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Roadster, Matrix WU,

Mirage S+/HD/WU

USER MANUAL

020-100002-05

Page 2

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Roadster, Matrix WU,

Mirage S+/HD/WU

USER MANUAL

020-100002-05

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NOTICES

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

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.

This Class A digital apparatus complies with Canadian ICES-003. Cet appareil numérique de la classe A est conforme à la norme NMB-003 du Canada.

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

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.

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 environment we live in!

Canadian manufacturing facility is ISO 9001 and 14001 certified.

GENERAL WARRANTY STATEMENTS

For complete information about Christie’s limited warranty, please contact your Christie dealer. In addition to the other limitations that may be specified in Christie’s limited warranty, the warranty does not cover:

a. Damage occurring during shipment, in either direction. b. Projector lamps (See Christie’s separate lamp program policy). c. Damage caused by use of a projector lamp beyond the recommended lamp life, or use of a lamp supplied by a supplier other than Christie. d. Problems caused by combination of the product with non-Christie equipment, such as distribution systems, cameras, video tape recorders,

etc., or use of the product with any non-Christie interface device. e. Damage caused by misuse, improper power source, accident, fire, flood, lightening, earthquake or other natural disaster. f. Damage caused by improper installation/alignment, or by product modification, if by other than a Christie authorized repair service

provider. g. For LCD projectors, the warranty period specified applies only where the LCD projector is in “normal use.” “Normal use” means the LCD

projector is not used more than 8 hours a day, 5 days a week. For any LCD projector where “normal use” is exceeded, warranty coverage

under this warranty terminates after 6000 hours of operation. h. Failure due to normal wear and tear.

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.

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Table of Contents

Installation &

Basic

Introduction

Setup

Operation

Maintenance

Troubleshooting

Specifications

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

1.2 Components ...................................................................................................... 1-4

1.3 Purchase Record and Warranty Registration .................................................... 1-4

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

2.2 Installation Considerations................................................................................ 2-4

2.3 Projector Position and Mounting .................................................................... 2-15

2.4 Source Connections ........................................................................................ 2-18

2.5 Connecting Communications .......................................................................... 2-22

2.6 Connecting Multiple Projectors ...................................................................... 2-24

2.7 Power Connection ........................................................................................... 2-28

2.8 Operating Orientation ..................................................................................... 2-29

2.9 Leveling .......................................................................................................... 2-29

2.10 Zoom, Focus, and Lens Offset ........................................................................ 2-29

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

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

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

3.3 Using the Keypads ............................................................................................ 3-4

3.4 Navigating the Menus ..................................................................................... 3-14

3.5 Using Inputs and Channels ............................................................................. 3-17

3.6 Adjusting the Image ........................................................................................ 3-23

3.7 Adjusting System Parameters and Advanced Controls ................................... 3-43

3.8 Working with PIP or Seamless Switching ...................................................... 3-58

3.9 Working with the Lamp .................................................................................. 3-61

3.10 Status Menu .................................................................................................... 3-65

3.11 Using Multiple Projectors ............................................................................... 3-65

3.12 Remote Control of the Projector ..................................................................... 3-77

3.13 Error Conditions ............................................................................................. 3-78

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

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

4.3 Replacing Keypad Batteries .............................................................................. 4-5

4.4 Lamp and Filter Replacement ........................................................................... 4-5

4.5 Replacing the Projection Lens ........................................................................ 4-11

5.1 Displays ............................................................................................................ 5-1

5.2 Lamp ................................................................................................................. 5-3

5.3 Ethernet ............................................................................................................. 5-4

5.4 3D Sync Input ................................................................................................... 5-4

6.1 Specifications .................................................................................................... 6-1

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Table of Contents

Appendices

A Keypad Reference ............................................................................................ A-1

B Serial Communication Cables .......................................................................... B-1

C System Integration ........................................................................................... C-1

D Optional Input Modules ................................................................................... D-1

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

E Menu Tree ........................................................................................................ E-1

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Section 1

Introduction

1.1 The Projectors

The Roadster, Matrix WU, and Mirage S+/HD/WU Series User Manual supports

software v1.7e or higher. The Roadster and Mirage S+/HD/WU Series of projectors are innovative, high brightness DMD™ projectors that use next generation Digital Light Processing™ (DLP™) technology from Texas Instruments. All models feature compact size, rugged construction, and integral rigging hardware, with the Roadster Series ideal for difficult rental/staging installations of multiple projectors, The Matrix model, purpose built for projector arrays with features such as included geometry and edge-blending hardware as well as improved color matching and gamma controls, and the Mirage Series featuring amazing stereo 3D output. A quick-change lamp module, no-tool lens replacement, and intuitive user interface means the ultimate in versatility and ease-of-use. These projectors provide brilliant images with 1400 x 1050 (SXGA+) and 1920 x 1200 (WUXGA) or 1920 x 1080 (HD) clarity and perfect color saturation in a wide variety of applications.

The Roadster, Matrix, and Mirage Series each have features for your distinct needs. The stereoscopic Mirage projectors provide 3D solutions for power walls, simulation, and entertainment venues. Roadster models include an additional input module as well as integral hardware for stacking and flying up to three projectors. Matrix model, with its’ purpose built simulation features such as RGB color matching and gamma controls, can be used to simulate any application.

Roadster Series

This manual applies to the following projector models:

Roadster S+12K

Roadster S+16K

Roadster S+20K

Roadster HD12K

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Roadster HD18K

Matrix WU12

Mirage S+14K

Mirage HD12

Mirage WU12

Mirage HD18

Mirage WU18

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Introduction

Main Features 

General

 DLP™ three-chip electronics with true 1400 x 1050 (SXGA+) or 1920 x

1200 (WUXGA), and 1920 x 1080 (HD) native resolution

 Ten-bit digital video processing  Single-lens design with field-interchangeable, fast-change lens – no tools needed  Modular design for easy servicing  Intelligent Lens System (ILS



) to save and restore lens settings

 Built-in handles and multiple rigging points  lenses motorized

Lam

s / Light Output 

Brightness (ANSI lumens)

 Matrix WU12= 12000  Roadster S+12K/HD12K or Mirage HD12/WU12 = 12000  Roadster S+16K or Mirage S+ 14K = 16000  Roadster HD18K = 17500  Mirage HD18 = 18000  Mirage WU18= 18000  Roadster S+20K = 20000

Contrast Ratio (ANSI lumens)

 450:1 ANSI  1600-2000:1 Full Field

 LiteLOC™ for automatic constant-brightness control  Quick change bubble-style lamp module

uts 

There are two different types of Input face plates configurations (model dependant). Refer to Figure 1.1 & 1.2. These configurations may include the following inputs:

 One analog RGBHV/YPbPr input with five BNCs  One DVI-I input for either digital RGB/YCrCb or analog RGB/YPbPr

signals

 One analog composite-video input  One analog S-video input  Built-in multi-standard video decoder (NTSC, NTSC 4.43, PAL, PAL-M,

PAL-N, PAL-60 AND SECAM)

 One Dual SD/HD-SDI module (standard on Roadster models only)  Compatible with all currently used HDTV formats

For simplicity, this manual refers to the configuration in Figure 1.1 only.

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Introduction

Figure 1.1

How the Pro

ectors Work 

Figure 1.2

Special Display Functions

 Auto setup with seamless cut-and-fade source switching  Electronic brightness uniformity  Screen-to-screen matching and blending for smooth multiple-projector displays

Communications and Diagnostics

 Two standard keypads: built-in and remote (for IR or wired control)  Front and rear dual IR sensors  Ethernet, RS-232, RS-422, and GPIO control ports  Easy-view LED for error codes and LCD for status and error messages  Voltmeter for monitoring AC

The projectors accept data/graphics and video input signals for projection on to front or rear flat screens. High brightness light is generated by an internal Bubble lamp, and then modulated by three Digital Micromirror 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 the front lens, where all pixels are superimposed as a sharp full-color image.

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Introduction



Ensure the following standard components have been received:

1.2 Components

 Projector  Infrared (IR) remote keypad and conversion cable  Power cord (NOTE: non-detachable on Roadster S+ 20K/HD18K/Mirage

HD18/Mirage WU18)

 Using 3D in Mirage Manual  3D Stereo Sync Cable (NOTE: for Mirage Series only)

Differences Between Models

(NOTE: for Mirage Series only)

Model Name Lamp

Roadster S+12K Roadster HD12K Roadster S+16K Roadster HD18K Roadster S+20K Matrix WU12 Mirage HD12 Mirage WU12 Mirage S+14K Mirage HD18 Mirage WU18

1.3 Purchase Record and Warranty Registration

Type

2.0 kW

2.4 kW

3.0 kW

2.0 kW

2.4 kW

3.0 kW

Dual SD/HD-

SDI Module

    

Optional Not Available Optional Optional Optional Optional Optional

3D Adjustable

Not Available Not Available Not Available Not Available Not Available

         

Iris

Stacking

Mounts

4 Top

Eyebolts

               

Optional Optional Optional Optional Optional Optional Optional Optional Optional Optional Optional Optional

Integral Rigging

Hardware

          

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 to service technicians for all projectors.

If you encounter any problems with the projector and require assistance, contact your dealer or Christie Digital Systems. Fill out the information in the table below and keep with your records for future reference.

Purchase Record

Dealer: Dealer Phone Number: Projector Serial Number: Purchase Date: Installation Date, if applicable:

NOTE: The serial number can be found on the license label, which is located at the back of the projector.

You can also register your product on-line by visiting www.christiedigital.com  Service and Support  Product Registration. This will keep you in touch with all

the latest product information, such as updates, technical bulletins, downloads and Christie newsletters.

For complete details on the warranty of your Christie product, please contact your Christie dealer.

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Section 2

Installation & Setup

2.1 Quick Setup

STEP 1 

STEP 2 

The instructions provided here are for those that are familiar with the projector and wish to quickly set it up and use it temporarily. Refer to the remaining subsections of this manual for a more complete setup.

Install a Projection Lens

The projection lens is shipped separately from the projector and must be installed prior to setting up the projector. Install the projection lens as described in 4.5 Replacing the Projection Lens.

Remove the lens plug from the lens opening in the projector before installing

the lens.

Remove the lens when shipping the projector and reuse the lens plug to

prevent dust and debris from entering and settling on the projector’s optical components.

Position 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. In general, the further back the projector is positioned from the screen, the larger the image will be.

If required, you can level the projector by adjusting its three feet. With the projector positioned perpendicular to the screen the image will appear rectangular instead of keystoned.

For more detailed instructions on positioning the projector refer to Projector Position and Mounting later in this section.

STEP 3 

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Connect a Source

Located at the back of the projector is the input panel where all source connections are made. Each input is clearly labeled for easy identification.

Using the appropriate cable(s), connect your source. Connect RGB and YPbPr sources to connector at video to

NOTE: One of the available optional input modules can be installed at

INPUT 6 for additional connections.

Refer to 2.4 Connecting Sources for more details on connecting a specific source.

INPUT 1 located in the upper right corner of the input panel. Use the DVI-I

INPUT 2 to connect analog or digital display signals. Connect composite

INPUT 3 and S-video to INPUT 4.

INPUT 5 or

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Installation & Setup

STEP 4 

Connect the Line Cord

The North American-rated line cord is provided with each projector. Ensure

that you are using a line cord, socket and power plug that meets the appropriate local rating standards.

Connect the projector’s line cord to the AC receptacle (Roadster S+20K/HD18K/Mirage HD18 have non-detachable line cords) at the lower corner on the rear of the projector, and to proper AC—note the outlet must be near the equipment and easily accessible. Use only the line cord provided with the projector

or a power cord of appropriate ratings that comply with regional standards. (See below and refer to Section 6 – Specifications for complete details on all power requirements).

WARNING

Line cord replacement must be performed by qualified service

personnel in accordance with specific national electrical safety

regulations. For details, refer to the Service Manual and contact

your dealer.

 The Roadster S+12K/HD12K, Matrix WU12, and the Mirage HD12/WU12

require 200-240 VAC, 50-60 Hz, 12 amps @ 200 VAC.

 The Roadster S+16K and the Mirage S+14K require 200-240 VAC, 50-60 Hz,

16 amps @ 200 VAC.

 The Roadster S+20K/HD18K/Mirage HD18/WU18 require 200-240 VAC, 50-

60 Hz, 24 amps @ 200 VAC.

STEP 5 

WARNING

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

within the specified voltage and power range. Refer to Section 6.

Turn On the Projector and Lamp

1. On the projector, turn the power

breaker/switch on. The LCD Status Display Window displays the initializing window for 15 seconds, and then indicates

POWER OFF

(Figure 2.1).

2. Using the keypad, do one of the

following:

• Press and hold

briefly to

toggle the lamp on.

• Press and release immediately by

• Press

followed

to toggle from the

off state.

The LCD Status Display Window will display Powering Up and then, Power On (Figure 2.1) while the two-digit Status/Error Code Window will display ON.

Figure 2.1. Turning on the projector

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Installation & Setup

STEP 6 

Select a Source

Using either keypad, press

Input 5

, or

Input 6

to select and display

Input 1

Input 2

Input 3

Input 4

the image for the source you connected in Step 3. The display will resize as needed and produce largest possible image for the type of source present. NOTE: Refer to

Menu Tree, Appendix E, this allows you to quickly navigate to a specific menu, and associated options/secondary menus.

STEP 7 

STEP 8 

Optimize the Display

Press

on the built-in keypad (or

on the remote keypad) to initiate an

Aut o

Set up

automated process in which the projector optimizes critical display parameters such as size, position, pixel tracking, etc., for the current source. Auto Setup can save time in perfecting a display and you can modify the adjustments later as desired. Refer to Section

Lens Adjustments

ZOOM: With the input image displayed:



 If remote keypad: Press Zoom  If built-in keypad: Press Zoom

Figure

2.2

Hold the key down to see the effect – arrows in the display indicate the direction of the zoom (Figure 2.2).



FOCUS: With the input image displayed:

 If remote keypad: Press Focus  If built-in keypad: Press Focus

or .

Figure

2.3

Hold the key down to see the effect – arrows in the display indicate the direction of the focus (Figure 2.3).



LENS OFFSET: To move the image:



If remote keypad: Press either Lens H

(Figure 2.4).

 If built-in keypad: Press

Lens Sh if t

and use the arrow keys.

or Lens V

Step 9 

Image Adjustments

Press

(remote) to access display parameters described in Section 3.

Figure 2.4

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Installation & Setup

Although this projector delivers a high-brightness, high-quality output, the final

2.2 Installation Considerations

display quality could be compromised if the projector is not properly installed. This subsection discusses issues you should consider before proceeding with a final installation. Even if you do not intend to use the projectors in a fixed and permanent installation, the following information will help you to better understand what you can do to enhance display performance.

Lifting, Hoisting,  and Stacking

For any new installation, you will likely have to safely lift or hoist the projector into place. Keep in mind the following guidelines for safety.

Lifting

All models include handles for convenient hand transport only

, such as when a

projector is lifted from a shipping container to a table. Note the following:

 The handles are intended to support the weight of one  The handles are intended to support a projector for a brief  The handles are not

safety points, nor points from which to hoist or suspend the

projector only.

time only.

projector.

WARNINGS

The handles cannot support more than ONE projector.

Do not

use the handles as safety points, or as points from which

use handles for extended time periods.

to suspend or hoist the projector.

Hoisting

Four integral rigging points on the top of the projector (Figure 2.5) and eight on the bottom (Figure 2.6) enable either upright or inverted hoisting. For either orientation, hoist an individual projector, or up to three projectors in a stack.

Figure 2.5. Top Rigging Points

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Installation & Setup

RULES FOR ALL HOISTING:

 Use at least four rigging points for hoisting

up to three

projectors.

 Connect safety cables, and rigging

equipment to the designated locations on the projector.

 Use hoisting and rigging equipment

suitable to your application such as clamps, cables, eyebolts, or straps, and which accommodate the load rating. All integral, metric hardware on the projector accepts an M12 thread only.

 Never hoist a projector by its feet, handles,

or any other component (Figure 2.7).

WARNING

Use metric hardware only.

Never force incompatible threads.

IMPORTANT

Remove the lens before hoisting a projector.

WARNING

Never hoist a projector by its feet, handles, or any other component.

Figure 2.6. Bottom Rigging

Points

Use Handles for Hoisting or as Safety Points

Hoisting Procedure 

Figure 2.7. NEVER

This procedure applies to one or more projectors. To hoist a stack, first stack two or three projectors according to the stacking procedure included in this manual. Never stack or hoist more than three projectors together.

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Installation & Setup

STEP 1 

STEP 2 

STEP 3 

STEP 4 

Remove lens (recommended)

Remove the projection lens to prevent possible damage during hoisting. Refer to 4.4, Lamp and Filter Replacement.

Retract feet

If the projector is inverted, retract the adjustable feet to prevent the hoisting hardware from getting caught.

Attach safety cables

Attach a safety cable to each of the two eyebolts mounted on the bottom of the projector (Figure 2.8).

WARNING

Always use at least two safety cables for any

hoisting.

WARNING

Attach safety cables to the two eyebolts.

NOTE: When hoisting a non-inverted projector or stack, add two safety eyebolts in the front and rear threaded holes provided on the top of the projector. Ensure the eyebolts have an adequate rating for the load. Secure safety cabling to both eyebolts.

Figure 2.8. Attach Safety

Cables

NOTE: ADD EYEBOLTS (2)

IF NON-INVERTED

Attach rigging hardware

Secure your rigging components to the appropriate rigging points—eight sliding points are provided on the bottom. Tighten the nut at each required location (Figure 2.9) to prevent sliding.

NOTES: 1) Use at least four rigging points for all hoisting.

2) Use straps, clamps or cabling with load capacity adequate for the total projector weight. Refer to Section 6. 3) Do not join the rigging straps or cables to a common point—keep separated as shown.

Figure 2.9. Using the Rigging Hardware

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Installation & Setup

WARNINGS

• Maximum stack = three projectors.

• Stack first, then hoist.

Stackin

Procedure 

STEP 1 

NOTES: 1) Requires stacking hardware provided standard with Roadsters only. Available separately for Matrix and Mirage Series. 2) Installation requires at least two people.

Roadster, Matrix, and Mirage projectors can be stacked in either the upright or inverted position. Do not mix orientations—i.e., inverted with upright—in a stack. Secure a maximum of three projectors with the stacking mounts as described below.

WARNING

Do not stack more than three projectors.

WARNING

Christie stacking hardware required. The top

projector could slide off and cause injury or death.

WARNING

Never carry a stack.

Position the projectors

Place the projectors to be stacked on a secure table or cart.

STEP 2 

 Place one projector on its

side to access its adjustable feet and stacking legs (Figure

2.10).

 Orient the other projector

in either upright or inverted position as required (remember, each projector in a stack must be in the same orientation).

Figure 2.10. Adjust the Feet

Fully retract the four adjustable feet

Retract each foot as far as possible by turning it clockwise.

 If upright – retract the feet on top projector.  If inverted – retract the feet on bottom projector.

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Installation & Setup

STEP 3 

STEP 4 

Extend the three stacking legs

Extend the stacking legs by turning them so that at least one inch of thread is visible on each. This clearance accommodates the upor-down movement for aligning the images from the stacked projectors. Extend all three legs equally (Figure 2.11).

 If upright – extend legs on top projector

(shown).

 If inverted – extend legs on bottom

projector.

IMPORTANT: Extend the stacking legs

equally by at least 1 inch.

Loosen the rear stacking leg nuts

On the rear stacking legs, loosen the nuts so

Figure 2.11. Extend 3 Stacking

Legs

(UPRIGHT STACK SHOWN)

the legs have some lateral movement for easier alignment with the stacking mounts on the other projector.

Figure 2.12. Loosen 2 Nuts

 If upright – release on top projector.  If inverted – release on bottom projector.

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Installation & Setup

STEP 5 

STEP 6 

Release and remove three safety pins

The safety pins must be removed from the stacking mounts so that the stacking legs can fit into the mounts (Figure 2.13).

 If upright – remove the pins from the

mounts on the bottom projector.

 If inverted – remove the pins from the

mounts on the top projector.

Figure 2.13. Remove Safety Pins

Place top projector on bottom projector

WARNING

Minimum of two people required.

With one person on each side, lift the top projector on to bottom projector, aligning all three stacking points between projectors. The legs should fit inside the stacking mounts.

STEP 7 

Align the holes in the three stacking mounts and three stacking legs.

On each stacking mount, turn the adjusting wheel slightly until the hole in the top portion of the mount lines up with the hole in the stacking leg (Figure 2.14).

NOTE: You can increase leverage by using a screwdriver in the holes.

Figure 2.14. Align Holes in Mounts and Legs, and LOCK with Pin

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Installation & Setup

STEP 8 

STEP 9 

STEP 10 

Insert three safety pins and LOCK all.

WARNING

Critical Safety Procedure.

At each of the three stacking points, insert the safety pin fully through the holes in the stacking mounts and stacking legs (Figure 2.14). Ensure that each pin is fully inserted to engage the safety lock and secure the projectors together. Failure to engage the safety lock could cause the projectors to separate and result in injury or death.

WARNING

Failure to engage the safety lock could cause the projectors to

separate and result in injury or death.

Leg Nuts

Before hoisting, firmly tighten the nuts on the two rear stacking legs (Figure 2.14). If you are ready to align the projectors to one another, leave these nuts slightly loose until after the alignment.

Repeat STEPS 1–9 for a third projector.

WARNING

Never stack more than three projectors.

Ali

nment Procedure 

STEP 1 

STEP 2 

Stacked projectors must be correctly aligned to one another so that the resulting display is optimized and as sharp as possible. If you are also hoisting the stack, hoist the stack into place first and then align. Lock all stacking hardware into place to maintain your alignment.

IMPORTANT

Ensure the stacking legs are extended at least one inch and are

slightly loosened. Refer back to Figure 2.11.

Before You Begin

 Always align to the fixed projector. In floor-mount or table-mount (i.e., non-

hoisted) stacks, you will align to the bottom projector as shown in drawings below. In hoisted stacks, align to the top projector.

 Leg nuts must be loosened before alignment; otherwise the stacking mounts will

not turn and allow movement of the projector.

Position the first image (fixed projector)

Position the fixed projector’s image as desired and align the other image(s) to it as described below.

Display the grid test pattern

To distinguish each image, enable “Red” for one display and “Green” for the other. Refer to 3.3, Using the Keypads if you need help enabling colors.

STEP 3 

Adjust zoom and focus

Minimize each projector’s zoom and images are in focus.

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STEP 4 

STEP 5 

Try aligning the two grid patterns

Adjust zoom and offset on the top projector to precisely move its test pattern display on to the bottom test pattern. When properly aligned, all red/green grid lines in the combined image will turn yellow.

 If all lines are well aligned, skip to Step 7 to lock all stacking mounts.  If alignment needs improvement, proceed with the next step.

Align the centerlines of the grid

Turn the two rear stacking mount wheels to move the top projector as necessary for well-aligned centerlines. Use a screwdriver in the holes around the rim of each adjusting wheel for better leverage and control.

HOW TO MOVE THE IMAGE: Turned

independently, each stacking mount acts as a pivot point for the opposite edge of the display (Figure 2.15). For example, turn the right mount to tilt the left portion of the image up or down, and turn the left mount to tilt the right portion of the image up or down. Turn the mounts together to raise or lower the top image

Figure 2.15. Adjustment Directions

(Tilt)

like an offset adjustment, or turn the front stacker.

IF THE CENTER LINES FORM AN “X”: This indicates that the projectors (and images)

are slightly tilted in relation to one another. Turn one mount to raise one side, and/or turn the other mount to lower other side. See Figure 2.15.

IF THE CENTER LINES ARE PARALLEL BUT MISALIGNED:

 If centerlines are out by the same amount from top

and bottom – use offsets (on top projector) to bring the centerlines into alignment.

 If centerlines are parallel but

others are not, turn the front stacking mount wheel to bring the centerlines into alignment.

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STEP 6 

Align the edges of the grid

With centerlines aligned, adjust zoom (top projector) to align the edges of its image with the other image. Then adjust focus. When aligned, all lines from the combined red/green grids will be yellow.

STEP 7 

STEP 8 

Installation T

e 

Secure all stacking wheels and leg nuts

WARNING

Critical Safety Procedure.

 Turn all three stacking wheels until they are

firmly secure

against the rest of the stacking

mount (Figure 2.16).

 Secure both two rear leg nuts against the

bottom of the projector.

Repeat steps 1 to 7 for a third projector

Figure 2.16. Secure All

Hardware

Choose the installation type that suits your needs: front or rear screen, floor mount or inverted mount.

ADVANTAGES CONSIDERATIONS

 Easy to set up  Can be moved or changed quickly  Easy to access

Front Screen, Inverted Mount (ceiling) Installation

ADVANTAGES CONSIDERATIONS

 Does not take up audience space  Projector is unobtrusive  Projector cannot be accidentally moved

 Shares floor space with audience

 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

Rear Screen, Inverted Mount (ceiling) Installation

ADVANTAGES CONSIDERATIONS

 Projector is completely hidden  Usually good ambient light rejection

Rear Screen, Floor Mount with Mirror

ADVANTAGES CONSIDERATIONS

 Projector is completely hidden  Usually good ambient light rejection  Requires less space behind screen than other

rear screen installations

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 Requires separate room  Installation cost is usually higher

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Screen T

Installation & Setup

e 

Front Screen Installations

While there are two basic screen types, flat and curved, generally flat screens are recommended for this projector (Figure 2.17). Flat screens offer a gain of about one with a viewing angle just less than 180°. Incident light reflects equally in all directions so the audience can see the display from various angles. Because of the low gain, flat screens are most effective when ambient lighting is reduced, although this difference may be negligible given the high brightness output from this projector.

Screen Size 

Figure 2.17. Audience Coverage with Flat Screen

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

Rear Screen Installations

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

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

Choose a screen size, which is appropriate for your lens and application. Keep in mind that if the projector will be used to display text information, the image size must allow the audience to recognize all text clearly. The eye usually 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 will likely be illegible at a distance no matter how sharply and clearly it is displayed.

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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).

Ideally, to fill a screen with an image, the aspect ratio of the screen should be equal to the aspect ratio of the image. The aspect ratio of an image is expressed as the ratio of its width to its height such as a 4:3 aspect. Standard video from a VCR has a 4:3 aspect ratio. For example, to display a VCR output with a 4:3 aspect ratio onto a 10foot (3m) high screen, the width of the screen must be at least 13.3 feet (4m).

Screen As

ect Ratio 

Ambient Lighting 

Aspect ratio describes the proportion of the screen and is expressed as the ratio of width to height, such as “4:3” or “5:4”. Although image size and image aspect ratio can both be adjusted quickly through projector software, it is still a good idea to choose a screen aspect ratio that is most appropriate for your intended applications.

Ideally, to exactly fill a screen with an image, the aspect ratio of the screen should correspond to the aspect ratio of the image, which depends on the source in use. For example, standard video from a VCR has a 4:3 ratio (approximately), whereas a high-resolution graphics signal typically has a 5:4 aspect ratio. By default, images from your projector will be as large as possible and will maintain their aspect ratio.

Figure 2.18. Aspect

The SXGA+ (1400 x 1050) aspect ratio for the Roadster

Ratio

S+ and Mirage S+ models are 4:3 (Figure 2.18) and the HD (1920 x 1080) aspect ratio for the Roadster HD and Mirage HD models is 16:9.

The high brightness of this projector is well suited for locations where ambient lighting might be considered less than ideal for projection. A typical room with ceiling lights and windows rarely requires special attention. Contrast ratio in your images will be noticeably reduced only if light directly strikes the screen, such as when a shaft of light from a window or floodlight falls on the image. Images may then appear washed out and less vibrant.

In general, avoid or eliminate light sources directed at the screen.

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Other Considerations 

2.3 Projector Position and Mounting

Other considerations and tips that can help improve your installation:

 Keep the ambient temperature constant and below 35°C (95°F). Keep the

projector away from heating and/or air conditioning vents. Changes in temperature may cause drifts in the projector circuitry that may affect performance.

 Keep the projector away from devices that radiate electromagnetic energy such

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

 Choose the best screen size for the application. Since more magnification reduces

brightness, 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. A good rule of thumb is to be no closer than 1.5 times the width of the screen.

Throw distance

Throw distance is the distance measured from your projector’s front feet to the screen. This is an important calculation in any projector installation as it determines whether or not you have enough room to install your projector with a desired screen size and if your image will be of the right size for your screen.

You can quickly estimate the throw distance by taking the horizontal width of the screen and multiplying it by the lens throw ratio. The result of this calculation tells you roughly how far back the projector should be positioned from the screen in order to project a focused image large enough to fill the screen.

For example: Screen Width = 10 feet Lens Type is 0.7:1 Throw Distance (TD) = 10 feet x 0.7 = 7 feet

IMPORTANT: Use the lens and screen size to calculate the precise throw distance using the tables provided in the Dealer Section of the Christie Website, PN 020- 100298-xx. Due to lens manufacturing tolerances for lens focal length, actual throw distance and vary ±5% between lenses with the same nominal throw ratio.

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Throw Distance (TD) = (Screen Width X Lens Type)

SCREEN

Vertical & Horizontal 

 Position

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

size of the screen and the lens type. Correct vertical position helps ensure that the image will be rectangular in shape rather than keystoned (having non-parallel sides) and that image focus and brightness both remain optimized.

If necessary, vertical position of the image can be offset—that is, moved up or down in relation to lens center—by using the motorized offset function. Starting with no offset, the image from this projector can be moved up or down by a maximum distance of 525 pixels for SXGA+ resolution and 643 pixels for HD and WUXGA resolution, resulting in the entire image (more for HD/WUXGA) being displayed above or below lens center. See Table 2.1 and Figure 2.19.

NOTE: Not applicable for the fixed lens.

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

of lens center—by using the motorized offset function. Starting with no offset, the image from this projector can be moved left or right by a maximum distance of 350 pixels for SXGA+ resolution and 403 pixels for HD and WUXGA resolution, resulting in approximately 75% of the image displayed to one side of lens center. See Table 2.1 and Figure 2.20.

Table 2.1. Lens Offsets

Lens Type Offset Movement Max. Amount of Display

(All motorized

lenses)

SXGA+ Lenses 100% 50% 1050 pixels  or  100% 1050 pixels  or  75%

HD Lenses 119% 42% 1183 pixels  or  100% 1363 pixels  or  71% WU Lenses 112% 54% 1243 pixels  or  100% 1478 pixels  or  77%

 or   or 

Above or Below Lens Center

Max. Amount of Display

Right or Left of Lens Center

NOTES: 1) Offsets are subject to 7% centering tolerance 2) % Offset = # pixels of offset / half panel resolution x 100. 3)

0.73:Fixed and 1.16-1.49 Zoom Lenses have less offset. Refer to Specification section, Lenses for more details.

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Figure 2.19. Maximum Vertical Offset

NOTES:

1) If the image becomes keystoned or exhibits

uneven brightness, the projector may simply be too high or low in relation to the screen.

2) Recommended offset ranges can be exceeded, however this may affect image quality.

3) Simultaneous horizontal and vertical offset limits the adjustment range of each.

4) Offset can vary by ±7% and may be affected by the degree of zoom currently in use.

Figure 2.20. Maximum

Horizontal Offsets

Mounting 

There are several methods for mounting the projector. Depending on your chosen installation, one method may be more suitable than another. 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 during a presentation or from site to site. It is recommended you lock the wheels on a cart, when it’s in position, to prevent someone from accidentally moving it during a presentation.

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CEILING MOUNT - The projector can also be inverted and suspended from the ceiling

using a specially designed ceiling mount fixture. This type of mounting is recommended for fixed installations and for those that want the projector out of plain view or have a limited amount of space for projector and audience. For more information, contact your dealer.

Use only the CHRISTIE approved ceiling mount kit designed for your

projector. Refer to the installation instructions and safety guidelines provided in the kit.

Tiltin

the Projector 

Folded Optics 

The projector can be rotated and mounted at any vertical angle—i.e., you can tilt the face of the projector up or down as much as desired for your installation. Side-to-side tilt, however, must not exceed 15° (Figure 2.21). Keeping the projector fairly level in this manner ensures that the lamp axis is level, and is required for safe and reliable lamp operation. Always vent exhaust air away from the lens.

Figure 2.21. Vertical and Horizontal Tilt Ranges

In rear screen applications (Figure 2.22) 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. Consult your dealer or Christie for details.

Figure 2.22. Rear Screen

Sources connect to the Input Panel located on the rear of the projector. As shown in

2.4 Connecting

Figure 2.23.

Sources

The upper right corner ( analog RGB source, or it can also be used for YPbPr signals or additional video sources. Just beside these BNCs, the DVI-I connector ( analog display signals from a computer. Connect analog composite video at or S-video at

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INPUT 4 from devices such as VCRs, laser disc players or DVD players.

INPUT 1) typically accepts an RGB signal from an external

INPUT 2) accepts digital or

INPUT 3

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There are also several optional interfaces available for connecting other sources— these interfaces slide into the remaining unused option slot, and can be done while the projector is running.

NOTES: 1) Refer to Section 6, Specifications for details regarding compatible inputs. 2) Use high quality shielded cables only for all connections. 3) The Dual SD/HD-SDI module shown is standard on the Roadster models, optional for the Matrix and Mirage series.

*NOTE: Dual SD/HD-SDI Option

Module shown. Standard in Roadster S+16K/+12K , HD12K, HD18K, S+20K projectors.

Figure 2.23. Input Panel

RGB Signals 

INPUT 1 consists of five BNCs (connectors) for linking to a variety of RGB sources

such as a PC, Mac, DEC, Sun, SGI, and others. This projector supports multiple sync types with RGB signals: sync-on-green, composite sync, and separate H & V syncs.

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

Connect the outputs to the

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

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

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

SYNC input labeled HOR/COMP. If

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

SYNC input labeled HOR/COMP, and connect vertical sync to SYNC input

VERT. See Figure 2.24, below.

Figure 2.24. Connecting RGB Input

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

INPUT 1, use the red, green and blue BNCs as described in YPbPr Signals

(below)

YPbPr 

(COMPONENT VIDEO)

Connect a YPbPr signal (a.k.a. component video) to INPUT 1 or INPUT 2 as shown in. Figure 2.25.

NOTES: 1) If, for some reason, the projector fails to recognize a YPbPr signal, specify this Color Space option within the Image Settings menu. See 3.6, Adjusting the Image. 2) Do not connect digital

1 or 2. Use the appropriate digital interface option installed at INPUT 5 or 6.

component signals (known as YCbCr) to INPUT

Com

osite Video 

Figure 2.25. Connecting YPbPr

INPUT 3 and INPUT 4 provide simultaneous connection of both a composite video

source (

INPUT 3) and an S-Video source (INPUT 4). See Figure 2.26 below.

Figure 2.26. Connecting Composite Video

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DVI Di

ital Video 

Dual SD/HD-SDI 

Use the DVI-I connector at INPUT 2 to connect either analog or digital video devices to the projector. When connecting devices that transmit an analog video signal such as VCRs, laptops, and PCs use the DVI cable provided with the projector. Plug the DVI-I (single link) connector end to the projector and the 15-pin VGA connector to the device.

Use a cable with DVI-I connectors at both ends to connect devices that transmit digital and analog video signals such as high-quality DVD players, satellite receiver and digital cable TVs.

NOTES: 1) To ensure true digital output from devices that transmit digital signals, connect to the DVI-I connector. 2) DVI loop through is not available unless you have the optional DVI Input Module installed at

INPUT 5 or INPUT 6.

Christie’s Dual SD/HD-SDI input module is standard with Roadster models and factory-installed in

INPUT 5 or INPUT 6. The module’s loop-through capability

enables incoming serial digital data to be tiled across multiple screens, creating vast “mega resolution” displays. Alternatively, the multiple outputs can be overlapped for extra-bright displays, or simply distributed to additional projectors for multiple screens of the same image.

Other O

tional Inputs 

The module accepts one or two independent standard- or high-definition serial digital inputs, decodes them for processing in the main electronics of the projector, and outputs 10-bit YCbCr 4:2:2 video. Either input can be set as the active primary or secondary part of a Picture-in-Picture display, and either input can be looped through to one (or both) of the module’s BNC outputs.

NOTE: Selection of these inputs is described in 3.3, Using the Keypads.

Connect a compatible SMPTE 292M or SMPTE 259M-C source(s) to one or both of the inputs located on the left side of the module. The module will automatically detect the standard at each input and configure itself accordingly for correct termination of the signal. The module also detects and supports dual link 292M and SMPTE 372M video standards. For full details, consult the Dual SD/HD-SDI manual.

Optional modules allow you to increase your total number of inputs and/or accommodate different signal types, whether analog or digital. Install in the areas labeled

INPUT 6 or (if available) INPUT 5. Options include:

 RGB 500 Input Module  RGB 400BA Input Module  RGB 400 Active Loop Thru Input Module  PC250 Analog Input Module  Serial Digital Input Module  DVI Input Module (optional on Mirage HD18)  Dual SD/HD-SDI Module

(optional on Matrix and Mirage models)

For even more sources, connect a third-party switcher to the RS-232 IN port, or, if RS-422-compatible, connect to the RS-422 port.

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NOTES: 1) Optional digital interfaces cannot be used in a Marquee Case/Power Supply. 2) Refer to Appendix D, Optional Input Modules for a brief description of each interface.

2.5 Connecting Communications

Remote Keypads 

Serial Port Connections 

As an alternative to the projector’s keypad or remote, you may wish to communicate with the projector using a PC or other controller. Such a device sends commands and receives feedback via serial links (RS-232 and RS-422), Ethernet or GPIO communications to the projector, all described below.

As desired, direct the projector’s IR remote keypad towards the display screen or the projector’s IR sensors. Alternatively, connect a wired (tethered) version of the remote to the 3.5mm RCA jack labeled as

REMOTE on the projector’s input panel. Note that

response to a wired keypad must also be enabled in the Communications menu— Refer to 3.6, Adjusting System Parameters and Advanced Controls for more information.

There are two types of serial ports available on the projector: RS-232 and RS-422. 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.

Connecting RS-232

The two nine-pin DIN connectors labeled RS-232 IN and RS-232 OUT on the input panel are dedicated to serial communication (see Figure 2.28). Using the appropriate serial communication cables (refer to Appendix B) connect the controlling source, such as a personal computer to the RS-232 IN connector. Then set the baud rate to match that of the computer. Refer to Section 3 for details on changing the projector’s baud rate.

Figure 2.27. RS-232 Serial Communications

Connecting RS-422

If you wish to control the projector with a computer and or other controlling device with RS-422 capability, connect a RS-422 serial communication cable between the computer and the RS-422 port on the projector. (Figure 2.28) RS-422 is better suited for serial communication over long distances then is RS-232 communication.

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Figure 2.28. RS-422 Connection to a Computer

WARNING

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

equipment with RS-422 capability. The voltage levels of

this signal can damage incompatible equipment.

Ethernet Communications 

Ethernet Communications

To add the projector to an existing Ethernet network with other equipment such as controllers and other projectors, connect standard CAT5 Ethernet cable between your Ethernet controller (or hub) and the Ethernet port at the rear of the projector as shown in Figure 2.29.

CONNECTING TO A PC: If you are connecting the Ethernet port directly to a PC

(rather than a network or hub), ensure a crossover Ethernet cable is used.

Figure 2.29. Connecting Ethernet

Upon connection to an Ethernet network, the projector’s factory default IP address of

0.0.0.0 will automatically enable the DHCP function (if available on the network) to assign a new IP address that is valid and unique for that network. Or, if there is no DHCP function available on the network (or if a specific static IP address for the projector is preferred or required), you can set the address in the Ethernet Settings submenu or via an ASCII serial command.

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NOTE: Ensure the projector is connected to the network before attempting to change its IP address.

Regardless of how it is assigned, once a projector has a valid and unique address it will respond to commands sent to this address. To determine the projector’s current IP address, consult the Status or Communications menus.

Refer to 3.7, Adjusting System Parameters and Advanced Controls for further information about setting up and using a projector connected via Ethernet.

The GPIO Port

The General Purpose In-Out (GPIO) port enables integration of the projector within an established control system (Figure 2.30). ASCII commands sent via the GPIO link are stored in projector memory, where they can be triggered as a sequence of events in the future. Refer to Appendix D.

2.6 Connecting Multiple Projectors

Serial Links 

Figure 2.30. GPIO Port

You may wish to chain two or more projectors together so that commands and communications to and from a controller are relayed to all projectors. Choose a hardware configuration that best suits your desired communication method.

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

an RS-232 interface, first set all projectors to the same baud rate as the controller, then chain the projectors together by connecting the projector (already connected to the computer/controller) to the

RS-232 OUT connector of the first

RS-232 IN connector of

the next projector in the chain. Continue connecting projectors in this manner until you’ve reached the last projector in the chain, so that only the last projector has an unused

RS-232 OUT port. See Figure 2.31.

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Figure 2.31. RS-232 Serial Link Loop-Through at First Projector

MIXED NETWORK: To control multiple projectors with a computer/controller having

an RS-422 interface, first set them all to the same baud rate as your RS-422 controller.

NOTE: You must enable this combination of RS-422 and RS-232 in the Communications menu. Set the “Network Routing” option to “RS-232 and RS-422 Joined”. Refer to Section 3 for details.

Chain the projectors together by connecting an (already connected to the computer/controller through the

RS-232 port of the first projector

RS-422 port) to an RS-232

port on the next projector in the chain. Continue connecting projectors in this manner until you’ve reached the last projector in the chain, so that only the last projector has one unused

RS-232 port. See Figure 2.32.

Figure 2.32. Mixed Serial Network

Note that communication parameters such as baud rate must be set to match the particular controlling device before connecting as a network—refer to the documentation that came with your controlling device in order to determine the proper baud rate. Refer to 3.7, Adjusting System Parameters and Advanced Controls if you need help changing the projector baud rate. In addition, set the Network Routing to “RS-232 and RS-422 Joined” if you want to reach all projectors.

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

Ethernet Networks 

ETHERNET NETWORK SETUP: To add one or more projectors to an Ethernet network,

use standard CAT5 cable to connect each projector’s Ethernet port to a hub on to the network. A controller or PC must also be connected to the hub. See Figure 2.33.

Figure 2.33. Typical Ethernet Network

SETTING THE PROJECTOR’S IP ADDRESS

: Upon connection to most Ethernet networks, each projector’s factory default IP address of 0.0.0.0 triggers the network’s DHCP (Dynamic Host Configuration Protocol) server function to automatically assign an IP address that is valid and unique for use on that network. Depending on the network, this DHCP-assigned IP address usually remains stable for a single session, but may change with subsequent power-ups and logins. On some networks, the address will remain stable from session to session. In all cases, the projector’s IP address and port appear in the Status menu as well as the Ethernet Settings submenu. See Figure 2.34.

Figure 2.34. Setting the Projector’s IP Address

Note that if a projector’s IP address is anything other than 0.0.0.0 (shown as

000.000.000.000 in the Ethernet Settings menu) upon connection to an Ethernet network, or if DHCP is not available on the network, the automatic DHCP server function for supplying a valid and unique IP address to the projector is disabled. Instead, a specific and static IP address must be defined in projector memory—enter the new address in the Ethernet Settings submenu, or send to the projector via a serial command. The IP address will be in effect until it is changed again, or until the DHCP checkbox is re-enabled for use with a DHCP server on the network.

NOTE: Only the port and IP address of the projector can be changed. The subnet mask is fixed (255.255.255.0).

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arating Networks 

CHANGING THE 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 port number in the Ethernet Settings menu or include the new port# in an XIP serial command sent to the projector. It is highly recommended not to use a port# below 1024, as these ports are typically reserved for and used by well known applications.

SUBNET MASK AND DEFAULT GATEWAY: The Subnet Mask and Default Gateway are

automatically assigned when DHCP is enabled. If a static IP is being used, it must be assigned before the subnet mask. The Default Gateway is an optional router device used to send and receive data outside the subnet.

ArtNet INTERFACE SETTINGS: Refer to Section 3.6 – Adjusting System Parameters

and Advanced Control, System Configuration – Communication for additional information about ArtNet settings.

By default, communications originating from one type of serial controller—RS-232 vs. RS-422 vs. Ethernet—stays on the corresponding network path. A “Separate” setting indicates this separation for “Network Routing” in the Communications menu. If you are using an RS-422 controller, for example, it will communicate only with the projector to which it is connected unless you change this setting to either “RS-232 and RS-422 Joined” or “All Joined” (Figure 2.35).

Baud Rate for RS232

1. Baud Rate for RS422

Network Routing

Ethernet Settings

Communicating to  All Ports

To relay all messages to all ports—RS-232, RS-422, and Ethernet—set the “Network Routing” option in the Communications menu for each projector to “All Joined”.

Broadcast Key

Wired Keypad

Figure 2.35. Keeping Communications Separate (default)

This configuration is useful if you are using a non-RS-232 controller with the RS-232 linking available between these projectors. For example, you may want to use both an RS-422-compatible controller and an Ethernet-connected PC for working with a network of projectors linked via their RS-232 in/out ports (Figure 2.36).

Communications

115200 115200

Projector

Backlight

Front IR

Back IR

004 All Joined

On On Off

Separate

1. RS232 and RS422 Joined

2. RS232 and

3. All Joined

Ethernet Joined

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Figure 2.36. Joining All Networks

To isolate just RS-422 communications, select “RS-232 and Ethernet Joined”. In Figure 2.36, only projector #3 will respond to the RS-422 controller. To isolate just Ethernet communications, select “RS-232 and RS-422 Joined”—only projector #1 will respond via Ethernet.

2.7 Power

The North American rated line cord is provided with each projector. Ensure

that you are using a line cord that meets the appropriate rating standards.

Connection

Plug the projector’s high-current line cord into the line input socket located in the lower right corner of the rear panel of the projector, then plug the 3-pronged end of the line cord into a grounded AC outlet. Ensure the socket outlet is installed near the equipment and is easily accessible. Input voltage to all Roadster and Mirage models must be capable of 200 –240 VAC. Use the proper power source and the high- current rated line cord provided. Refer to Section 6, Specifications for all power requirements.

WARNING

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

within the specified voltage and power range.

Caution for Shutdowns: Once the projector is turned off ( ), the lamp cooling fans will continue to run for approximately five minutes to ensure that the projector and lamp have sufficiently cooled, at which point the fans will automatically shut off. To avoid thermal stress that can lead to premature lamp failure, never unplug the line cord while the lamp cooling fans are running, and never unplug to power down.

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2.8 Operating Orientation

2.9 Leveling

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

Figure 2.37. Image Orientation

In the Configuration Menu highlight and select the “Image Orientation” pull-down list. See Figure 2.37. Select from Rear, Inverted Rear, Front or Inverted Front according to your intended installation. Refer to Section 3, Operation for further information.

For most installations, the lens surface of the projector is parallel to the screen—this prevents major keystoning of the image (i.e., an image with non-parallel sides). In addition, the projector must be kept level from side-to-side in order for the lamp to function safely. To make small corrections to the projector’s level, rotate each leg as necessary to raise or lower. See Figure 2.38. For angled installations, Refer to “Special Mounting” under 2.3, Projector Position and Mounting earlier in this section.

Figure 2.38. Adjusting the Feet Height

Once the projector is properly set up and producing an image, you are ready to make

2.10 Zoom, Focus & Lens Offset

quick lens adjustments. Refer to 3.3, Using the Keypads and 3.4, Navigating the Menus if you are unfamiliar with using the keypad and menu system.

Lens Adjustments

NOTE: Not applicable to fixed lenses. Focus fixed lens by turning focus ring on lens.

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Zoom 

With the input image displayed:

 If remote keypad: Press Zoom  If built-in keypad: Press Zoom

Figure 2.39

Hold the key down to see the effect –arrows in the display indicate the direction of the zoom (Figure 2.39).

Focus 

Lens Offset 

To move the image:

2.11 Keypad Protocols and Conversion

With the input image displayed:

 If remote keypad: Press Focus  If built-in keypad: Press Focus

or .

Figure 2.40

Hold the key down to see the effect – arrows in the display indicate the direction of the focus (Figure 2.40).

 If remote keypad: Press either Lens H

Lens V

(Figure 2.41).

 If built-in keypad: Press

Lens Sh if t

and use the arrow

keys.

Figure 2.401

Both styles of remote IR keypads—ergonomic or “Brick” rental staging – Standard IR Remote —can be converted to a wired remote by adding the appropriate cable (provided). This is most useful for simple applications in which it is impractical to communicate via IR, such as when the projector is in another room and cannot respond to an IR signal, or

Sample Keypad

Cable

when you wish to connect to and control individual projectors within a group.

To control the projector when signals from a remote keypad cannot reach the projector, use the projector’s built-in keypad. The nearby LED display provides feedback indicating current status and activities of the projector. Because the built-in keypad has fewer keys than the remote keypad, certain projector functions are accessible only through the menu system rather than via a direct key.

NOTE: The built-in keypad cannot be disabled

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In addition, the rental staging keypad typically used with Roadsters can operate under a variety of different IR protocols, useful in multiple-projector sites where you prefer the tether-less freedom of controlling many adjacent projectors independently. When Keypad A operates under a different protocol than Keypad B (or others), each keypad communicates only with the projector(s) having a matching protocol defined in memory. See below.

Ergonomic Keypad 

“Brick" Rental Staging 

- Standard IR Remote

This style of keypad offers one protocol (A) only, and can be converted for wired use as follows:

1. Using the built-in keypad, display the Communications menu and

choose the wired keypad option.

2. Connect the remote IR keypad to the phono jack input labeled

REMOTE

on the projector’s input panel.

NOTES: 1) Typically used for Roadsters. 2) Protocols B-G described here require main projector software v1.2d or higher.

At manufacture, this remote keypad is assigned “A” as its default protocol, which is simply a collection of settings that determines how the IR keypad operates. Once assigned, a protocol remains in effect until it is changed— that is, a remote keypad will operate as it currently does until you change its protocol. Each rental staging remote can operate using one of seven different IR protocols, or it can be set to a “wired” protocol for use when a cable connects the remote to the projector. Change protocol via “hardwired” jumper settings inside the keypad, set projector software to match, and add or remove the keypad cable as necessary.

NOTE: Match the protocol on the projector to that of a keypad by accessing the

Communications submenu. Refer to 3.8, Adjusting System Parameters and Advanced Controls for further information on how to define which protocol the

projector's infrared sensors (rear and front) will recognize.

Setting the Protocol

To convert the Roadster “Brick” rental staging – Standard IR Remote style of keypad from IR to wired use (or vice versa), set its protocol accordingly—see below.

Step 1

Unlatch and open the battery compartment on the back of the keypad as shown in Figure 2.41.

Figure 2.41. Opening the “Brick” rental staging – Standard IR Remote

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Step 2

Find the four jumpers located along the latching side of the battery compartment. These jumper settings establish the remote keypad protocol so that the remote functions in a certain manner.

Step 3: Set the Jumpers

Set the jumpers to match one of the protocols shown in Figure 2.42. Use tweezers or needle-nose pliers to remove and replace each jumper as necessary.

 J1 jumper: Set between 1 and 2 or 2 and 3 as required for the desired protocol.

 J2 jumper: Set between 1 and 2 or 2 and 3 as required for the desired protocol.

 J3 jumper: Set between 1 and 2 or 2 and 3 as required for the desired protocol.

 J4 jumper: For IR use, always set between pins 1 and 2 (see A-G below).

Figure 2.42. Setting the Jumpers in the “Brick” rental staging – Standard IR Remote

NOTE: Protocols B-G require v1.2d (or higher) software.

Step 4

Plug in the keypad cable (if jumpers are set for wired use) and replace the battery compartment cover. Plug into projector (wired keypad only) and test.

NOTE: If you change any keypad to a new protocol and the projector stops responding, the projector may be set to a conflicting protocol. Use the projector's built-in keypad to access the Communications submenu. Under “Front IR” or “Rear IR”, select the protocol that matches the new protocol of the keypad at hand. The projector should now respond properly.

SHORTCUT METHOD:

Unlike older models of Christie projectors and keypads, there is no shortcut method for changing a keypad’s protocol through a special sequence of keystrokes. Simply change the internal jumper settings as described above.

Converting a Rental Staging Keypad

If desired, you can convert this IR remote keypad into a wired remote keypad and vice versa. Set the jumpers as shown in Figure 2.43, and add or delete the cable (supplied) and batteries as required.

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TO CHANGE FROM INFRARED TO WIRED:

1. Remove battery compartment cover from back of keypad.

2. Remove batteries.

3. Wait 1-2 minutes. Meanwhile, notch the battery cover to create an exit hole for

the cable. Ensure the hole is smooth and will accommodate the cable without pinching.

4. Plug the keypad cable (supplied) into the empty battery compartment—ensure

the connector is oriented correctly (red wire nearest to the edge).

5. Set keypad protocol to “wired” jumper setting (refer back to Figure 2.42).

Ensure jumper #4 is set between pins 2 and 3 as shown in the last example (shaded).

6. Replace battery compartment cover, keeping the strain relief tie just inside the

battery compartment at the exit notch.

7. Plug into the port labeled

TO CHANGE FROM WIRED TO INFRARED:

REMOTE on the projector’s input panel.

1. Unplug the keypad from the projector.

2. Open the keypad back and unplug the keypad cable.

3. Wait 1-2 minutes.

4. Install batteries (Refer to Section 4)

5. Set jumpers according to the desired IR protocol (refer back to Figure 2.42).

Ensure jumper #4 is set between pins 1 and 2 as shown for all remote IR protocols.

6. Replace battery compartment cover.

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3.1 Overview

3.2 Projector Basics

Section 3

Operation

This section explains how to use the projector once it has been installed. Please read through these pages before using the projector for the first time. An understanding of projector features and how to access them will help you to take full advantage of the capabilities of the projector within minutes.

NOTE: Installation involves locating the projector and adjusting it for use at that location. If you have not yet installed the projector, refer to Section 2, Installation and Setup.

This section explains how to effectively operate the projector once it has been installed. It is recommended that you read this section and familiarize yourself with the components and the available menu options before you begin using your projector for the first time.

Zoom 

Lens Release 

Focus 

Projector components and functions are illustrated below (Figure 3.1).

Figure 3.1. Basic Projector Components (* on Roadster series only)

Operated with the keypad, the internal optics of a motorized zoom lens rotates to adjust the size of the image without moving the projector. Minimum and maximum image sizes depend on which zoom lens is installed. Refer to Section 6, Specifications.

Push lens release to enable the lens to be rotated for removal.

Operated with the keypad, focus adjusts the sharpness of the image at the current throw distance.

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Lens Offset 

Shutter and Iris 

ebolts 

Handle 

Stacking Mounts & Stackin

Legs 

Operated with the keypad, vertical and horizontal offsets shift the lens and move the image up or down and left or right. Refer to Section 2, Installation and Setup and Section 6, Specifications for ranges and other details.

Operated with the keypad, closing the internal shutter blocks the lens internally and turns the image to off (black). Enlarge the diameter of the iris—a.k.a. optical aperture—for optimized brightness; reduce the diameter to optimize contrast ratio.

Two eyebolts on bottom (factory-installed)—for attaching safety cables when hoisting inverted projectors.

Four eyebolts for top (separate)—for non-inverted hoisting.

NOTE: Two additional safety eyebolts required.

Handles are for brief hand transport only. Not used for hoisting, rigging, or as safety points.

NOTE: Optional on Mirage models.

Used for stacking up to three projectors. Refer to Section 2 for details.

WARNING

Use Christie stacking mounts only.

ustable Feet 

Filter Panel 

Lam

Door 

Turn the four adjustable feet to increase or decrease height and/or tilt as needed. For most installations the projector will likely be slightly inclined to match the screen tilt – this reduces the amount of vertical offset required. Refer to 2.3, Projector Position and Mounting or the Roadster, Matrix WU, Mirage S+/HD/WU User Manual for more details.

The filter door is a louvered grille for air intake. Remove to access and replace air filter.

The lamp door is a louvered grille for accessing and replacing the lamp module.

NOTE: Lamp replacement requires a qualified service technician.

Input Panel

The input panel wires the projector to inputs (sources) and controllers such as PCs.

 COMPOSITE/S-VIDEO INPUT - Accepts a composite video, DVI and S-Video

signal from devices such as VCRs.

RGB INPUT - Accepts RGB and sync signals from devices such as computers, as



well as composite video, S-Video or YPbPr component signals.

 RS-232 SERIAL INTERFACE (WITH LOOP THROUGH) - Allows one or more

projectors to be remotely controlled by a computer or controller,

RS-422 INTERFACE - Allows one or more projectors to be remotely controlled by



an RS-422 compatible computer or controller (such as the Two-Way Controller accessory).

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play

AC Power Input & Monitorin



AC LINE CORD INPUT - Use the AC supply specified, and always use the line cord

recommended by Christie. Refer to Section 5. Before unplugging, wait until the main

blower turns off or the LCD status reads Power Off.

Model AC Power Specifications

Roadster S+12K/HD12K 200-240 VAC, 50-60 Hz, max. 12 amps @ 200VAC

Matrix WU12 200-240 VAC, 50-60 Hz, max. 12 amps @ 200VAC

Mirage HD12 200-240 VAC, 50-60 Hz, max. 12 amps @ 200VAC

Mirage WU12 200-240 VAC, 50-60 Hz, max. 12 amps @ 200VAC

Roadster S+16K 200-240 VAC, 50-60 Hz, max. 16 amps @ 200VAC

Mirage S+14K 200-240 VAC, 50-60 Hz, max. 16 amps @ 200VAC

Mirage HD18 200-240 VAC, 50-60 Hz, max. 24 amps @ 200VAC

Mirage WU18 200-240 VAC, 50-60 Hz, max. 24 amps @ 200VAC

Roadster S+20K/HD18K 200-240 VAC, 50-60 Hz, max. 24 amps @ 200VAC

WARNING

Do not attempt operation if the AC supply is not within the

specified voltage and power range. Use the specified line cord.

 VOLTMETER - Displays incoming voltage level reaching the projector.



SWITCH/BREAKER - The breaker on the rear panel serves two purposes:

 It is a power switch for the projector

 It protects against excessive AC conditions (15A or more for Roadster

NOTE: This switch turns on the ballast only —it does not power up the projector or start the lamp. You must press

Status Display (error codes) & Status Dis

Window 

TWO-DIGIT STATUS/ERROR CODE WINDOW - This LED (light emitting diode) display

is adjacent to the built-in keypad. During normal operation, the “Power” light is steady yellow and indicates “on”. When the status of the projector changes, the LED displays a two-digit code number representing the projector’s new status. In addition to the numeric readout, there are two decimal points in the display: the right decimal point flashes when the projector receives a command and the left point flashes when the projector sends a command.

LCD STATUS DISPLAY WINDOW - Displays a text message describing the current

system status (such as an error). During normal operation, this display indicates Power On and includes the frequencies of the vertical and horizontal syncs. The display also shows if the On Screen Display (OSD, or menu system) is on or off. The LCD displays the message Power Off when the breaker is on but the lamp is off.

Keypads &

Sensors 

WIRED REMOTE KEYPAD CONNECTOR - For optional tethered remote control of the

projector.

S+12K/HD12K and Matrix WU12. Mirage HD12/WU12, 20A or more for

Roadster S+16K/Mirage S+14K, and 25A or more for Roadster S+ 20K/HD18K/Mirage WU18/Mirage HD18). If the projector is faulty or

excessive AC is detected, the breaker will “trip” to OFF in order to prevent damage. Try moving the breaker ON again - if the breaker continues to trip OFF, this indicates a major fault and the AC problem must be resolved. Possible causes might include shorts, damage to lamp cables, or excessive AC.

on the keypad.

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BUILT-IN KEYPAD - Alternative location for working with the projector.

INFRARED SENSORS - The infrared (IR) sensors on the front and rear of the projector

receive infrared signals from the IR keypad for remote control of projector functions. For proper operation, ensure these sensors are not blocked.

3.3 Using the Keypads

Built-in 

Laser radiation is emitted from the laser diode in the remote. Do not look

directly into the beam of the remote.

Using one of the following keypads typically controls the projector:

 Built-in Keypad at the rear of the projection head  Remote Keypad for tethered or tether-less control (includes cable for connecting

as a wired remote)

While each of the keypads provides complete control of the projector, they differ slightly in their arrangement of keys and in which 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.

NOTE: The remote keypad has a single IR protocol and can be converted to a wired remote by connecting the cable provided with the projector to the RCA jack labeled as

REMOTE on the input panel.

To control the projector when signals from a remote keypad cannot reach the projector, use the projector’s built-in keypad (Figure 3.2). Two nearby status windows provide feedback indicating current status and activities of the projector, (See Table 3.1 below). Because the built-in keypad has fewer keys than the remote keypad, certain projector functions are accessible only through the menu system rather than via a direct key. NOTE: The built-in keypad cannot be disabled.

Table 3.1  LED Status Display

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LED STATUS DISPLAY: DESCRIPTION

- - AC power supplied, projector Off

On Projector On

LC Lens calibration in progress

LP Lamp has reached defined “Lamp Limit” refer to 3.9 Working with

SH Closed shutter

# # System warning or error has occurred

Figure 3.2. Built-in Keypad at Projector Rear

the Lamp

Cooling down (Rotating Horizontal Bars)

Power to Off state or Powering up (segments spinning clockwise

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Operation

IR Remote 

Note:

N/A on WU Models

Figure 3.3. Remote Keypad

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The IR remote keypad controls the projector by way of wireless communications from a battery-powered infrared (IR) transmitter. Use the IR remote keypad the same way you would use a remote keypad supplied with a TV or VCR. When making key presses, direct the keypad either toward the screen or toward the front or rear of the projector. One of the two IR sensors on the projector will detect the signals and relay the commands for internal processing.

NOTE: For improved reception, use an optional remote IR sensor to route the signal via a phone cable plugged into the wired keypad port.

Wired Remote 

You can convert the IR remote into a wired remote keypad using the cable provided with the projector. Connect one end into the remote and the other to the mini stereo connector on the input panel labeled as

REMOTE. The wired remote is recommended

when:

 The built-in keypad is inaccessible  The lighting conditions are unsuitable for proper IR transmission

NOTE: Leave the batteries in the wired remote for the laser key (

) to work.

The “Brick” style rental staging – Standard IR Remote, typically used with Roadster models, is shown in Figure 3.4. It has no laser pointer, but includes three additional keys: the Swap key for use with PIP functions, Backlight key for lighting keys, and direct Input key used with the numbered keypad to switch from one input to another.

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Guide to Ke

ads 

the shutter

Use to

Press OSD to turn Off

Figure 3.4. “Brick” Rental Staging – Standard IR Remote

Press keys one-at-a-time; there are no simultaneous key combinations required.

2) Note that three keys—Power, Shutter and OSD—press key once, refer to Figure

3.3 Remote Keypad

3) Hold arrow keys down for continuous adjustment/movement in one direction. In

serial networks, pause briefly between adjustments to ensure that more distant projectors can “keep up” with the commands.

4) 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.

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ad Commands 

Specific keypad commands are explained below:

Power ON/OFF

Press and hold press twice. Or press and release

briefly to toggle the projector on or off with a single keystroke or

followed immediately by

(on) or

(off) to guarantee the correct toggle (useful if you are unsure of the present state).

NOTES: 1) After powering down, the lamp cooling fan remains on for approximately 5 minutes to cool the lamp. 2) It is a good idea to avoid turning a projector back on until it has been off for several minutes. Hot re-strikes of the lamp may reduce lamp life.

Te s t

Test

Te s t

to scroll through the projector’s internal test patterns. When a test pattern

to scroll through the patterns without going back to the input.

Auto

Se t u p

to initiate an automated process in which the projector optimizes critical

Auto

Se t u p

Press is up, use

Auto

Press display parameters such as size, position, pixel tracking, etc., for the current unlocked channel. These parameters are listed in Table 3.1. An Auto Setup can save time in perfecting a display, and you can further modify the settings as desired. NOTE: For

WUXGA models a window will display, “Do Auto Setup, all except UXGA” and “Do Auto Setup, all except WUXGA”. If your signal is UXGA, choose “Do Auto Setup, all except WUXGA”. If your signal is WUXGA, choose, “Do Auto Setup, all except UXGA”. The default is “all except WUXGA”. This is only used and relevant for analog UXGA or WUXGA.

Table 3.1. Auto Setup

What an “Auto Setup” Does

OPTIMIZES: SETS TO DEFAULT:

Pixel Tracking Contrast

Pixel Phase Brightness

Size and Blanking Auto Input Level (off)

Vertical Stretch Detail (if video source)

Position Filter

Input Levels Luma Delay

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Channel

Press

to select a specific source setup (channel) defined and stored in projector memory. Once you enter a two-digit channel number (or, if there is a list displayed, highlight it and press

), the display will automatically change and update according to the numerous setup parameters defined for that channel. Note that a new channel is automatically created if you adjust an image from a new source.

NOTE: Channel (

Channel

) key behavior during a presentation depends on whether or

not the Display Channel List option is enabled in the Menu Preferences menu. You

Channel

can choose to use a scrollable list of channels when you press

, or you may prefer

to enter the desired channel number “blind”, i.e., without on-screen feedback. Refer to Menu Preferences later in this section.

Input 1

Press

Input 1

to display from the data input source connected to BNCs labeled

INPUT 1.

If PIP is enabled, pressing this key will change the PIP source.

Input 2

Press

Input 2

to display from the DVI source connected to INPUT 2. If PIP is enabled,

pressing this key will change the PIP source.

Input 3

Input 4

Input 5

Input 3

Press enabled,

Input 4

Press enabled,

Input 5

Press PIP

is enabled, pressing this key changes the PIP source. If there are two inputs

to display from the composite video source connected to INPUT 3. If PIP is

pressing this key will change the PIP source.

Input 4

to display from the S-video source connected to INPUT 4. If PIP is

pressing this key will change the PIP source.

Input 5

to display from the INPUT 5 interface module installed in the Option 1. If

connected here, such as if the Dual SD/HD-SDI module is installed, the second input (B) is considered

INPUT 7. Press INPUT 5 to access INPUT 7 as follows:

 While displaying from

INPUT 5, press

Input 5

again. This switches to INPUT 7.

 While displaying from any input other than the Dual SD/HD-SDI Module, press

Input 5

. This switches to either INPUT 5 or INPUT 7, depending on which of the Dual

Module inputs (A or B) was last used. Press

Input 5

again to display from the other

Dual SD/HD-SDI Module input.

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Input 6

Press

Input 6

to display from the INPUT 6 interface module installed in the Option 2. If PIP is enabled, pressing this key changes the PIP source. If there are two inputs connected here, such as if the Dual SD/HD-SDI module is installed, the second input (B) is considered press

INPUT 6 to access INPUT 8as follows:

INPUT 8. If you are using the built-in keypad or the remote keypad,

 While displaying from

INPUT 6, press

Input 6

again. This switches to INPUT 8.

 While displaying from any input other than the Dual SD/HD-SDI Module, press

Input 6

. This switch to either INPUT 6 or INPUT 8, depending on which of the Dual

SD/HD-SDI Module inputs (A or B) was last used. Press

Input 6

again to display

from the other Dual SD/HD-SDI Module input.

Input

NOTE: Available on “Brick” rental staging – Standard IR Remote.

Input

Enter

(where n = 1, 2, 3, 4, 5, 6, 7 or 8) as an alternative method for selecting which source to display. Six source locations are identified with input numbers on the projector’s input panel. The last two, 7 and 8, require the Dual SD/HD-SDI Module installed in either of the option slots.

Input

If PIP

is enabled,

Input PIP

NOTE:

changes the main (primary) image source.

Input

key behavior depends on whether or not the Display Channel List

changes the PIP (secondary) image source, and

option is selected in the Menu Preferences menu. You can choose to have on-screen

Input

feedback when you press

, or you may prefer to enter the desired source location

“blind”, i.e. without on-screen feedback. Refer to Menu Preferences.

Bri g h t

Brightness

Press

Bri g h t

to increase or decrease the amount of black in the image. Use keys until you reach the desired level of contrast—for best results, start high and decrease so that dark areas do not become black (i.e., “crushed”). Conversely, overly high brightness changes black to dark gray, causing washed-out images. Refer to 3.6, Adjusting the Image (Image Settings subsection).

NOTE: Always adjust brightness before contrast.

Contra st

Contrast

Press

to change the amount of white in your images. Use keys until you reach the desired level of contrast—for best results, start low and increase so that whites remain bright but are not distorted or tinted, and that light areas do not become white (i.e., “crushed”). Conversely, low contrast causes dim images. Refer to

3.6, Adjusting the Image (Image Settings subsection).

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Gamma

NOTE: This is the same as “Gamma” in the Image Settings Menu.

“Gamma” determines how gray shades are displayed between minimum input (black) and maximum input (white) for a given amount of signal. The proper setting helps maintain optimized blacks and whites while ensuring a smooth transition for the “inbetween” values utilized in grays. Unlike brightness and contrast controls, the overall tone of an image can be lightened or darkened without changing the two extremes and your images will be more vibrant yet with good detail in dark areas when using the Gamma control.

The normal gamma setting of 2.2 is correct for most signals and conditions. If excess ambient light washes out the image and it becomes difficult or impossible to see details in dark areas, lower the gamma setting to compensate. This will improve contrast ratio while maintaining good details for blacks and whites.

Press

to enter or exit the projector’s menu system. NOTE: Refer to Menu Tree,

Appendix E, this allows you to quickly locate and navigate to a specific menu, and associated options/secondary menus.

OSD

OSD (On-screen display)

OSD

Press

to hide the projector’s menu system during use. To see the menus

again, do one of the following:

OSD

 Press and hold  Press and release followed immediately by

OSD

 Press

OSD

Invisible menus are fully functional, enabling “hidden” access to numbered features and image adjustments by entering the corresponding sequence of key presses on the keypad.

NOTE: With OSD “on”, you can still hide error messages and slide bars by disabling these options in the Menu Preferences menu.

PIP

Press

to enable and disable Picture-in-Picture. PIP enables you to display two different images simultaneously – typically a smaller “secondary” image within a large “primary” background. When a menu control or slidebar is present, press toggle the current function to affect the other image.

NOTE: Disable PIP and Best Switching for Interlaced sources > 35 kHz.

briefly

Swap

Press

Swap

to swap the current picture-in-picture relationship so that the primary

image becomes secondary, and the secondary image becomes primary.

NOTES: 1) This key is available on the “Brick” rental staging – Standard IR Remote only. Alternatively, a swap can be accessed in the menu system. 2) Requires PIP.

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Operation

Shutter

Press and hold open with a single keystroke. Or press and release

(shutter on; closed) or

briefly to toggle the internal mechanical shutter blade closed or

Shutter

followed immediately by

(shutter off; open) to guarantee the correct toggle

(useful if you are unsure of the present state). Alternatively, press

Shutter Shutter

to toggle from the present on/off state. A closed shutter blanks the display (turns it to black). Close the shutter to mute all display while maintaining access to projector functions. Opening the shutter restores the image.

NOTES: 1) The status of the shutter is shown in the LCD display window at the rear of the projector. 2) The shutter is open upon power-up.

Func

Function Key

IF WITHIN A MENU: Using the

Fu n c

for special tasks within the menu system is noted

with the appropriate topic elsewhere in Section 3. For example, press

Fu n c

in the

Channel Setup menu to enable deletion or copying of a channel.

IF WITHIN A PRESENTATION: Press

Fu n c

followed by a

two-digit number to enable a specific color or colors in the display (see right). For example, display only red and green data,

Func

will

will display

Func

all color data. Eliminating one or more colors can help with certain diagnostics and setups, such as when accurately overlaying one image on top of another when stacking projectors.

DEFINING OTHER USES: Through ASCII messaging on a PC, you can also create

special user functions for keys 1 – 5 and 7 – 9 and others. For example,

Func

can be programmed to trigger RTEs (Real Time Events) or to display custom menus. Refer to the separate Christie Serial Communications

Pro j

Projector

Press

Pro j

to access a specific projector within a group of projectors or to confirm if

publication.

the local projector is listening. The number in the “Enter Number” window indicates which projector is currently listening to commands, and will match the projector number that has been defined in the Menu Preferences menu.

The “Projector” checkbox (read-only) shows whether or not the projector physically connected to a keypad are listening to commands from that keypad. A checkmark means that connected projector is listening; if there is no checkmark, you are communicating with a different projector.

To control a specific projector with the keypad, enter the three-digit number assigned to the projector you want to use. If you switch to a projector other than the one you are currently using, the checkmark will disappear.

To broadcast to multiple linked projectors, press

Pro j

and then

Pro j

again without entering a projector number. Keypad commands will then affect all projectors in the chain.

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NOTE: The “Broadcast Keys” option in the Communications menu must be selected for only one (any) projector in a serial network. The keypad in use must be OFF (disabled) for the remaining projectors. Refer to 2.11 Keypad Protocols and Conversion, and 3.7, Adjusting System Parameters and Advanced Controls.

Fo c u s

Zo o m,Le n s H,Le n s V

Enter

Press

to select a highlighted item, to toggle a checkbox, or to accept a parameter

adjustment and return to the previous menu or image.

Exi t

Exit

Press

NOTE:

Exi t

to return to the previous level, such as the previous menu.

Exi t

does not save changes within text editing boxes (including number editing of a slidebar value) or within pull-down lists. It acts as a “cancel” in these cases.

Arrow Keys

Use the

keys to change a slidebar value or to select a different option within a pull-down list without having to first scroll through options. These keys also jump to the next page in long menus. Refer to Editing Text later in Section 3.

Use the

keys to navigate within a menu, pull-down list or text box. Use in combination with power, shutter and OSD keys to force the corresponding state. See details provided on the back of the remote keypad.

Lens Focus, Zoom and Lens H, Lens V

Fo c u s, Zo o m, Le n s H, Le n s V

Use the lens for optical sharpness, size, and position. Note the

and

Le n s Sh i f t

with their corresponding arrow keys to adjust

Zo o m

requires a zoom lens.

Le n s

NOTES: 1) The

Sh i f t

key, when combined with

in keypad is the same as using the “Brick” rental staging – Standard IR Remote, use the three lens keys with the arrow keys.

Laser

NOTE: Not available on the “Brick” rental staging – Standard IR Remote.

Press

to activate the laser pointer, and direct the remote at the screen to highlight an area with a light beam (dot). The closer you are to the screen the brighter the laser beam appears. The laser pointer works best with reduced ambient lighting.

Backlighting

NOTE: “Brick” rental staging – Standard IR Remote only.

Press the “light bulb” key to illuminate the keys on the remote without sending a command to the projector.

Le n s V

and

keys on the built-

Le n s H

keys on the remote. 2) On the

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Operation

Most of the controls for the projector

3.4 Navigating the Menus

are accessed from within the projector’s menu system. There are several groups of related functions, with each group selectable from the Main menu as shown at right. Press

at any time to display this Main

menu. See Figure 3.5.

On the remote keypad, either enter

Figure 3.5. Entering the Menu System

the number corresponding to the

function menu you wish to access, such as the

keys on any keypad to highlight the desired option, then press .

for the Image Settings menu. Or use

The corresponding function menu or pull-down list of further options will then appear.

With a function menu displayed, navigate in a similar manner—enter a menu option number for any numbered option, or use the option, and then press

(Enter). Extra long menus have a scroll bar on the right—

keys to highlight the desired

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.

On-line Help 

NOTES: 1) If there is no signal present, all source-dependent adjustments are disabled. 2) After 15 minutes of inactivity, the projector leaves the menu system and returns to the presentation. 3) The Status menu is read-only.

When finished with a function menu, do one of the following:

Exi t

 Press

If at any time you are uncertain what to do next, press information about the current menu or highlighted option. Press

to return to the previous screen

to leave the menu system and return to the presentation

Help

to display summary

Help

again to exit. In

addition, a line of “hint” text is included at the bottom of some menus. Figure 3.6.

Lamp

Lamp Hours

Lamp S/N

Lamp Message

Lamp Limit

Lamp Mode

Power

Intensity

Optical Aperture

Lamp History

Change Lamp

From presentation level, press as necessary within a topic. Press

0 ?

1000 Power 500 0 3

Help

Enable a notice upon power-up indicating the lamp has logged a given number of hours as specified by the lamp limit (default is lamp specific).

Figure 3.6. Context-sensitive Help

Help

to access general Help Topics (Figure 3.7). Scroll

Help

Exi t

to return to your presentation.

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Operation

Figure 3.7. Accessing General Help Topics

Time-outs 

The Global Icon 

The PIP Icon 

Using Slidebars  And Other Controls

If a slidebar, menu, or message is displayed, you have limited time in which to make a keypad entry before the projector returns to presentation level

Help

and the graphic

disappears. These time-outs may vary depending on what is displayed.

Menu options that include this icon apply universally to any incoming signal.

Menu options that include this icon apply to PIP (secondary) images only.

Most of the function menus allow you to change settings by using slidebars, checkboxes, and pull-down lists. To select a slidebar, toggle a checkbox status, or view a pull-down list, do one of the following within the function menu:

 Enter the menu option number corresponding to the setting you wish to change

(for example, press

1 3

from the main menu

to select Vertical Stretch in

the Size & Position menu).

 Or move the highlight to the option desired and press  Or move the highlight to the option desired and press

(Enter).

to adjust

immediately.

 Or bypass the menus entirely and use a single key to immediately access an

adjustment during your presentation

NOTE: applies only to options having their own key, such as Contrast, Brightness, Gamma, etc.

 For “blind” access, hide the entire menu system (Refer to OSD key, above)

and/or direct slidebars activated by their own key (such as Contrast, Brightness, etc.). Control by using the proper key press or numerical sequence of key presses.

 When using PIP images, use

key to adjust the image.

Once selected, change the settings as desired (see below). Changes take effect immediately and are saved upon exit from all menus, or after 15 minutes.

Slidebars in menus – The current value for a given

parameter, such as size or vertical stretch, appears to the left of its slidebar icon (adjustment window). This number often expresses a percentage, or it may have units associated with it (such as pixels, degrees Kelvin, etc.), depending on the specific option. Press

to gradually adjust the setting up or down— both the number and the length of the bar change accordingly. Hold for continuous adjustment. Or press the keypad and then press

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to activate a slidebar text box for specific number entry via

to save (or press

Exi t

to cancel).

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Operation

“Direct” slidebars -

slidebars without traveling the menu system. For example, simply press immediately display the same contrast slidebar accessed with the

For quick access, you access Gamma, Brightness, and Contrast

Co nt

Contrast option in

the Image Settings menu.

Use the arrow keys to adjust a direct slidebar, or press number from the keypad, then

Exi t

you are done, press

to return to your presentation.

or or to save (or

and enter a specific

Exi t

to cancel). When

NOTES: 1) You can still adjust a direct slidebar as usual if the display is turned off

OSD

(Refer to

or Menu Preferences menu) — the slidebar just won’t be visible. 2) A

direct slidebar disappears if it is not used within 5 seconds.

Checkboxes - Conditions are present if its adjacent checkbox contains a checkmark.

To toggle the checkbox, simply highlight and press check and

to uncheck. If a checkbox is numbered, simply enter its number to

, or highlight and use to

immediately toggle the checkbox.

Pull-down lists – To see a pull-down list of options available for a given parameter

labeled with a

 Highlight it and press

, you can:

(Enter)

 Or enter the menu option number.

Use

noted with a small arrow below). Press

keys to navigate up and down within the list (the current choice is

to choose an option from the list, if

desired (Figure 3.8).

If you prefer to quickly scroll through a list without first pulling it down, highlight

. Press

115200 115200 004 All Joined

On On Off

when the desired choice appears.

Separate

1. RS232 and RS422 Joined

2. RS232 and

3. All Joined

Ethernet Joined

to jump between pages in an extra long pull down

the option and use

Baud Rate for RS232

1. Baud Rate for RS422

Ethernet Settings

Projector

Network Routing

Broadcast Key

Backlight

Wired Keypad

NOTES: 1) Press list. 2) Press

Exi t

Communications

Front IR

Back IR

Figure 3.8. Example of Pull-Down List

while in a pull-down list to cancel any change.

Editin

Text 

ACTIVATE THE EDIT WINDOW: To enter or edit text, highlight the desired parameter

(such as a channel name) and press

to activate its adjacent edit window. Any previously entered text is displayed with its first character highlighted in a square cursor, signifying that this character is ready for editing. See Figure 3.9.

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Operation

NAVIGATE WITHIN THE EDIT WINDOW: Press to move the cursor forward or

to move the cursor backwards as desired.

EDIT A CHARACTER: To edit a highlighted

character, use

and

to scroll through the alphabet, numbers, spaces and punctuation available. When the character you need appears, press

to select it—the cursor will move to the next character of current text, if present. Note that you can also enter a

Figure 3.9. Entering Text

number directly from the keypad—it will be accepted and the cursor will move on.

ADD OR DELETE A CHARACTER OR SPACE: To insert a space at the cursor location,

press

Fu n c

. To delete a highlighted character (or space), press

Fu n c

Editing Numerical Values 

3.5 Using Inputs and Channels

PRESS (ENTER) WHEN FINISHED: To accept edits and leave the edit window,

press

NOTE: Press

(Enter).

Exi t

at any time to cancel changes and return to the previously defined text.

Enter numbers directly from the keypad in order to specify numbers representing projectors, channels (source setups), or slots. As each digit is entered, it is displayed and the cursor moves on. Note that channel numbers are defined with two digits—for example, if you enter only a single digit (such as “7”) for a channel number, the channel will automatically be defined as “07”. Enter “07” to utilize this channel.

NOTES: 1) Once you enter the first digit, this digit replaces all old digits. 2) If you press any non-numbered key, the number entered up to that point is accepted and updated as the new value. 3) Press

Exi t

to cancel editing of numerical values.

NOTE: Refer to Section 2, Installation and Setup, for a full explanation of how to connect sources to the projector.

The projector stores and automatically recalls up to 50 different channels (source setups) for a variety of inputs. This memory feature allows you to define and conveniently use a wide variety of customized setups rather than having to repeatedly re-configure the projector for different presentations. Depending on what you have defined, each physical source connection (i.e., input at the projector) can have several different channels associated with it.

Do I Select an Input  Or a Channel?

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INPUT – An input is a source physically connected at the projector.

source signal according to which input slot it is connected.

Inp ut

describes the

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Operation

SWITCHING INPUTS – Press the appropriate direct key —

Input 6

to quickly display from one of the six inputs connected to the projector. The

Input 1,Input 2

Input 3,Input 4,Input 5

image will be 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 will recognize the new input signal based on its frequencies and polarities, and will automatically display an image according to default settings for such a signal. In general, the default fills the screen as fully as possible. 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, V-Position, etc., then a channel was automatically created and still exists in projector memory (see below).

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

If PIP is enabled, an input key changes the PIP (secondary) image only. To switch the main input, use the keypad number keys with “Numbers Select Main Image” activated.

NOTES: 1) Inputs 7 and 8 require the Dual SD/HD-SDI module in either of the projector’s option slots. For their selection, refer to 3.3, Using the Keypads. 2) For more information on Numbers to Select Main Image, refer to 3.8, Working with PIP or Seamless Switching.

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, you will likely want to adjust and define a wide variety of parameters, such as brightness, contrast, size, etc., in order 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, or one signal may simply vary from another signal used previously through the same input location. 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

. You can have numerous distinct channels available for the same input, any of which can be selected by using the

Chan

key on the keypad followed by the two-digit channel

number.

Shown at right is a sample channel list as would be available from

Chan

. This is

typically called the channel list.

Channel List

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NOTE: The

Chan

key may display a channel list or not, depending on what you have

defined for “Display Channel List” (Refer to Menu Preferences later in this section).

In order to access channels by using channels. See below.

Creating a Ne Channel

– AUTOMATIC –

To use a new source with the projector, a new channel must be added to projector



memory so that the projector will respond properly to an input signal from that source in the future. A new channel can be created automatically, as described here, or it can be copied from an existing channel and then edited as necessary (Refer to Copying or Deleting Channels later in this section).

When you select a direct input ( existing channels are searched for matching input and signal parameters. If no match to the incoming input signal is found, 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 1-50.

NOTES: 1) An automatic channel will be discarded unless one or more of its parameters are changed, and will not appear in the channel list (see below). 2) If two channels have the same distinguishing source characteristics except for the reversal of sync connectors (i.e., H-sync and V-sync, are switched), they are still defined as distinct channels. 3) You cannot define a new channel without an incoming signal.

If the incoming signal does match an existing channel, the image will be set up and displayed as usual according to the parameters currently defined for that channel.

Chan

Input 1, Input 2

on the keypad, you must first create the

Input 3, Input 4

Input 5

Input 6

), the projector’s

USING A CHANNEL: You

can normally select a channel at any time by pressing

Chan

(see right). If you want to prevent a channel from appearing in this list, you must edit the channel as described in Channel Edit later in this section. Such a channel can still be selected by entering its number as shown at right.

NOTES: 1) The current channel is highlighted upon entering the channel list, or, if this channel is not displayed here, the first channel in the list is highlighted. 2) Channels created automatically do not appear in the channel list unless a parameter for the channel has been changed.

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What Channels  Are Defined So Far?

All available channels are listed in the Channel Setup menu (Figure 3.10), which describes how each channel can be accessed and which serves as the gateway for editing, copying and deleting channels.

From the presentation level

press

to display the

Main menu. To display the Channel Setup menu, press

, or move the highlight to the Channel Setup option and press

Enter

. The Channel Setup menu will appear (see sample at right), with the active channel highlighted.

WHAT APPEARS IN CHANNEL SETUP MENU? This menu lists all channels defined so

Figure 3.10. All Channels Appear in the

Channel Setup Menu

far and indicates where they connect on the projector’s rear input panel. The far left column lists channel numbers currently defined. The values in the far right columns indicate horizontal and vertical frequencies—if a user has defined a name for this channel, it appears here instead. Remaining columns contain details pertaining to each channel setup, such as its switcher number (always 0 = projector), slot location (01-08), a variety of icons indicating access to each channel, and an abbreviated description of each signal type. Refer to Editing a Channel Setup for details.

NOTE: If you have more than a handful of channels, use

and to see the

remaining channels not visible in the initial display of channels.

SIGNAL TYPE — Either channel list, whether the

Chan

key list or the Channel Setup menu, identifies signal types in a shortened form as defined below. These descriptors indicate what signal information the projector uses to identify a match for a given channel, and are preceded by either an “i” (interlaced signals) or “p” (progressive signal“). See Table 3.2.

Table 3.2. Abbreviations for Signal Type

Abbrev. Signal Type

4WH Composite (4 wire) on HC input 4W SG Sync-on-green 5 5WR Separate H,V swapped SVid S-Video CVid Composite Video Dig Digital

Composite (4 wire) on V input

Separate H,

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FUNCTIONS WITHIN THE CHANNEL SETUP MENU —To copy, delete or edit a channel,

highlight the desired channel in the Channel Setup menu and do one of two things:

Copying o Deletin

Channels

 Press

Func

if you want to copy the selected channel or delete this or other

channels. See Copying or Deleting a Channel below.

Enter

 Press

if you want to edit channel setups (i.e., non-image related parameters)

for the selected channel. See Editing a Channel Setup, below.

TO COPY A CHANNEL, highlight the desired channel in the Channel Setup menu, and



then press

Enter

—a new channel will be created. It is identical to original, which still remains,

Func

to go to the Channel Copy/Delete submenu. Select “Copy” and press

but it is identified with the next available number from 01-50 (Figure 3.11). If you change your mind and do not want to copy the current channel, press

Exit

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.

to cancel

Figure 3.11. Copying a Channel

TO DELETE A CHANNEL, highlight the desired channel in the Channel Setup menu,

and then press and press

Func

to activate the Channel Copy/Delete submenu. Select “Delete”

Enter

—a confirmation window will appear to confirm that you want to

delete this channel. See Figure 3.12.

Figure 3.12. Deleting a Channel

TO DELETE MULTIPLE CHANNELS, highlight any channel in the Channel Setup menu

and press Only” and press

Func

to go to the Channel Copy/Delete submenu. Select “Delete Unlocked

Enter

to delete all unlocked channels. Or select “Delete All Channels” to delete all channels, even those that are locked. In either case, the current channel will remain but will be redefined from projector defaults.

NOTE: For any deletion, a confirmation box appears to confirm that you want to delete. Select “Cancel” if you don’t want to delete after all.

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Operation

Editin

a Channel Setup 

CHANNEL EDIT — STEP 1

CHANNEL EDIT — STEP 2

The basic setups that describe how and where a channel can be accessed are listed in the Channel Setup menu. These channel setups can be edited at any time in the Channel Edit submenu.

From the presentation level press Channel Setup menu, press and press

Enter

. The Channel Setup menu will appear.

to display the main menu. To display the

, or move the highlight to the Channel Setup option

To edit parameters shown in the Channel Setup menu, select the relevant channel and

Enter

press

. The Channel Edit menu will appear similar to the sample shown in Figure

3.13.

Figure 3.13. Channel Edit Menu (SAMPLE)

CHANNEL EDIT — STEP 3

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



CHANNEL NAME: An alpha-numeric label can be defined and/or changed here.

Channel names can be up to 12 characters in length.



CHANNEL NUMBER: A two-digit channel number can be changed here.

NOTES: 1) If you enter a channel number that already exists, a dialog message appears indicating that this number is already in use–assign a different channel number. 2) You can define 50 channels.

INPUT: 1-8, corresponding to where on the projector’s input panel the source is



connected.

IN MENU: If checked (default, except for automatically defined channels with



unchanged parameters), this defined channel will then appear in the list available

Chan

when

key is pressed. If unchecked, the channel must be accessed via

channel setup menu

on the keypad or via the Auto Source function.

the

NOTE: On-screen display of the channel list is an option that must be set in the

Menu Preferences menu.



AUTO SOURCE: If checked, (default), the projector can automatically locate this

channel when an incoming input signal matches. If not checked, the projector can locate the selected channel only when it is directly selected via

Chan

on the

keypad—and a change in input signal will not result in a channel change.



LOCKED: If checked, all of the image settings for this channel are disabled. If

unchecked (default), all available image settings can be adjusted as desired. You cannot use Auto Setup with a locked channel.

PREVIOUS CHANNEL: Select this option to see or change Channel Edit settings



for the previous channel in the Channel Setup list.

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 NEXT CHANNEL: Select this option to see or change Channel Edit settings for the

next channel in the Channel Setup list.

3.6 Adjusting the Image

Before You Begin 

The most commonly used options for image adjustments are accessed through two menus: Size and Position (

) and Image Settings (

), 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 slidebars, checkboxes and pull-down lists.

Exit

will return 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 location in the menu system. For example, press

followed by the appropriate two-digit number representing their

to quickly access the

“Gamma” option in the Image Settings menu.

Note that for certain options, you may prefer 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” slidebar immediately. Press

Exit

to return to your presentation.

Cont

to access the

NOTES: 1) To hide these “direct” slidebars, disable the” Display Slidebars” checkbox in the Menu Preferences menu. 2) To hide the entire menu system from

view, turn off the on-screen display by pressing

Aut o

Set u p

Use Auto Setup (

)

For a good and efficient first step in perfecting the image, press

OSD

Aut o

Set u p

. This initiates an automated process in which the projector quickly optimizes critical display parameters for unlocked channels such as size, position, pixel tracking, etc., based on the type of incoming source data detected. An Auto Setup can save considerable setup time, and you can still modify the adjustments as desired using menu options described below.

Size and Position Menu 

In the Size and Position menu, you can increase or decrease the size of your main 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.

Size and Position

Resize Presets

Size

Vertical Stretch

Pixel Track

Pixel Phase

H-Position

V-Position

Keep Aspect on Auto Setup Blanking

No Resizing

1.000

1.000 858 0 360 262

Refer to “Using Slidebars and Other Controls” (earlier in this section) if you need help using any of the options and controls. Changes made in the Size and Position menu are applied immediately and are saved when you exit the menu (press

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Resize Presets

NOTE: The same resize presets are available to all HD widescreen models. Please note, the graphics used to describe each preset in this section are of the SXGA+ models only.

Select a Resize Presets option to quickly display an image in its native resolution or to automatically resize an image to closely fill the projector’s native resolution of 1400 x 1050, or to optimize the width or height of your display. Size, Position and Blanking parameters will automatically adjust accordingly. Or, if Blanking is set first, which defines an Active Input Area; Resize Preset scaling will occur in this region of interest only. Resizing options are explained in detail below.

WHAT IS THE RESIZING DEFAULT? By default when displaying a new source, your

image will utilize as much of the projector’s display area (1400 x 1050) as possible for the type of incoming source data. See Select “Default” below.

WHEN “CUSTOM” APPEARS: 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. It is not a choice in the Resize Presets pull-down list.

 Select

“DEFAULT” for most sources (factory default). The image will be centered

and displayed as large as possible depending on the type of source, as described below:

 A 5:4 graphic image will enlarge to fill the screen height, and be centered

between narrow black sidebars.

 A video image or 4:3 graphic image will enlarge to fill the screen width.  An HDTV (16:9) image will fill the width and be centered between black bars

on top and bottom.

 Select

“NO RESIZING” to display the image in its native resolution, which may be

smaller than the projector’s 1400 x 1050 resolution. For example, for a source with a native resolution of 800 x 600, “No Resizing” will center a small image within a black border—the black border areas are unused areas. See below.

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 Select

“FULL SCREEN” to use

all pixels (1400 x 1050) for displaying the image, regardless of source or original aspect ratio. Incoming source material having a different aspect ratio than the projector will be stretched for display.

 Select

“FULL WIDTH” to fill the

projector’s display from leftto-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 “letterboxed”).

 Select

“FULL HEIGHT”

to fill the display from top-to-bottom. Depending on the source, this may create borders.

 Select

“ANAMORPHIC” to display an anamorphic

image in its native 16:9 aspect ratio. The image will fill the screen from side-to-side, and be centered between narrow black bars on top and bottom. This is used for DVD players that output widescreen images compressed into 4:3 NTSC format.

Size

“Size” controls both the image width and height in tandem, maintaining the current aspect ratio (proportion) of the displayed signal data.

Vertical Stretch

“Vertical Stretch” adjusts the height of the image while keeping the width constant. Use “Vertical Stretch” to change the aspect ratio of the display.

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Pixel Track

Steady flickering or several soft vertical stripes or bands across the entire image indicates poor pixel tracking. Proper pixel tracking helps ensure that the image quality is consistent across the screen, that the aspect ratio is maintained, and that the pixel phase can be optimized (described below). Tracking 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.

NOTE: By default, the projector samples at the correct frequency for most sources.

For best results, use a good test pattern such as a smooth gray 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 slidebar 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 Pixel Phase (below).

Pixel Phase

NOTE: Adjust “Pixel Phase” after “Pixel Tracking”.

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.

For best results, use a good test pattern such as a smooth gray 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 slidebar until the image stabilizes and each pixel is clearly defined. You may notice that you can stabilize the image at more than one point—i.e., you may find that the image appearance at “11” is identical to the image appearance at “38”, thus you can use either setting.

If some shimmer from a video or HDTV source persists, use the “Filter” control to remove high-frequency noise from the signal.

H-Position

This option moves the image right or left within the area of available pixels.

NOTE: 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

This option moves the image up or down within the area of available pixels.

NOTE: The value shown represents where the approximate center of the image lies in relation to the total number of pixels available vertically. This varies widely according to the signal—watch the image while adjusting.

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Advanced Size and Position — SUBMENU

This submenu consists of the following options:

ACTIVE INPUT WINDOW: This

read-only value indicates the current size (i.e., area) of your displayed data or “region of interest” as defined by the blanking controls. By default, the

4. Plug & Display <EDID>

Advanced Size & Position

Active Input Window

Top Blank

Bottom Blank

Left Blank

Right Blank

720x483 0 0 0 0

Native Resolution 60Hz

projector automatically determines what portion of its full resolution to use, and pixels in the surrounding borders are turned off. You can also specify a specific active input window size by adjusting 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 will be reduced to 1200 x 1050. When using SD or HD or a decoded video source at

INPUT 3 or INPUT 4, the default blanking of “0”

defines an active input window of 720 x 483.

BLANKING (TOP, BOTTOM, LEFT, and RIGHT):

Crop the image as desired so that unwanted edges are removed from the display (changed to black—see Figure

3.14). Blanking defines the size of the Active Input Window, or area of interest. Range of

adjustment depends on the source resolution and other factors. After adjustment of blanking it may be necessary to perform a source switch.

NOTE: Blanking a PIP image resembles zoom (Figure 3.15). For example, left Blanking zooms the right side of the PIP image; Right Blanking zooms the left side. There are no black bars.

PIP Advanced Size & Position

Active Input Window

4. Plug & Display <EDID>

Top Blank

Bottom Blank

Left Blank

Right Blank

1600x1200 0 0 0 0 Native Resolution 60Hz

Figure 3.15. Blanking of a PIP Image

Figure 3.14. Blanking of a Primary

Image

PIP Advanced Size & Position

Active Input Window

4. Plug & Display <EDID>

Top B lank

Bottom Blank

Left Blank

Right Blank

1600x1200 49 2 485 67 Native Resolution 60Hz

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Image Settings Menu 

PLUG & DISPLAY (EDID): By default, a Plug & Play

<EDID> source outputs a signal according to the

EDID information provided by the projector. To override this information and display in a different format (for example, if your Plug & Play [EDID] device does not support the projector’s resolution and/or frequency), select the desired Plug & Play <EDID> resolution from the list.

Any daisy-chained projectors will also display according to the chosen Plug & Play <EDID> format.

EDID = Extended Display Identification Data standard.

Use options in the Image Settings menu to alter your main image without affecting its size or position. Changes made to the Image Settings menu are applied immediately and are saved when you exit the menu (press

). Options not available for

Exi t

the projector model or source are disabled and appear dim (gray).

Contrast

(

SHORT CUT: Press

Contrast

and adjust the slidebar.)

Native Resolution 60 Hz 1400x1050 60Hz 720p (1280x720 60Hz) DC2K (2048x720 60Hz) 1024x768x116Hz 3D 1280x1024x110Hz 3D 1400x1050x102Hz 3D 1080p 60Hz / 1080i 60Hz 1080p 50Hz / 1080i 50Hz 1080p 24Hz / 1080i 30Hz

“Contrast” increases or decreases the perceived difference between light and dark areas of the image (0-100). For best results, keep close to 50. If the contrast is set too high, the light parts of the image lose detail and clarity. If the contrast is set too low, the light areas will not be as bright as they could be and the overall image will be dim. For best results, start with a low value and increase so that whites remain bright but are not distorted or tinted, and that light areas do not become white (i.e., are “crushed”).

NOTE: If the environment lighting changes, an adjustment of Gamma is recommended (see below).

Brightness

(

SHORT CUT: Press

Bri g h t

and adjust the slidebar.)

“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 (i.e., are “crushed”). Conversely, high brightness changes black to dark gray, causing washed-out images.

NOTE: Brightness should be adjusted before contrast, as Brightness setting affects the contrast setting.

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Gamma

SHORT CUT: Press

(

Gamm a

and adjust the slidebar.)

“Gamma” is a global setting that determines what gray shades are displayed between minimum input (black) and maximum input (white) for all signals. A good gamma setting helps to optimize blacks and whites while ensuring smooth transitions for the “in-between” values utilized in other colors. Thus, unlike “Brightness” and “Contrast” controls, the overall tone of your images can be lightened or darkened without changing the extremes, and all images will be more vibrant while still showing good detail in dark areas.

Gamma is used to fine-tune the gamma table currently in use, ranging from 1 – 3 (2.2 = default). If excess ambient light washes out the image and it becomes difficult or impossible to see details in dark areas, lower the gamma setting to compensate. This will improve contrast while maintaining good details for blacks. Conversely, if the image is washed out and unnatural, with excessive detail in black areas, increase the setting. In high ambient light conditions, lower gamma may produce better results than higher gamma. Gamma of 2.2 (default) indicates the gamma table has not been adjusted. For more information, refer to Advanced Image Settings submenu, Gamma Table. Again, good gamma improves contrast while maintaining good details for blacks.

Filter

The proper filter setting is automatically set for virtually all signals, and rarely needs to be changed. It applies a low pass filter for noise reduction in the incoming input signal, particularly for HDTV or SDTV. Applied in the analog domain before sampling, this filtering removes high frequencies and thus reduces pixel phase noise (note this also reduces signal

Off

1. RGB

2. HDTV

3. EDTV

4. SDTV

bandwidth). Override 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.

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Detail

“Detail” adjusts the sharpness of a video image so that edges remain clearly defined. It can be particularly useful if a significant “Noise Reduction” adjustment has caused the image to appear too soft. Adjust until the display is as sharp as desired, keeping in mind that because “Detail” adds some high frequencies back into the image, it can also re-introduce a certain degree of noise.

Noise Reduction

“Noise Reduction” is similar to the “Filter” control, but operates in the post-sampling digital domain with a more subtle effect. Higher settings are most useful for clearing up noisy RGB images such as those from a PC. Adjust as desired, keeping in mind that reducing noise (which reduces high frequencies) may also soften the image.

Color Space

“Color Space” determines how the color components of an analog input signal are decoded for accurate color in the display. Selecting a color space option is useful only for analog signals and certain digital sources connected to

2, INPUT 5

or INPUT 6. Although color space for these analog

INPUT 1, INPUT

signals is automatically determined by the projector, in some circumstances you may wish to override this and manually set a specific color space.

NOTE: For many digital signals or for signals connected to

INPUT 3 or INPUT 4, the

color space function is entirely automatic and the pull-down list disabled.

The current color space appears in the Image Settings menu. Press

to select a

different option:

 Select  Select  Select

RGB unless you are using component video at INPUT 1, 2, 5 or 6. YPbPr (Video) with a standard definition televised signal (SDTV). YPbPr (HDTV) with a high definition televised signal (HDTV).

NOTE: When certain RGB signals are first connected, the projector may not initially recognize them as RGB and will incorrectly decode 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.

Video Options

This submenu is used with video sources

INPUTS 3 or 4).

only (

— SUBMENU

Enable Decoder AGC

Video Standard

Input Video Black

Decoder Luma Delay

Video Options

Auto

0 IRE

Color

Tint

50.0

50.0 35

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)

ENABLE DECODER AGC: Automatic Gain Control (AGC) affects decoded video

images only. Enter a checkmark (default) in most instances—this activates the decoder’s AGC circuit to ensure properly bright images. Delete the checkmark 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 all but the more unusual video standards

available in the world, 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 has been auto-detected. Press

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.

NOTE: 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.

Table 3.3. Regions and Video Standards: Summary

Standard Where Used (SUBJECT-TO-CHANGE

NTSC N. America and Japan

NTSC 4.43 A tape-only standard for partially-translated hybrid signals

PAL Most of Europe, China, Australia, some of S. America, some of Africa

PAL-M Brazil

PAL-NC Argentina, Chile, other Latin American countries

PAL 60

SECAM France, Eastern Europe, most of Africa

NOTE: Generally, use “Auto” for all instances EXCEPT: 1) a poor quality input signal or 2) a black-and-white video signal. In order to detect and display such signals, select the relevant standard from the list.

INPUT VIDEO BLACK: This control

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 grays appear black) nor excessively elevated (i.e., where blacks appear dark gray). 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 override the setting. The control is disabled for other types of video (and all graphics sources). Generally, if black appears crushed when brightness = 50, choose “0 IRE”. If black appears excessively elevated, use “7.5 IRE”.

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COLOR: This slidebar adjusts the color saturation level, i.e. the amount of color in a

video image. 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 will be overpowering and unrealistic.

TINT: This slidebar adjusts the red/green color hue for true color reproduction of

video and HDTV signals connected to Input 3 or 4. For best results, adjust tint while displaying an external test pattern—otherwise, it is recommended that tint remain at its default setting.

DECODER LUMA DELAY: This control 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 will move luma (seen as a shadow where colors overlap) to the right slightly, with colors remaining in place. Decreasing this delay will move the shadow slightly to the left. If necessary for your current source, adjust so that no shadows occur with adjacent colors.

Input Levels

— SUBMENU

NOTES: 1) 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. 2) Before beginning, check that overall contrast and brightness settings are near 50 and that color temperature is properly set up on an internal grayscale test pattern. 3) There must be at least 2 consecutive white pixels present in the image for proper “Auto Input Level” function. Leave this control off after use.

Good RGB or input levels—that is, the drives and blacklevels 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.

NOTE: 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.

However, for a very unusual source exhibiting one or more overly high blacklevels (typically caused by a noisy source causing blacklevel spikes), an experienced user may prefer to use the Input Levels menu (shown above). These adjustments, which together serve as a calibration process compensating for differences in sources and cabling, enable an experienced user to perfect the source image input levels and eliminate the “overshoot” and “undershoot”. Note that Input Levels are of limited use with digital signals, but do offer some ability to tweak poorly mastered source materials.

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NOTES: 1) Input levels apply for the current source only, but for any color temperature used. 2) 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 – Temporarily enter a checkmark 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. This compensates for incoming out-of-range drives (white) and blacklevels (black) that would cause “crushing” of light and dark colors in the image. After entering a checkmark, wait for the six slidebar values to stabilize, and then delete the checkmark and exit. The Auto Input Level is automatically turned off upon exit from the Input levels Menu.

BLACKLEVELS AND DRIVES – To check your image levels and adjust these controls:

1. Ensure overall “Contrast” and “Brightness” settings are both set to near 50.

NOTE: Not required for “Auto” adjustment.

Contrast



= 50 (approx.)

Bri g h t

= 50 (approx.)

2. Check the color temperature setup using an internal grayscale test pattern,

making sure to obtain a neutral grayscale. NOTE: Not required for “Auto” adjustment.

3. Confirm that you are using an analog source not connected to

4, as Input Levels are not applicable for digital sources or sources going through

INPUT 3 or INPUT

the decoder. A grayscale is recommended.

4. If the blacks and/or whites appear OK, input levels do not need adjustment. 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. Continue with Step 5.

5. Temporarily enable “Auto” in the Input Levels submenu. Wait for all six values

to stabilize. Alternatively, do not use “Auto”—reduce blacklevels 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 “Color Enable” option (described below).

6. Delete the “Auto” checkmark and leave the Input Levels menu.

IMPORTANT: Do not use Input Levels to adjust color temperature. This will distort contrast and brightness functions as well as color temperature.

AUTO COLOR ENABLE – When a checkmark is present, selecting a specific blacklevel

or drive to adjust will automatically enable the corresponding color in the display. Delete the checkmark to see all colors, or to enable a different specific color through the Color Enable Control.

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CLAMP LOCATION – This option (formerly known as sync tip

clamping) can brighten the image produced from certain highresolution high-frequency graphic sources. For almost all sources, the projector automatically selects the best clamp location. 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.

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.

PEAK DETECTOR – The Peak Detector is 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 gray. When used with a smooth grayscale 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 blacklevels and input drives until both black and white edges are just visible and distinguished from neighboring pixels. Images from this source will then display correct blacks and whites without crushing.

See Figure 3.16. Adjusting Input Levels Using the Peak Detector

1. Display a 16 level grayscale test pattern from the desired external source, and

enter a checkmark in the Peak Detector checkbox.

NOTE: The “Peak Detector” will initially render the grayscale as a uniform gray field before adjustment or extreme crushing.

2. Display one primary color.

NOTE: Selecting Auto Color Enable ensures the correct color is displayed for each setting.

3. For the current color, adjust its corresponding “Blacklevel” slidebar just until a

single band of black appears at one edge of the screen. This band represents the first band of the grayscale pattern, which should be 100% black. Do not adjust too far.

4. With the same color still active, adjust its corresponding “Input Drive” slidebar

just until a single band of color appears at the opposite edge of the screen. This band represents the last band of the grayscale pattern, which should be 100% white (or the current color, if a certain color is enabled). Do not adjust too far.

5. It may be advantageous to go back and check the black band—adjust the

blacklevel slidebar if necessary.

NOTE: Readjusting blacklevels at this point affects the gain; only readjust when absolutely necessary.

6. Repeat Steps 3-5 with the other 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 checkbox will clear.

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Figure 3.16. Adjusting Input Levels Using the Peak Detector

(RED EXAMPLE SHOWN)

Advanced Image Settings

— SUBMENU

Use the Advanced Image Settings submenu to make the adjustments necessary for lesser-used but more specialized applications on your projector.

NOTE: 3D Source option is available for Mirage HD.

1. Select Color Adjustment

GAMMA TABLE: This control applies a default video, graphics or simple gamma table

dvanced Image Settings

Gamma Table

Color Temperature

Optical Aperture

Reserved

Simulation 3D

Motion Filter

Film Mode Threshold

Detail Threshold

3D Source

Reserved

Graphics Max. Drives

7600

Auto 0 0

or “curve” to your images, controlling the intensity of midlevel colors and producing maximum contrast, brightness and color performance. As shown at right, the graphics curve is a simple power curve while the video curve has a linear segment near black to compensate for increased black levels typical of video signals. A simple gamma curve is a value of 2.2 and is correct for most signal conditions. Although the projector automatically applies either the graphics or video curve according to what type of incoming signal is detected, in some cases you may wish to override this default and use graphics gamma for a video source or video gamma for a graphics source. Alternatively, if neither default is ideal, you may prefer to apply the simple (non-optimized) gamma curve or a user-defined custom gamma curve that has been created externally, named, and downloaded to the projector (requires separate PC-based Arbitrary Gamma

KoRE Librarian

software applications). If any of these special user curves have been

and

installed, their names will appear in the Gamma Table pull-down list.

Keep in mind that any Gamma Table choice sets the related Gamma value (shown in the Image Settings menu) to a 2.2 default, where it can be fine-tuned as desired. Different values (1-3) here indicate that the original gamma table has been adjusted with either the Gamma slide bar or direct key.

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SELECT COLOR ADJUSTMENT: In “Select Color

Adjustment”, choose an overall color palette for all images. The “Max Drives” factory default simply drives all 3 colors at their maximum level so that they are fully on and cannot be changed. The two other pre-defined color adjustment choices—SD Video and HD Video—apply a color gamut optimized for video sources (standard or high-definition). Alternatively, you can specify a color temperature. This enables the adjacent Color Temperature slidebar and applies its current setting (default = 6500K). If none of the pre-defined “Select Color Adjustment” options or color temperatures suits your application, select one of four color gamuts previously defined by a user (User 1, 2, 3, 4). A “User” option applies a customized color performance in which the user has precisely set the hue and intensity of each color component in the Color Adjustment by X/Y or Color Saturation submenus. It is most often needed with multiple-projector applications. Select the color adjustment producing the best color accuracy for your application and installation.

To configure a “User” color adjustment (gamut), use either the Color Adjustment by X/Y or Color Saturation submenu.

NOTES: 1) “Color Temperature” defaults to 6500K until changed. All four “User” options default to SD Video unless the user has redefined them. 2) Factory-defined color primaries, which ensure consistent color gamut from projector-to-projector, can be calibrated in the Service menu only. If you suspect alteration, the factory settings can be recovered with selection of “Reset to Factory Defaults?” in the Color Primary Settings submenu within the Service menu (password-protected).

COLOR TEMPERATURE — Adjust to apply a specific and accurate color temperature

to all displays. Color temperatures are expressed in degrees Kelvin (3200-9300K), and utilize different combinations of the projector’s original native color primaries to produce a “coloration” or cast (reddish or bluish) in images—the lower the temperature, the more reddish the cast; the higher the temperature, the more bluish the cast. Note that the slidebar is enabled only if you have a source connected and have selected “Color Temperature” in the adjacent “Select Color Adjustment” pulldown list in the Advanced Image Settings menu.

OPTICAL APERTURE - The optical aperture inside the projector controls the diameter

of the light beam passing through the system. With a fully open aperture (slide bar default of “0”), the maximum amount of light passes through for maximum brightness in your images. Increase the slide bar setting to reduce the aperture diameter and maximize contrast ratio instead. Performance of aperture depends on the lens in use. NOTE: Optical Aperture also appears in the lamp menu.

APERTURE MANUAL ADJUSTMENT - A variable position manual aperture is present

on the 1.2:1 and 1.1:1 lens. It may be used together with the internal electronic aperture to increase the contrast ratio; noting a slight decrease in brightness when it is used. It is recommended for highest brightness operation, under normal conditions, the manual aperture is to be left open. See Aperture Manual Adjustment below for aperture open/close and lock and unlock dial positions. NOTE: The lock/unlock dial

position allows you to open the aperture at a desired position and lock it in place.

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CLOSE OPEN

UNLOCK

LOCK

Aperture Manual Adjustment

RESERVED - No function.

Mirage S+ Series — Simulation 3D —

SETTINGS

Use the options in the Simulation 3D menu to make the timing adjustments necessary for realistic simulation and 3D images.

NOTE: For complete 3D application notes, refer to the separate Using 3D in Mirage manual provided with the Mirage projector.

FRAME DELAY MONITOR —For best

results, the value should remain fairly constant, indicating that timing of input and output frames is locked; the Frame Delay Monitor value should stay within 5-10 lines or so of the Frame Delay setting. If a frame is lost or “dropped”, this value will cycle to maximum and jump to minimum and then repeat, indicating that the frame input is no longer equal to the output. If the signal is not locked, the values will change erratically; you can adjust the Frame delay to attempt a correction.

SUBMENU OF ADVANCED IMAGE

Simulation 3D

Frame Delay Monitor

3D Stero Sync Locking

3D Stero Sync Select

3D Stereo Sync Delay

Figure 3.17- Mirage S+ Models

Frame Delay

Dark Interval

Frame Lock Enable

Reserved

1047 1000

128 Output Input A 1000 Locked

NOTE: For more information, refer to separate Using 3D in Mirage

manual

provided.

FRAME DELAY — Set the number of lines delayed between the input signal and its

appearance on screen, keeping in mind that projector processing always adds one frame of delay to the frame delay setting. For applications such as simulation, where

the feeling of “real time” image response is a priority, a minimum setting is usually preferable. For projectors capable of 3D (stereographic) applications where alternating left-right frames must be synchronized with the corresponding L/R shutters in 3D glasses, a total frame delay setting of two (or multiple of two) may be more useful. If set too high or low, frame locking will not be possible—most sources require approximately 50 lines of delay to ensure frame locking.

NOTE: For more information, refer to separate Using 3D in Mirage

manual

provided.

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DARK INTERVAL — Adjust Dark Interval to artificially increase the amount of dark

time between displayed frames for stereographic 3D images. Higher settings provide more time for shutters in 3D glasses to open/close, ensuring that each eye sees the full display intended for it. Symptoms of cross talk and/or color artifacts can indicate 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.

NOTE: For more information, refer to separate Using 3D in Mirage

manual

provided.

3D STEREO SYNC LOCKING — This option defines 1) whether or not the incoming

stereographic 3D signal locks to the vertical sync output so that signals are synchronized, and 2) whether or not the 3D frames must be inverted, i.e. swapped left-with-right. The correct setting ensures that the projector’s 3D display of left/right frames is synchronized with the rest of the 3D system components so that the intended eye sees the left/right image data. Select the option corresponding to your 3D source connections and timing, and use only if the Mirage 3D Stereo Sync Cable is connected between the projector’s GPIO port and a server. Keep this adjustment OFF (default) when you are not using the Mirage 3D Stereo Sync Cable.

With your sync cable and, if desired, emitter connected as described in the Using 3D in Mirage manual, select the option suited to your 3D configuration (see above). If Frame Delay is two (or 0), do not invert; if frame delay is one or three, invert. Generally, an “Unlocked” setting is synchronized with the incoming L/R signal rather than the vertical sync output, and may be needed only with multi-projector installations in which the vertical sync outputs vary.

NOTE: For more information, refer to separate Using 3D in Mirage

manual

provided.

3D STEREO SYNC SELECT

Define which of the

—

Mirage 3D Stereo Sync Cable’s input connecters is

routed from your server. Use only if the cable is present.

3D STEREO SYNC DELAY — Set when the L/R frames begin, defining the best

reference point for synchronizing the display with your glasses. Proper adjustment of this delay should eliminate cross talk and odd colors caused by timing differences between the glasses and the projected display. Use this slide bar only if the Mirage 3D Stereo Sync Cable is connected between the projector’s GPIO port and a server. Slide bar values indicate the number of lines that are delayed.

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FRAME LOCK ENABLE — This option allows the projector to control the output frame

timing based on the input signal. The locked option forces (if possible) the output image to be phase locked to the input frames. Rate Matched means that the output runs at close to the input frequency but isn’t locked to it so the output will drift in phase relative to the output. Free Run forces the output to run at a 60Hz frame rate.

Locked

Rate Matched

Free Run

NOTE: 1) For more information, refer to separate Using 3D in Mirage manual

provided.

Mirage HD/WU Series — Simulation 3D —

SETTINGS

Use the options in the Simulation 3D menu to make the timing

adjustments necessary for realistic simulation and 3D images.

NOTE: For complete 3D application notes, refer to the separate Using 3D in Mirage manual provided with the Mirage projector.

FRAME DELAY MONITOR —For

3D Stereo S

best results, the value should

SUBMENU OF ADVANCED IMAGE

Simulation 3D

Frame Dela

Monitor

Frame Delay

Dark Interval

3D Sync Input

3D Sync Output

nc Dela

Frame Lock Enable

1047 1000 2500 Input A To Emitter 592 Locked

3D Source

Mirage HD/WU Models

remain fairly constant, indicating that timing of input and output frames is locked; the Frame Delay Monitor value should stay within 5-10 lines or so of the Frame Delay setting. If a frame is lost or “dropped”, this value will cycle to maximum and jump to minimum and then repeat, indicating that the frame input is no longer equal to the output. If the signal is not locked, the values will change erratically; you can adjust the Frame delay to attempt a correction.

NOTE: For more information, refer to separate Using 3D in Mirage

manual

provided.

FRAME DELAY — Set the number of lines delayed between the input signal and its

appearance on screen, keeping in mind that projector processing always adds one frame of delay to the frame delay setting. For applications such as simulation, where

NOTE: For more information, refer to separate Using 3D in Mirage

manual

provided.

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DARK INTERVAL — Adjust Dark Interval to artificially increase the amount of dark

NOTE: For more information, refer to separate Using 3D in Mirage

manual

provided.

3D SYNC OUTPUT — This option defines 1) whether or not the sync will be frame

doubled on the output, and 2) whether or not the 3D frames must be inverted, i.e. swapped left-with-right. The correct setting ensures that the projector’s 3D display of left/right frames is synchronized with the rest of the 3D system components so that the intended eye sees the left/right image data. Select the option corresponding to your 3D source connections and timing, and use only if the Mirage 3D Stereo Sync Cable is connected between the projector’s GPIO port and a server. Only the last projector in the chain that is connected to the emitter will choose one of the emitter choices; all other projectors will choose ‘To Next Input’. Choose OFF when you are not using the Mirage 3D Stereo Sync Cable.

NOTE: For more information, refer to separate Using 3D in Mirage provided.

3D SYNC INPUT — Define which of the Mirage 3D Stereo Sync Cable’s input

manual

connecters is routed from your server. Use only if the cable is present. Only the first projector, possibly connected to external sync, will choose any of these selections. Every other projector will be getting sync from the previous projector on Input A or Input B.

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Input A

1. Input A, inverted

2. Input B

3. Input B, inverted

4. None / internal

5. None / internal, inverted

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Operation

3D STEREO SYNC DELAY — This value is set when the L/R frames begin and by

default, is automatically calculated based on signal timing; it defines the best reference point for synchronizing the display with your glasses. Proper adjustment of this delay should eliminate cross talk and odd colors caused by timing differences between the glasses and the projected display. Slide bar values indicate the number of lines that are delayed. NOTE: See Help menu to view the formula used to calculate this value.

FRAME LOCK ENABLE — This option allows the projector to control the output frame

NOTE: 1) For more information, refer to separate Using 3D in Mirage

manual

provided.

3D SOURCE — When using a Mirage projector with HD resolution, a checkbox

option called 3D Source will be added to the bottom of the Simulation 3D menu. This checkbox must be set by the user for all new 3D sources, and cleared for all new non-3D sources (default setting is checked). Once set, this value will be maintained for that source for all future uses. This option is also available under the Advanced Image Settings menu.

Simulation 3D — MATRIX MODELS ONLY —

SETTINGS

Use the options in the Simulation 3D menu to make the timing

adjustments necessary for realistic simulation and 3D images.

NOTES: 1) Available in Matrix projectors only.

FRAME DELAY MONITOR —For best

results, the value should remain fairly constant, indicating that

timing of input and output frames

SUBMENU OF ADVANCED IMAGE

Simulation 3D

Frame Delay Monitor

Frame Delay

Accuframe

Reserved Reserved Reserved

Frame Lock Enable

Reserved

Warp Latency

All Matrix Models

1050 1050

Locked

is locked; the Frame Delay Monitor value should stay within 5-10 lines or so of the Frame Delay setting. If a frame is lost or “dropped”, this value will cycle to maximum and jump to minimum and then repeat, indicating that the frame input is no longer equal to the output. If the signal is not locked, the values will change erratically; you can adjust the Frame delay to attempt a correction.

FRAME DELAY — Set the number of lines delayed between the input signal and its

appearance on screen, keeping in mind that projector processing always adds one frame of delay to the frame delay setting. For applications such as simulation, where

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ACCUFRAME – Increasing the AccuFrame value will reduce the artifacts related to

fast motion in simulation content. Symptoms of blurry objects or loss of apparent detail may indicate a need for this value to be adjusted.

NOTE: If increasing AccuFrame does not improve image quality, reduce the value to 0. Increasing AccuFrame may increase ‘flicker’ of the display and may reduce overall brightness.

FRAME LOCK ENABLE —

This option allows the projector to control the output frame timing based on the input signal. The locked option forces (if possible) the output image to be phase locked to the input frames. Rate Matched means that the output runs at close to the input frequency but isn’t locked to it so the output will drift in phase relative to the output. Free Run forces the output to run at a 60Hz frame rate.

Reserved - No function.

WARP LATENCY — Requires optional Christie TWIST module. Refer to Christie

TWIST User Manual

provided with the module.

Advanced Image Settings continued

MOTION FILTER —

This control is most useful for smoothing out moving images from

— SUBMENU

interlaced sources. In most cases the proper Motion Filter setting is automatically determined according to the type of incoming source signal. However, if your source is jittery and/or tearing you may wish to “force” a setting to ensure stable processing for this source—if desired, override the default “Auto” setting by selecting the appropriate motion filter:

AUTO: The projector will automatically use the correct motion filter according to

the incoming signal.

STILL: For static images with no motion, such as graphics from a CD.

MOTION: For video images that did not originate from film, or for moving

computer-generated images.

FILM: For video images that originated from film. This will optimize image

quality and stability.

FILM MODE THRESHOLD — This setting determines how sensitively the projector can

detect if an incoming video signal originated from film or not. It should not require adjustment.

DETAIL THRESHOLD — Use “Detail Threshold” to define at what frequency level the

“Detail” control will begin to magnify high frequencies, which adds details back into the image. Raise the threshold to ignore more of these high frequencies, and lower the threshold to magnify more of these frequencies. A setting of “0”, for example, means no noise will be ignored and all will be magnified. An ideal detail threshold is one in which high frequencies that are causing objectionable noise are not magnified when using “Detail”, but frequencies which can help sharpen an overly-soft image are magnified.

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Operation

3D SOURCE — When using a Mirage projector with HD or WUXGA resolution, a

checkbox option called 3D Source will be added to the bottom of the Advanced Image Settings menu. This checkbox must be set by the user for all new 3D sources,

and cleared for all new non-3D sources (default setting is checked). Once set, this value will be maintained for that source for all future uses. This option is also available under the Simulation 3D menu in Mirage HD or WUXGA projectors only.

FLOATING INPUTS - This allows the signals connected to inputs 1, 3, and 4 to have

floating ground references relative to the projector. Floating the inputs can remove hum bars in the image if the installation has conflicting grounds. However, floating the inputs can also introduce hum bars when the signal ground is the only connecting ground. Select the setting that produces the best image.

3.7 Adjusting System Parameters and Advanced Controls

System Configuration 

— GENERAL —

Use the Configuration menu to define general operating parameters and communications with other projectors and equipment, and to access other advanced processing and image adjustments affecting overall performance. In addition, the Configuration menu provides access to diagnostics, calibration tools and the Service submenu

Diagnostics and Calibration

0. Option 1 Card: Dual SD/HD-SDI

Option Card 2 Empty

Configuration

Language

Image Orientation

Reserved

Auto Power Up

Set Date And Time

Menu Preferences

Communications

Geometry and Color

Service

English Front

(password-protected).

Keep in mind that settings in the Configuration menu (and its submenus) are typically “global” settings applied regardless of the type of source being used. This characteristic is identified with the

(globe) icon alongside the option.

NOTE: The Configuration menu is recommended for experienced users/technicians only.

The first six options in the Configuration menu are explained below:

Language

Choose from available languages to use in the projector’s menus. The change will take effect immediately.

Image Orientation

Set the orientation of the image according to the orientation of your projector. If the setting is incorrect, projected images will be reversed and/or upside down.

Reserved - No function.

Auto Power-up

Enter a checkmark to enable the projector to automatically power up after losing power due to a power failure or due to unplugging the projector during operation. Note that unsaved display adjustments may be lost.

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Set Date & Time

Enter or read the current year-month-day and hour-minute-second. Changes here reset the projector’s real-time clock.

Menu Preferences

Adjust the appearance, content and/or location of on-screen menus and messages.

LARGE MENU FONT — Enter a

checkmark to enlarge menus and their text. You may have to adjust “Menu

— SUBMENU

Display Channel List

Display Error Messages

Splash Screen Setup

Menu Preferences

Large Menu font

Menu Location

Horizontal Shift

Vertical Shift

Display Slidebars

4:3 Top/Left 261 204

All

Always on

Location” to accommodate the increased menu area.

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 quickly, choose a preset that is closest to the desired location. Then adjust “Horizontal Shift” and “Vertical Shift” slidebars to move the menu to the desired location. Avoid locations too close to a corner or edge to prevent cropping of larger menus.

HORIZONTAL SHIFT AND VERTICAL SHIFT — Shift your menus as desired, creating a

customized menu location.

DISPLAY CHANNEL LIST — Enter a checkmark if you want to see a scrollable channel

list whenever you press icon

in the Channel Setup menu will appear here. The “Display Channel List”

option also enables on-screen feedback when using the

Chan

from your presentation. Channels marked with a list

Input

key. If you prefer to hide the channel list and input dialog box while switching channels and sources during a presentation clear the checkbox.

NOTE: The Channel List and input dialog box cannot be hidden during use of the menus.

DISPLAY SLIDEBARS — Enter a checkmark to superimpose a small slidebar over the

current image whenever an adjustable parameter is selected directly with a key such as

Contra st

Bri g h t

If “Display Slidebars” is unchecked, these slidebars can still be

accessed, but will be hidden during adjustment. This option does not affect slidebars in menus.

DISPLAY ERROR MESSAGES — Choose how you want to be notified of errors

detected in either the incoming signal or projector. Select “Screen” or “All” (default) to see brief on-screen messages. This is particularly recommended during setup or testing of the projector. Or select “Serial Ports” to receive messages via RS-232 or RS-422 serial communication only. To hide error message displays, such as during shows and presentations, select “Off” or “Serial Ports”.

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Operation

SPLASH SCREEN SETUP — Use the Splash Screen to choose when you would like to

display a special introductory splash screen image, such as your company logo, graphic or message.

 Always Off = A splash screen never appears

 Always On = A splash screen is always on behind the current display image,

similar to wallpaper.

 Startup Only – The splash screen logo appears at projector startup only.

 Startup And No Signal – A splash screen appears at startup only if there is no

source signal.

To replace the default “Christie logo” splash screen (or other) with one of your own, use KoRE Librarian to download the desired .bmp to the projector. This will overwrite the current splash screen content in projector memory.

System Configuration  — COMMUNICATIONS —

Settings in the Communications submenu define and control how single or multiple projectors are linked with each other and with a controlling device. See Figure 3.18.

Baud Rates

The baud rate setting determines the speed of communication to and from the

Baud Rate for RS232

1. Baud Rate for RS422

Network Routing

Ethernet Settings

Broadcast Key

Communications

Projector

Backlight

Front IR

Back IR

Wired Keypad

115200 1920 004 All Joined

On On Off

projector on the RS-232 or RS422 links. The maximum rate

Figure 3.18. Communications

for the RS-232 is 115200; for RS-422 it is 19200. Set the baud rate to match that of your controlling device, such as your PC. If you are unsure about what baud rate to choose, refer to the documentation for the controlling device. In an existing network of projectors, if you discover that a projector has a different baud rate, ensure the pull-down list is used and select the correct baud rate using the

key—do not just scroll this control with

keys. Serial communication is always eight data bits, no parity.

Projector

Enter a three-digit number (such as “001”) to assign or change a number to the projector currently in use. If the current projector already has a number assigned, that number will appear here (for example, “004” in Figure 3.18, above). Numerical identity for projectors enables you to communicate with a single projector within a

Pr oj

multiple-projector application (Refer to make a mistake in assigning or changing the projector number, press

key in 3.3 Using the Keypads). If you

Ex i t

to cancel.

NOTE: When multiple projectors are being used and you want to adjust the color and edge blending settings 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.

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Operation

Network Routing

NOTE: Not applicable for stand-alone projectors or simple serial networks with only one type of controller and linking.

Separate

1. RS232 and RS422 Joined

2. RS232 and

3. All Joined

SEPARATE: Select “Separate” (factory default) to keep RS-232, RS-422 and Ethernet

Ethernet Joined

messages on their respective paths instead of being broadcast to the other types of ports. In Figure 3.19A, RS-422 controls only the projector to which it is connected. In Figure 3.19B; either RS-232 or RS-422 will control the network.

Figure 3.19. Using the “Network Routing” Option

RS-232 AND RS-422 JOINED: Messages originating from an RS-232 or RS-422

controller will be relayed to all RS-232or RS-422 ports. Any Ethernet communication, however, will not.

RS-232 AND ETHERNET JOINED: Messages to and from the RS-232 ports will also be

relayed to the Ethernet port, and vice versa. Any RS-422 communications will be isolated.

ALL JOINED: All messages reach all ports, regardless of type.

Ethernet Settings

(SUBMENU)

NOTE: Recommended for network administrators only.

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DHCP: Enable this checkbox if you want a DHCP server to automatically change the

projector’s default IP address (0.0.0.0) to one that is valid and unique for use on the current Ethernet network. On networks without a DHCP server, or to simply override the automatic DHCP server function, delete the checkmark and enter the new “IP Address” settings desired. Remember that only a 0.0.0.0 address will trigger the DHCP addressing service, and only when the DHCP checkbox is enabled.

IP ADDRESS: Enter a valid and unique IP address for use on the network to which the

projector is currently connected. This address will overwrite any previous IP address such as the projector’s factory-defined default (0.0.0.0), or one that has been assigned by a DHCP server or other user. It takes approximately 10 seconds for the projector to respond at its new address.

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 valid port number here. It is highly recommended not to use a valid port number below 1024, as these ports are typically reserved for and used by common IP applications.

SUBNET MASK AND DEFAULT GATEWAY: The Subnet Mask and Default Gateway are

automatically assigned when DHCP is enabled. If a static IP is being used, the IP must be assigned first since the projector estimates the subnet mask after the IP is entered. The Default Gateway is an optional router device used to send and receive data outside the subnet.

ArtNet Interface Settings

ArtNet is an Ethernet communication protocol that was developed by Artistic Licence. It is used for controlling lighting/staging equipment from a

— SUBMENU

ArtNet Interface Settings

ArtNet Advanced Mode

ArtNet Device Description

ArtNet Subnet

ArtNet Universe

ArtNet Base Channel

ArtNet Device Name

00 00

001 Christie Christie / ArtNet Interface

lighting console or PC application. It is based on the popular DMX512 control protocol.

ArtNet SUBNET: This is the highest level address for a device. Typically it is set to 0.

ArtNet UNIVERSE: Each packet of data is broadcasted to all devices plugged into a

universe (up to 512 devices/channels).

ArtNet CHANNEL: There are 512 channels per universe. This control allows you to

specify the starting channel for this projector.

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ArtNet ADVANCED MODE: When this setting is enabled, each projector listens for data

on 64 channels starting with the base channel. When advanced mode is not in use, the projector only listens on 10 channels. You can squeeze more devices per universe when the projector uses fewer channels.

NOTE: The additional 54 functions are not currently implemented and are reserved for future use.

ArtNet BASE CHANNEL: When advanced mode is enabled, the projector listens to data

on 64 consecutive channels, or 10 consecutive channels when advanced mode is not enabled. The projector processes requests that come on either 10 or 64 consecutive channels beginning with the ‘base channel’ defined here. The requests implement the following functions:

DMX Channel Function Value

Base Shutter

Base + 1 Slider Lock

Base + 2 Input * 1 – 8 Input # Base + 3 Channel * 1-99 Channel #

Base + 4 Lens – Vertical *

Base + 5 Lens – Horizontal *

Base + 6 Lens – Focus *

Base + 7 Lens – Zoom *

Base + 8 Power *

Base + 9 None

0 – 64

65 – 192

193 – 255

0 – 254

255

1 – 254

255

1 – 254

255

1 – 254

255

1 – 254

255

1 – 254

255

* Functions are only active when the Slider Lock is set to Unlocked

Open

No Action

Closed Locked

Unlocked *

Lens Down

Stop

Lens Up

Lens Right

Stop

Lens Left

Negative Focus

Stop

Positive Focus

Zoom Out

Stop

Zoom In Power Off No Action Power On

NOTE: It is important the channels DO NOT overlap another device.

Example:

Good Bad

Proj1_Base = 0 Proj1_Base = 5 Proj2_Base = 10 Proj2_Base = 9 Proj3_Base = 20 Proj3_Base = 11

DEVICE NAME:

This option is used to name each device; some ArtNet servers support

querying for devices. Press Enter and use the arrow keys to enter a name. NOTE:

Refer to section 3.4 Navigating the Menus, Edit numerical Values, for text entry description.

DEVICE DESCRIPTION: More information that is returned when a “device query” has

been done.

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Operation

Broadcast Key

Enter a checkmark if you want keypad commands sent to one projector to be relayed

Pr oj

to all projectors in a serial network. Note that the

key will temporarily “override” the effect of a broadcast setting and allow you to control a specific projector when necessary. Disable the setting for all but one (any) projector in a network.

Backlight

Toggle to turn the built-in keypad backlighting on and off.

Front IR / Back IR

As needed for your application, set to “any” so that the front and/or rear IR sensor locations on the projector respond to the IR keypad. Set to “off” to disable. To disable both IR sensors, you cannot use the IR remote keypad to select the second

OFF setting. This safeguard prevents accidentally disabling an IR keypad while you

are using it. Instead, use either the built-in keypad or a wired remote (optional) to set the remaining active sensor to

OFF. The projector will no longer respond to an IR

remote keypad.

NOTE: Protocols B – G is used for rental staging applications.

Wired Keypad

The wired keypad is ON by default when connected to the rear of the projector. The projector will then respond to incoming commands from this port. To disable the wired keypad, you must use a different keypad—the built-in or an IR remote keypad—to select “off”. This safeguard prevents you from accidentally disabling the wired keypad during use.

System Configuration 

— GEOMETRY & COLOR —

In the Configuration menu, select the Geometry and Color submenu when

you need to modify overall color performance and/or image geometry for all sources.

Test Pattern



8. Intelligent Lens System (ILS)

Keystone and Warpi ng



(standard in Matrix models, optional in all other s).

Geometry and Color

Tes t Pa ttern

Keystone

Brightness Uniformity

Edge Blending

Color Adjustments by X,Y

Color Saturation

Black Level Blending

Default Color Adjustments

if ChristieTWIST warping module is pr esent

Grid

50.0

Choose the desired internal test pattern, or select OFF to turn off a test pattern. Alternatively, use the

Tes t

key for cycling through test patterns.

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Keystone

NOTES: 1) If the optional Christie TWIST module is installed, this option is Keystone and Warping, and activates a submenu for defining custom image shapes. Please refer to documentation included with your Christie TWIST module. 2) If you have a WU model and Christie TWIST is not installed, Keystone is not available.

Use to correct a keystoned image shape in which both sides of your image are inclined toward the top or bottom edge (see Figure 3.20). Tilting the projector in relation to the screen typically causes keystone, so that the lens surface and screen are no longer parallel to each other.

Figure 3.20. Keystone Adjustment

Brightness Uniformity

— SUBMENU

Brightness Uniformity provides further refinement of displays already matched for their primary colors and overall light output. Use Brightness Uniformity to create an exceptionally smooth image in which no area appears brighter and/or more red, green or blue than another. In the Brightness Uniformity menu, enable the “Uniformity Enable” checkbox to access a multitude of adjustments for critical color light output control in specific areas throughout the image. Your settings apply as long as the “Uniformity Enable” checkbox is enabled and you are using a “User” color temperature defined by the Brightness Uniformity controls. To disable the Brightness Uniformity function, delete the “Uniformity Enable” checkmark.

NOTES: 1) Refer to 3.11, Using Multiple Projectors for the complete step-by-step procedure for achieving uniform brightness in adjacent displays. 2) If Christie TWIST module is installed, the enable checkbox changes to a list giving the option to choose from several different uniformity maps. Please refer to documentation included with your Christie TWIST module.

Edge Blending

— SUBMENU

The Edge Blending submenu provides a range of controls for smoothing together the overlapping bright edges of multiple adjacent projected images to create a single larger “seamless” image. These controls, which primarily affect white levels, are typically used in conjunction with mechanical lens blinders (optional), which are installed on the front of the projector and which primarily affect blacklevels.

NOTES: 1) There is a centerline (both horizontal and vertical) in the Edge Blending test pattern. The intersection of these lines is the true center of the projector’s display area. 2) Refer to 3.11, Using Multiple Projectors.

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Operation

Color Adjustments by X/Y, and Color Saturation — SUBMENUS

NOTES: 1) For defining or changing a User 1, 2, 3, or 4 color performance or “gamut”. Sometimes known as Comprehensive Color Adjustment™. 2) Factory- defined primary color levels, which ensure a specific color performance from projector-to-projector, can be calibrated in the Service menu only. If you suspect alteration of these defaults, the factory settings can be recovered with selection of “Reset to Factory Defaults?” in the Color Primary Settings submenu accessed via the Service menu (password-protected).

From the factory, 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 (Figure 3.21). For most applications, one of these gamuts will produce accurate and realistic colors from a variety of sources. They can be applied at any time in the Advanced Image Settings menu

Figure 3.21. Color Gamut Choices

(“Select Color Adjustment”), and are not adjustable.

DEFINING “USER” COLOR GAMUTS: In some cases, you may find that none of the pre-

defined “Select Color Adjustment” options exactly 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. In such cases, use the Color Adjustments by X, Y or Color Saturation submenu to define the precise hue of each primary color component (red, green, blue, and white) used to generate the millions of colors produced in displays. You can create up to four custom color gamuts (User 1, 2, 3, or 4) with these adjustments.

Note that 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.

 Color Adjustments by X, Y

— Enter known x/y coordinates from the chromaticity

graph.

 Color Saturation

— Adjust color slidebars and judge image color by eye or

meter.

A user-defined color “adjustment” can be applied by selecting it in the Advanced Image Settings menu (“Select Color Adjustment”).

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COLOR ADJUSTMENT BY X, Y: Use

this submenu if you want to create, alter or copy a color gamut (i.e., “color adjustment”). Controls in this menu define the precise hue of each primary color component (red, green, blue, and white) used to generate the millions of colors produced in displays (Figure 3.22). The x/y coordinates for each color define its location on the standard CIE chromaticity graph (see Figure

3.23)—changing either or both of these numbers will change the hue of the color, and relocate the “triangle” for possible colors. For example, changing the x/y

Figure 3.22. Customize Color

coordinates for red may move the color closer to orange or closer to violet, which will in turn affect all displayed colors having a red component. Adjust the slidebars or enter new specific coordinates as desired to define or change up to four “User” color gamuts needed for your environment and applications. Apply at any time in the Advanced Image Settings menu.

Figure 3.23. CIE 1931 Chromaticity Diagram (without Yellow Notch Filter)

NOTE: Keep new x, y coordinates within the original color gamut triangle shown here.

PROCEDURE FOR X, Y ADJUSTMENTS: Refer to 3.11, Using Multiple Projectors.

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COLOR SATURATION: Use

this submenu if you do not have specific color coordinates in mind and will simply judge color performance 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—it is just a different interface. Figure 3.24.

Adjust the hue of each

Figure 3.24. Customize Color

primary color (red, green, blue, and white) by using more or less of it in relation to the other colors.

NOTE: A Color Saturation adjustment defines the corresponding x/y coordinates shown in the Color Adjustment by X, Y submenu. These x/y coordinates will remain stable for this User gamut until they are changed again via either menu. Values displayed in the Color Saturation menu, however, will likely fluctuate as you use the projector, and will be different when you return to this menu at some point in the future. These floating changes do not affect the x/y coordinates or gamut.

Black Level Blending

— SUBMENU

Black Level Blending is a feature that eliminates the differences between black levels when edge blending multiple projectors. The Black Level Blending submenu provides many controls to allow the edges of adjacent images to be smoothly overlapped creating a “seamless” image. Black Level Blending provides a simple solution for uneven black levels, without the need for external hardware, by matching up black level hues with a “target area” hue (the intersection of the center lines), and adjusting the overlaps (edges) surrounding the target area.

The use of Black Level Blending feature and the use of Christie TWIST module are mutually exclusive. On a WU model, Keystone is only available when Christie TWIST is in use. If Christie TWIST is installed and Black Level Blending is desired:

1. Disable use of warps or 2D Keystone.

2. Enable edge blending; if not enabled.

3. Enable Black Level Blending.

4. Power down the projector then power up again.

Adjustments can now be made to black level controls.

To restore the use of Christie TWIST:

1. Disable black blending.

2. Power cycle the projector.

3. Begin using the TWIST controls.

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NOTES: 1) Refer to section 3.11, Using Multiple Projectors for additional information. 2) There is a centerline (both horizontal and vertical) in the Black Level Blending test pattern. The intersection of these lines is the true center of the projector’s display area. 3) Adjust white levels before adjusting black levels. 4) Blinders are recommended for fixed installations.

Default Color Adjustments

— SUBMENU

Refer to System Configuration – Geometry and Color, Color Adjustments by X, Y for description.



Intelligent Lens System (ILS

) — SUBMENU

ILS provides the ability to recall focus and zoom settings specific to each source input. Custom lens settings you’ve chosen for any source will be quickly and accurately applied when you select a source that has already been calibrated. Place a checkmark in the checkbox to enable ILS. If no calibration has previously been done you may be prompted to do a full calibration. If a motion calibration has been done, you will be prompted to complete a reference calibration. If both calibrations have been done, the checkbox will be checked and ILS enabled. If ILS is enabled, a reference calibration will be done on power up and the lens will return to the saved position of the source that is active at the time of power up or to the position the lens was located when it was powered on. Further adjustments to the zoom, focus and position will be automatically saved for source the selected source. If you switch to a source with different lens settings and switch back, the lens will automatically move to your saved settings upon return. Other sources can be used without using ILS .

NOTES: 1) Refer to System Configuration – Diagnostics/Calibration, ILS Calibration for further details about calibration. 2) ILS



control is a preference

setting and will be retained between power cycles.

System Configuration 

DIAGNOSTICS / CALIBRATION

Test Pattern

Choose the desired internal test pattern to display, or select OFF to turn off a test pattern. Alternatively, use the

Tes t

key

for cycling through test patterns.

NOTE: There is a center line (both horizontal and vertical) in the Edge Blending test pattern. The intersection of these lines is the true center of the projector’s display area.

Diagnostics and Calibration

Automatic ILS Lens Calibration

Odd Pixel Adjustment

Aspect Ratio Overlay

Test Pattern

Grey Level

Freeze Image

Color Enable

Reserved

Peak Detector

Level Detector

Level Value

LiteLOC Calibration

ILS Calibration

Grid 512

White

512

Calibrate LiteLOC Full Calibration

Test Pattern Grey Level

Set the desired level of grey for displaying in the full gray field test pattern.

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Freeze Image

Enter a check mark to freeze (stop) an image on a single frame. This diagnostic tool is useful if you need 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 checkmark to return back to normal.

Color Enable

Select which color or colors you want to see. This is useful while working with color temperature, input levels or other special setup parameters. Colors can also be enabled or disabled by entering the corresponding function code listed on the back of the standard remote keypad.

Odd Pixel Adjustment

NOTES: 1) Factory-set and rarely required by user. 2) Source must be >90 MHz

When using certain RGB sources, you may need to adjust the normal gain or offset of odd pixels in relation to even pixels. This will smooth out very narrow (1-pixel wide) “checks” or vertical stripes that indicate adjacent “on” and “off” pixels. Using the Level Detector simplifies this process (see Figure 3.25):

1. Use an external analog native-sized continuous grayscale test pattern with at least

256-levels.

2. Turn “Level Detector” on.

3. Set “Level Value” to ~200. The image should now be black-and-white (or black-

and-one color, if you use “Color Enable” function).

4. Adjust offset. Half of the pixels will move, the other half will not.

5. Adjust until the two transition regions overlap. The stripe of noise will be

minimized, defined by the value in the slidebar.

6. Set “Level Value” to ~800. The image should now be black-and-white.

7. Repeat Steps 4 and 5, but adjusting gain.

8. Repeat Steps 3-7 for all remaining colors. Your RGB source should now be OK.

Two sets of values are automatically saved with these controls—one value for Input #1, and one for Input #2 (analog). The current set of values depends on which source is in use. This enables a source to be processed correctly via two different inputs.

Odd Pixel Adjustment

Red Odd Pixel Offset

Red Odd Pixel Gain

Green

Odd Pixel Offset

Green Odd Pixel Gain

Blue

Odd Pixel Offset

Blue Odd Pixel Gain

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Level Detector

Level Value

Auto Color Enable

Color Enable

Input Levels

Figure 3.25. Using “Odd Pixel Adjustment”

128 145 128 128 116 128

200

White

Set to ~ 200 & adjust Offset.

Set to ~ 800 & adjust Gain.

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NOTES: 1) Adjust offset before gain, since offset affects gain. 2) A value of 128 represents no change in normal odd pixel offset or gain. 3) Odd Pixel Adjustment eliminates “one pixel on, one pixel off” artifact only, not any type of larger artifacts.

Reserved - No function.

Peak Detector

The “Peak Detector” is a fast method for defining individual input levels, and can improve 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 gray. When used with a 16-step grayscale 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 blacklevels and input drives until both bands are just visible. Images from this source will then display correct blacks and whites without crushing or washing out.

NOTE: If using Peak Detector with PIP, both images must have the same color space.

Level Detector

The “Level Detector” checkbox enables 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. It aids in Odd Pixel Adjustment. To use:

1. Enable “Level Detector” and display a continuous grayscale.

2. Set “Level Value” to near black (such as 200).

3. Adjust Offsets to minimize area of black stripe.

4. Set “Level Value” to near white (such as 800).

5. Adjust Gains to minimize area of white stripe.

Level Value

Level Value defines the value to be used by the Level Detector in recognizing blacks and whites. Refer to Level Detector, above.

Aspect Ratio Overlay

Selecting this option with a checkmark will overlay a number of common aspect ratio boxes on top of the source image. This is very helpful during the setup of the projector and can be turned off after desired specifications have been achieved.

LiteLOC™ Calibration

NOTES: 1) LiteLOC™ Calibration takes up to two minutes. 2) For best results, allow the projector to warm up for 15 minutes prior to calibration.

LiteLOC™ Calibration defines the range of power needed to maintain lamp brightness. Select Calibrate LiteLOC for calibration using your projector’s unique specifications (recommended) rather than standard specifications. The projector will revert to the default back up in the event of a power failure. Refer to the Lamp menu for more details.

Use Default Settings

1. Calibrate LiteLOC

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Christie HD18K, HD18, WU12, WU12K-M, WU7 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual