > Geometry and Color > Test Pattern.

2. Choose the desired internal test pattern, or select OFF to turn off a test pattern. Alternatively, use the Test key for cycling through test patterns.

Changing the size and position of the image

Increase or decrease the size of your image, change its proportion (aspect ratio), move the image to a specific area of the screen, and refine other related parameters. Use Size and Position controls to match the image precisely to the screen used at the site. Changes made in the Size and

Position menu are applied immediately and are saved when you exit the menu (press Exit or Menu).

Resize Presets

The same resize presets are available to all HD and SXGA+ screen models. However, the graphics used to describe each preset in this section are of the SXGA+ models only.

Resize Presets displays an image in its native resolution (no resizing) or resizes the image by maximizing either the height, width or both height and width, or resizes to the maximum size possible while keeping the original aspect ratio.

Size, Position and Blanking parameters automatically adjust accordingly or, if Blanking is set first, which defines an active input area; Resize Preset scaling occurs in this region of interest only. Resizing options are explained below.

By default, when displaying a new source your image uses as much of the display area as possible for the type of incoming source data, but with minimal or no changes to aspect ratio.

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The custom re-size descriptor automatically appears in the Size and Position menu when any of the values for Size, Vertical Stretch, H-Position, V-Position or Blanking do not correspond to those for a preset. This option is not offered in the Resize Presets list.

•Select default for most sources (factory default). The image is centered and displayed as large as possible depending on the type of source.

• No resizing displays the image in its native resolution, which may or may not match the projector’s resolution. For example, for a source with a native resolution of 800 x 600, “No Resizing” in an SXGA+ projector uses the centr al 800 x 600 pixels and have a black border. The black border areas are unused areas, see below.

• Full size uses all pixels for displaying the image, regardless of source or original aspect ratio. Incoming source material having a different aspect ratio than the projector is stretched for display.

• Full width fills the display from left-to-right without changing the original aspect ratio of the image. Depending on the source, data at the top and bottom may be discarded (cropped), or the display may have black borders at the top and bottom (called “letter boxed”).

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• Full height fills the display from top-to-bottom. Depending on the source, this may create borders.

• Anamorphic displays an anamorphic image in its native 16:9 aspect ratio. The image fills the screen from side-to-side and be centered between black bars at top and bottom.

Size

Controls both the image width and height in tandem, maintaining the current aspect ratio of the displayed signal data.

Vertical Stretch

Adjusts the height of the image while keeping the width constant. Use “Vertical Stretch” to change the aspect ratio of the display.

Pixel Track

Steady flickering or several soft vertical stripes or bands across the entire image indicates poor pixel tracking. Proper pixel tracking ensures that the image quality is consistent across the screen, the aspect ratio is maintained, and that the pixel phase can be optimized (described below). T r acking determines the frequency of the pixel-sampling clock, indicated by the number of incoming pixels per line, so that all pixels generated by a particular source are sampled. By default, the projector samples at the correct frequency for most sources.

For best results, use a test pattern such as a smooth grey consisting of a clear pattern of black and white pixels, or a similar “half on, half off” graphic image, such as the Windows 2000 shutdown screen. Adjust the slide bar until the vertical stripes broaden to the point where one large stripe fills the image. If the image still exhibits some shimmer or noise, adjust the Pixel Phase.

Pixel Phase

Adjust pixel phase when the image (usually from an RGB source) still shows shimmer or “noise” after pixel tracking is optimized. Pixel phase adjusts the phase of the pixel-sampling clock relative to the incoming signal.

Adjust the slide bar until the image stabilizes and each pixel is clearly defined. You may notice that you can stabilize the image at more than one point. Adjust “Pixel Phase” after “Pixel Track”.

If some shimmer from a video or HDTV source persists, use the “Filter” control to remove highfrequency noise from the signal.

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H-Position

Moves the image right or left within the area of av ailable pixels. The value shown represents where the approximate center of the image lies in relation to the total number of pixels available horizontally. This varies widely according to the signal; watch the image while adjusting.

V-Position

Moves the image up or down within the area of available pixels. The value shown represents the approximate center of the image in relation to the total number of pixels available vertically. This varies widely according to the signal; watch the image while adjusting.

Keep Aspect On Auto Setup

Ensures that auto setup for any source maintains the input aspect ratio when the default size is calculated. If disabled and the source is not a special case video source where a default stretch is defined, the source is scaled to fit the platform.

Configuring how an image is cropped

Blanking defines the size of the Active Input Window, or area of interest, and crop the image so that unwanted edges are removed from the display (changed to black). The range of adjustment depends on the source resolution and other factors.

1. In the Size and Position menu, select Blanking. The Active Input Window value indicates the current size of your displayed data or “region of

interest” as defined by the blanking controls. By default, the projector automatically determines what portion of its full resolution to use, and pixels in the surrounding borders are turned off.

Blanking a PIP image resembles zoom. For example, left Blanking zooms the right side of the PIP image; Right Blanking zooms the left side. There are no black bars.

2. To specify a specific active input window size by adjust one or more Blank settings.

For example, if you have blanked (cropped) 100 pixels from both the left and right edges of an incoming source of 1400 x 1050, the remaining active input window is reduced to 1200 x 1050.

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Top Blank Bottom Blank Left Blank Right Blank

0 0 0 0

PIP Blanking

Active Input Window 720x483

Top Blank Bottom Blank Left Blank Right Blank

0 0 30 0

PIP Blanking

Active Input Window 720x483

Adjusting an image for keystone correction

Keystone is typically caused by tilting the projector in relation to the screen so the lens surface and screen are no longer parallel to each other. Vertical keystone is used to correct a keystoned image shape in which the top and bottom borders of the image are unequal in length, and both sides of the image are inclined toward the top or bottom edge.

Horizontal keystone is used to correct a keystoned image shape in which the left and right borders of the image are unequal in length, and the top and bottom are slanted to one of the sides.

All settings to adjust keystone are in the Geometry Correction submenu. Brightness Uniformity, Edge Blending and Black Level Blending should be disabled before performing Keystone adjustments.

1. Enable keystone adjustments by selecting Keystone from the Geometry Correction drop down list. This enables the controls for performing 1D or 2D keystone adjustments.

2. Select a test pattern. It is recommended to use the Grid test pattern.

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3. Perform coarse keystone adjustment by using the Horizontal or Vertical Adjust setting. Use the left and right arrow keys to make the adjustment.

The corner cursors are a guide as to how the image needs to be adjusted. The outside edge of a cursor is the outside edge of the image. It may not be possible to exactly match the screen dimensions with the horizontal and vertical keystone controls, but these settings can be refined when the 2D keystone settings are adjusted.

4. When adjustment of the corners is complete, click OK. A message is displayed indicating that the projector is “Processing request”. The settings are

applied to the displayed image, and take approximately 10 seconds. If vertical keystone adjustments have been made, starting to do any horizontal keystone adjustments erase the vertical settings, and vice versa.

5. After the Horizontal or Vertical adjustments have been made, selecting 2D Keystone adjustments retains these settings. Fine adjustment can now be made by moving any single corner separately.

6. Use the arrow keys to move to the required corner. The current corner is displayed in red.

7. Press Enter to select the corner. The current corner is displayed in green.

8. Use the arrow keys to move the selected corner to match the screen.

9. To save that position for the corner press Enter again.

10. Repeat Steps 6 to 9 to adjust all four corners until they match the screen.

11. To apply the new corner positions to the image select OK. A message is displayed for approximately 10 seconds indicating that the projector is “Processing request”.

Under certain combinations of extreme keystone co-ordinates and specific signal frequency, a keystoned image may result that is outside the bandwidth limitations of the projector. When attempting to apply the keystone settings, a message appears on the OSD, indicating that the bandwidth has been exceeded and the keystone cannot be applied. The cursor co-ordinates for keystone adjustment remains at the failed keystone position. This allows the user to make minor changes and attempt to reapply the corner settings. Either the co-ordinates must be adjusted, or the free run frequency must be changed to fall within the allowed bandwidth.

The Func+Help key combination immediately disables the Keystone, Brightness Uniformity, Edge Blending and Black Level Blending features. This is helpful when, in some extreme keystone configurations, some image corruption may appear and/or the menus may not be readable. Although Func+Help disables these features, it does not overwrite their settings. If keystone is simply enabled again, the same image corruption may occur. After pressing Func+Help, it is recommend to immediately “Reset Keystone Settings”, which sets all keystone co- ordinates to zero.

Adjusting the main image

Use the Image Settings menu to alter your main image without affecting its size or position. Changes made are applied immediately and are saved when you exit the menu (press Exit or Menu). Options not available for the projector model or source are disabled and appear dim (grey).

• Contrast—Contrast increases or decreases the perceived difference between light and dark areas of your image (0-100). For best results, keep close to 50. Start with a lower value and

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increase so that whites remain bright but are not distorted or tinted, and that light areas do not become white. If the environment lighting changes, an adjustment of Gamma is recommended.

• Brightness—Increases or decreases the amount of black in the image (0-100). For best results, keep close to 50. Start with a high value and decrease so that dark areas do not become black. Conversely, high brightness changes black to dark grey, causing washed-out images.

• Yellow Notch Filter—Yellow Notch Filer (YNF) is a channel based control with an additional global control, which honors the last request. After enabling YNF, switching to a channel that does not use YNF and the YNF filter is removed or disabled. Changes to the global control affect the YNF filter.

• Color Space—Determines how the color components of an analog input signal are decoded for accurate color in the display . Useful only for analog signals and certain digital sources. Although color space for these analog signals is automatically determined by the projector. You ma y wish to override this and manually set a color space. For some signals, the color space function is entirely automatic and the list is disabled.

Configure the video sources

The Video Options submenu is used with video sources only.

• Enable Decoder (AGC)—AGC affects decoded video images only. Enter a check mark (default) in most instances. Activate the decoder’s AGC circuit to ensure properly bright images. Delete the check mark if a decoded video image exhibits strange color artifacts such as stripes in highly saturated colors, indicating an incompatibility between this source and the AGC.

• Video Standard—For most available video standards, the projector automatically detects the incoming horizontal and vertical frequencies and sets the projector’s processing of this signal to the corresponding standard. The current video standard name appears in the Video Options submenu, and includes an “A” if it is auto-detected. Press Enter to view or select a different video standard from those available to the projector; any that are disabled have frequency characteristics that differ from those of the incoming signal. Selecting a specific standard forces the projector to process the signal according to this standard.

Best results are obtained with defined channels. Otherwise, switching from one video source to another can sometimes cause slight disturbances in the display, indicating that the Auto function is struggling. Recover by briefly selecting a different video standard, then going back.

Standard Where used (subject to change)

PAL Most of Europe, China, Australia, some of S. America, some of Africa NTSC N. America and Japan SECAM France, Eastern Europe, most of Africa NTSC 4.43 A tape-only standard for partially-translated hybrid signals PAL-M Brazil PAL-NC Argentina, Chile, other Latin American countries

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Standard Where used (subject to change)

PAL 60 Note: Generally, use “Auto” for all instances except a poor quality input signal or a black-and-white video signal.

In order to detect and display such signals, select the relevant standard from the list.

• Input Video Black—Compensates for incoming elevated black levels present in certain video signals, and ensures that blacks in the display are neither crushed (i.e., where dark greys appear black) nor excessively elevated (i.e., where blacks appear dark grey). By default, the projector automatically determines the best setting according to the type of incoming video signal:

• 0 IRE—Used for DVD output with “enhanced black”, SECAM, most PAL standards, and Japanese NTSC.

• 7.5 IRE—Used for most NTSC video signals.

For some types of video, you can o verride the se tting. The control is disabled for other types of video (and all graphics sources). Generally, if black appears crushed when brightness is 50, choose 0 IRE. If black appears excessively elevated, use 7.5 IRE.

• Color—Adjusts the color saturation level. Lower settings produce less saturated colors, for example a setting of 0 produces a black and white image. If the color level is too high, colors is overpowering and unrealistic.

• Tint—Adjusts the red/green color hue for true color reproduction of video and HDTV signals. For best results, adjust tint while displaying an external test pattern. It is recommended that tint remain at its default setting.

• Filter—The proper filter setting is automatically set for virtually all signals, and r arely needs to be changed. Override the only if standard pixel tracking and phase adjustments do not adequately clear up a noisy video signal, or if a graphics signal appears overly “soft”. Both instances indicate that “Filter” may be set to the wrong option.

• Sampling Mode—Sets the color sampling mode for a digital signal to either YCbCr 4:4:4, RGB or YCbCr 4:2:2. The proper sampling mode is determined automatically by the projector; you can override this setting.

• Film Mode Detect—Enables or disables film motion detection. This is only available for interlaced or segmented frame sources.

• Chroma/luma Delay—Affects any incoming composite or S-video signal, delaying the luma signal (intensity) in relation to the chroma (color). In the image, increasing the luma delay moves luma (seen as a shadow where colors overlap) to the right slightly , with colors remaining in place. Decreasing this delay moves the shadow slightly to the left. If necessary for your current source, adjust so that no shadows occur with adjacent colors.

• Split Screen—Allows a snapshot of the main image to be presented on the right side or lower part of the screen for evaluation of advanced image processing features. All resizing controls are honored on both images. However, image processing controls such as, Detail, Sharpness, Noise Reduction and Adaptive Contrast only happen on the left side or top image. Changing inputs, channels, or test patterns disables this control.

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Split screen cannot be used in conjunction with either PIP or Tiling. Both PIP and Tiling must be disabled prior to enabling Split Screen control.

• RGB Quantization Range—Defines the RGB quantization levels for digital DVI and HDMI inputs using the RGB colors pace. Typically, graphics sources use the full range of levels for the given bit depth (i.e. 8-bit, 10-bit, 12-bit) and consumer electronics (CE) products typically use a limited range of data within the given bit depth. This control must be set to limited to correct the levels for those CE products that use the limited space. This adjusts what is considered black and white levels in the image; for example for an 8 bit space, full range RGB uses levels 0(black) to 255(white).

Manually optimize input levels

Because the projector automatically optimizes input levels for all but the most unusual of sources, it is recommended that only experienced users use the Input Levels submenu. Before beginning, check that overall contrast and brightness settings are near 50 and that color temperature is properly set up on an internal gray scale test pattern.

Good RGB or input levels—that is, the drives and black levels for each of the three colors, red, green and blue—ensure that images from analog sources other than decoded video have maximum contrast without crushing black or white. By default (and in an Auto Setup), the projector automatically determines the best input levels by monitoring image content and adjusting the controls appropriately. Further adjustment is typically not required to obtain proper blacks or whites. This automatic adjustment requires at least 6-12 consecutive white pixels in the image. Without these pixels, input levels may produce skewed colors, particularly in non-video images.

For a source exhibiting overly high black levels (typically caused by a noisy source causing black level spikes) use the Input Levels menu (shown above). These adjustments, serve as a calibration process compensating for differences in sources and cabling, to perfect the source image input levels and eliminate the “overshoot” and “undershoot”.

Input Levels are of limited use with digital signals, but do offer some ability to tweak poorly mastered source materials. Input levels apply for the current source only, but for any color temperature used. Assuming that color temperature has been set up based on the internal test patterns, you can then set up input levels for a given source so that it matches the color temperature of the internal test patterns.

• Auto Input Level—Compensates for incoming out-of-range drives (white) and black levels (black) that would cause crushing of light and dark colors in the image. After entering a check mark, wait for the six slide bar values to stabilize, then delete the check mark and exit. The Auto Input Level is automatically turned off upon exit from the Input Levels Menu. Use only if you are an experienced user and you have an unusual source that you feel needs further color temperature and/or input level adjustment.

• Black Levels And Drives—Do not use Input Levels to adjust color temperature. This distorts contrast and brightness functions as well as color temperature.

a. Ensure overall “Contrast” and “Brightness” settings are both set to near 50. 

Contrast = 50 (approx.) Bright = 50 (approx.) This is not required for “Auto” adjustment.

b. Check the color temperature setup using an internal grey scale test pattern, making sure

to obtain a neutral grey scale. This is not required for “Auto” adjustment.

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c. Confirm that you are using input on an Analog BNC card or a Dual Link DVI card. Input

Levels are not applicable for sources going through the decoder. A grey scale is recommended.

d. If black levels are too high (and/or whites are too low, which is rare), you likely have a

noisy source that is producing skewed input levels. Enable “Auto” in the Input Levels menu. Wait for all six values to stabilize. Alternatively, do not use “Auto”; reduce black levels manually instead. Judge by eye and change one or more of the six levels as necessary to obtain proper blacks and whites. You may want to see only a certain color while adjusting; use the Auto Color Enable option (described below).

e. Delete the “Auto” check mark and leave the Input Levels menu.

• Auto Color Enable—When a check mark is present, selecting a specific black level or drive to adjust automatically enables the corresponding color in the display. Delete the check mark to see all colors, or to enable a different specific color through the Color Enable control.

• Clamp Location—Brightens the image produced from certain high-resolution high-frequency graphic sources. The projector automatically selects the best clamp location for most sources. Use the normal Back Porch location if the image is either sufficiently bright or overly bright. Select Sync Tip if the image appears unusually dim, if there are horizontal streaks across the image, or if there is significant color drift. This moves the clamping pulse from the normal back porch location (which is likely too short) to the tip of the horizontal sync pulse. Tri Level is typically needed for an HDTV source.

• Input Peak Detector—A tool to assist with defining individual input levels, enabling you to accurately set the Input Levels for any particular source with the appropriate image. Enabling the Peak Detector activates a special operating mode for detecting only pixels that are considered black or white—all other levels are displayed as a mid-level grey. When used with a smooth grey scale pattern in which black and white are known to be at opposite edges of the image, you can watch these isolated areas while adjusting individual black levels and input drives until both black and white edges are just visible and distinguished from neighboring pixels. Images from this source display correct blacks and whites without crushing.

a. Display a 16 level grey scale test pattern from the desired external source, and enter a

check mark in the Input Peak Detector check box. The Input Peak Detector initially renders the grey scale as a uniform grey field before adjustment or extreme crushing.

b. Display one primary color. Select Auto Color Enable to ensure the correct color is

displayed for each setting.

c. For the current color, adjust its corresponding Black level slide bar just until a single

band of black appears at one edge of the screen. This band represents the first band of the grey scale pattern, which should be 100% black.

d. With the same color still active, adjust its corresponding Input Drive slide bar just until

a single band of color appears at the opposite edge of the screen. This band represents the last band of the grey scale pattern, which should be 100% white (or the current color, if a certain color is enabled).

e. Check the black band and adjust the black level slide bar if necessary. Adjusting the black

levels affects the gain. Only adjust when necessary.

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f. Repeat Steps c-d with the two remaining primary colors. When each primary color shows

one optimized black band and white (or colored) band, the input levels for this source are correctly set. Upon exiting the Input Levels menu, the Peak Detector check box clears.

• Color Enable—Select which color or colors you want to see in the display, useful while working with color temperature white levels or input levels.

Correcting gamma settings

The system offers two types of gamma correction in Image Settings > Advanced Image Settings > Gamma Settings. Gamma correction can be applied to a specific source to correct for

luma encoding. This is a channel setting and reapplied every time the same signal is detected. This is the 'Gamma' control. On the other hand the system also provides a global Gamma Correction control. The global control offers an offset applied to all channels. This offset is used to compensate for changes in ambient conditions such as ambient light in the room and projected material.

• Gamma—Sets the base gamma table for a given source. Select from one of the standard tables, a custom gamma function, or select an arbitrary gamma table that has been downloaded to the projector. A separate PC utility is needed to do this.

The 2.22 curve is a power curve typically used to encode graphics and video sources. The 'standard' curve (auto setup default) is a modified 2.22 curve with a small linear section in the black that enhances the detail in darker areas of the projected content.

Alternatively, if neither default is ideal, apply a simple gamma curve by defining a custom power function and slope. For more complex non-standard gamma curves, a user-defined curve created externally and downloaded to the projector can be used (requires separate PC-based Arbitrary Gamma software application to create the table and the W eb UI to download it). If any of these special user curves have been installed, their names appear in the Gamma Table pulldown list.

Select Gamma Function from the list to enable the Gamma Function and Gamma Slope controls.

• Gamma Correction—Applies a global offset to all gamma settings for each channel. It affects the shape of the curve by performing a linear transform toward a gamma curve of 1.0 while the control is increasing and likewise a linear transform toward a gamma of 3.0 as the control is decreasing. The control should only be adjusted to compensate for ambient conditions. To correct a particular source only, use the Gamma control.

• Gamma Function—Defines the base gamma power curve used when the base gamma table value is set to Gamma Function. This value, combined with gamma slope setting determines the base gamma table used as the custom base table. The curve is generally a power curve with a small linear segment at the bottom defined by the slope.

• Gamma Slope—Defines a slope to be used for the base custom gamma table for a small section at the bottom of the curve. This slope brings in or out the low level blacks in the image.

Adjusting the sharpness of the image

Setting detail above the halfway-point can introduce noise in the image. Lower settings can improve a noisy signal. This command does not take effect unless the minimum change required in the

Detail Threshold control is reached.

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• Texture Enhancement—Applies texture detail enhancement based on adaptive horizontal, vertical, and diagonal large edge and small edge enhancement processes.

• Detail Threshold—Selects a filter sensitivity to noise. A higher value may improve noisy sources especially for higher settings of detail.

• Detail Overshoot—Minimizes ringing on the enhanced edges detail and texture effects.

• Split Screen—Allows a snap shot of the main image to be presented on the right side of the screen to allow evaluation of advanced image processing features. All resizing controls are honoured on both images; however, image processing controls only happen on the left side image. Changing inputs, channels or test patterns disable this control. PIP and Tiling operation must be disabled prior to enabling this control.

Selecting the noise reduction Filter

Selects a filter sensitivity to noise. A higher value may improve noisy sources, but it soften the image.

• Block Artifact Reduction—Locates and reduces block edges produced by discrete cosine transform (DCT) based compression processing.

• Mosquito Noise Reduction—Reduces mosquito artifacts around sharp edges in DCT based compression by dynamically adapting to image content.

• Split Screen—Allows a snapshot of the main image to be presented on the right side or lower part of the screen for evaluation of advanced image processing features. All resizing controls and input card features; such as color/tint etc, are honoured on both images. However; image processing controls such as the detail-texture, noise reduction and adaptive contrast features, only occur to the left side image. Changing inputs, channels, or test patterns disables this control.

Split screen cannot be used in conjunction with either PIP or Tiling. Both PIP and Tiling must be disabled prior to enabling Split Screen control.

• Full Screen Eye-motion Filter—Select this control to apply the Eye-Motion Filter to the entire screen, rather than applying just to the edge blending.

• Eye-motion Filter—Adjust the filter to reduce saccadic eye-motion artifacts, sometimes noticeable in edge blending regions. Too much filtering may result in loss of detail. For best results, adjust this setting while positioned at the nominal screen viewing distance.

Adjusting the color for the output

Select the output color adjustment most suited to this input signal. The options include the following:

• Max Drives—All color adjustments are turned off allowing the projector to run at maximum brightness.

• Color Temperature—Sets a color temperature between 3200 and 9300 based on the setting of the color temperature slide bar.

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Expressed in degrees Kelvin [3200K, 5400K, etc.]. Lower numbers appear reddish white and higher numbers appear bluish.

Standard settings are:

• 9300K, is close to the white of many computer monitors

• 6500K, is the standard for color video, in both standard and high definition forms

• 5400K, is a standard for graphics and black and white video

• 3200K, is useful if the projected image is to be filmed or shot as part of a studio set illuminated with incandescent lights

For all color temperatures the color primaries; red, green, and blue are unchanged and reflect the native colors of the projector.

• SD Video and HD Video—Sets the output color to a specific standard value. Adjusts the colors; red, green, blue, and white.

• User#—Select 1 of 4 user defined sets of color adjustments. The sets are defined in the Configuration menu.

Selecting a color space

1. The current color space appears in the Image Settings menu.

2. Press Enter to select a different color space:

•Select RGB unless you are using component video.

•Select YPbPr (Video) with a standard definition televised signal (SDTV).

•Select YPbPr (HDTV) with a high definition televised signal (HDTV).

3. When certain RGB signals are first connected, the projector may not recognize them as RGB and incorrectly decodes their color information as YPbPr (video). These signals can include:

• RGB signals in NTSC, PAL, SECAM frequency ranges.

• Scan-doubled sync-on-green.

• Scan-quadrupled sync-on-green.

For these signals, change the color Space to RGB, and then define a new channel for future use.

Changing color performance

Changing a color performance or gamut is sometimes known as Comprehensive Color Adjustment™. Enter the known x/y coordinates from the chromaticity graph.

The factory-defined primary color levels, which ensure a specific color performance from projectorto-projector, can be calibrated in the Service menu only. The factory settings can be recovered by selecting Service > Color Primary Settings > Reset to Factory Defaults?

The projector can utilize any of the three pre-defined color performance settings identified at right (default = Max Drives), or colors can be driven on the basis of color temperature. For most applications, one of these gamuts produce accurate and realistic colors from a variety of sources. They can be applied at any time in the Advanced Image Settings > Select Color Adjustment, and are not adjustable.

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Defining user color gamuts

You may find the pre-defined color adjustment options do not suit your needs. For example, you may require a unique color gamut (range) for a single projector or application, or you may need to precisely match colors across multiple adjacent displays.

1. In the Color Adjustments by X,Y or Color Saturation submenu Create, alter, or copy a color gamut (i.e., “color adjustment”).

You can create up to four custom color gamuts (User 1, 2, 3, or 4) with these adjustments. The two menus differ only in their user interface, so use whichever menu best suits your needs and application. A color meter can help with adjustments.

2. Define the precise hue of each primary color component (red, green, blue, and white) used to generate the millions of colors produced in displays.

3. Change either the x or y coordinates for each color to change the hue of the color, and relocate the triangle for possible colors. Keep new x, y coordinates within the original color gamut triangle shown here.

For example, changing the x/y coordinates for red may move the color closer to orange or closer to violet, which in turn affects all displayed colors having a red component.

4. Adjust the slide bars or enter new specific coordinates as desired to define or change the color gamuts.

5. Apply at any time in the Advanced Image Settings menu.

Adjusting the color saturation

Adjust color slide bars and judge image color by eye or meter. A user-defined color “adjustment” can be applied by selecting it in Advanced Image Settings > Color Adjustment.

Use this submenu if you do not have specific color coordinates in mind and judge color perform ance by eye or meter. Like the Color Adjustment by X,Y submenu, each color control actually defines new x/y coordinates for that color and changes its hue.

Adjust the hue of each primary color (red, green, blue, and white) by using more or less of it in relation to the other colors.

A Color Saturation adjustment defines the corresponding x/y coordinates shown in the Color Adjustment by X,Y submenu. These x/y coordinates remain stable for this User gamut until they are changed again through either menu. Values displayed in the Color Saturation menu fluctuate

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Christie HD14K-M, WU14K-M User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Introduction

Purchase record and service contacts

Projector models

How the projector works

User interface overview

List of components

Key features

Safety warnings and guidelines

General Precautions

AC/power precautions

Lamp precautions

Installation and Setup

About the projector

Projection lenses, lens mount and other features

Installation considerations

Front screen / floor mount installations

Front screen / inverted mount (ceiling) installation

Rear screen / floor mount installation

Rear screen / inverted mount (ceiling) installation

Rear Screen / Floor Mount with Mirror

Front screen installations

Rear screen installations

Screen size

Ambient lighting

Ventilation

Other considerations

Installing a projection lens

Positioning the projector

Throw distance

Vertical and horizontal position

Mounting the projector

Ceiling mount

Special mounting

Stacking projectors in a frame

Stacking multiple projectors

Aligning stacked projectors

Adjusting projector height and tilt

Adjusting height

Adjusting tilt

Connecting a source

Connecting the line cord

Powering on the projector

Selecting a source

Aligning the image

Folded optics

Aligning boresight

Powering down the projector

Remote keypad/built-in keypad

Web user interface (UI)

Connect communications

Configuring Ethernet settings

Serial port connections

Connecting through RS232

Connecting through RS422

Connecting multiple projectors

RS232 Network:

Mixed Network:

Ethernet Network Setup:

Setting the Projector IP Address, Subnet Mask and Gateway

Changing the Port Number:

Separate networks

Communicating to all ports

Connecting to the GPIO connector

Configuring the GPIO

Connecting sources through option cards

LEDs

Twin HDMI input card

Analog BNC input card

Dual 3G/HD/SD-SDI input card

Dual link DVI input card

Video decoder input card

DMXC interface card

Twin DisplayPort Input card

Configuring the output options cards

Connecting tiled projectors

Wiring requirements