Christie 4000, HD4, HD2, HD7 User Manual

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Mirage S+/HD, Matrix S+/HD,

Christie HD/DS+/DW, DLV

USER MANUAL

020-100001-05

China RoHS Compliance Information

关于中国《电子信息产品污染控制管理办法》的说明

• Environmentally Friendly Use Period

环保使用期限

The year number in the centre of the label indicates the Environmentally Friendly Use Period, which is required to mark on the electronic information product sold in China according to the China RoHS regulations.

本标志中表示的年数是根据《电子信息产品污染控制管理办法》（2006年2月28日）以及《电子信息产品污染控制标识要求》（2006年11月6日）制定的、适用于在中华人民共和国境内销售的电子信息产品的环保使用期限。

• Material Concentration Values Table 有毒有害物质含量表

Part Name

部件名称

铅

（Pb）汞（Hg）镉（Cd）

Low voltage

power supply

(LVPS)

AC relay

Ballast 镇流器

TIPM PCB

Built-in keypad

Three-chip panel

driver

High Definition

Panel Driver

Dual slot

backplane

module

Lamp Contact

PCB

Blower/Fan

Sensor

Illumination optics

system

Projection Lens

Auxiliary optics

Mechanical

enclosure*

Software CD 软件光盘

Lamp

Battery

Note: O : indicates that the concentration value of the particular hazardous substance contained in all the homogeneous materials for this part, according to EIP-A, EIP-B, EIP-C, is below the stipulated levels in China SJ/T11363-2006. 表示该有毒有害物质在该部件所有均质材料中的含量均在SJ/T11363-2006规定的限量要求以下。 X: indicates that the concentration value of the particular hazardous substance contained in all the homogeneous materials for this part, according to EIP-A, EIP-B, EIP-C, may be above the stipulated levels in China SJ/T11363-2006. 表示该有毒有害物质至少在该部件的某一均质材料中的含量可能超出SJ/T11363-2006规定的限量要求。 * This part uses metallic alloys, which may contain Lead. 因该部件使用金属合金材料，故可能含有铅。

低压电源

继电器

TIPM电路板

控制键盘

三芯驱动板

高清晰度驱动板

双槽底板模块

灯连接板

吹风机/风扇

传感器

照明光学系统

投影镜头

辅助光学器件

机械附件

灯泡电池

X O O O O X

X O O O O O X O O O O X X O O O O O X O O O O O X O O O O O

X O O O O O

O O O O O O O O O O O O X O X O O O

X O X O O O X O X O O O X O O O O O

O O O O O O X O X O O O O O O O O O

Material Concentration

(有毒有害物质或元素)

六价铬

(Cr 6+）

多溴联苯（PBB）

多溴二联苯醚

（PBDE）

Mirage S+/HD, Matrix S+/HD, Christie HD/DS+/DW, DLV User Manual i

020-100001-05 Rev. 1 (12-2008)

1 INTRODUCTION

2 INSTALLATION &

SETUP

3 OPERATION

4 MAINTENANCE

5 TROUBLESHOOTING

6 SPECIFICATIONS

APPENDICES

Table of Contents

1.1 Projector Overview ......................................................................................... 1-1

1.2 Components..................................................................................................... 1-3

1.3 Purchase Record and Servicing ....................................................................... 1-4

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

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

2.3 Connecting Sources ....................................................................................... 2-12

2.4 Connecting Communications ........................................................................ 2-15

2.5 System Integration – GPIO Connector .......................................................... 2-19

2.6 Power Connection ......................................................................................... 2-19

3.1 About the Projector ....................................................................................... 3-1

3.2 Using the Remote or Built-in Keypad ............................................................. 3-3

3.3 Navigating the Menus ................................................................................... 3-10

3.4 Using Inputs and Channels ............................................................................ 3-14

3.5 Adjusting the Image ...................................................................................... 3-19

3.6 Adjusting System Parameters and Advanced Controls ................................. 3-39

3.7 Working with PIP and Seamless Switching .................................................. 3-53

3.8 Working with the Lamp ............................................................................... 3-56

3.9 Status Menu ................................................................................................. 3-60

3.10 Using Multiple Projectors ............................................................................. 3-60

3.11 Remote Control of the Projector .................................................................. 3-71

3.12 Error Conditions ............................................................................................ 3-71

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

4.2 Cleaning and Maintenance Guide ................................................................... 4-4

4.3 Replacing Remote 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 ........................................................................................................... 5-3

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

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

Appendix A: Glossary ............................................................................................... A-1

Appendix B: Keypad Reference ................................................................................. B-1

Appendix C: Serial Communications ......................................................................... C-1

Appendix D: Throw Distance .................................................................................... D-1

Appendix E: System Integration ................................................................................ E-1

Appendix F: Optional Input Modules ......................................................................... F-1

Appendix G: Index .................................................................................................... G-1

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

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020-100001-05 Rev. 1 (12-2008)

1.1 Projector Overview

Section 1

Introduction

The Mirage S+/HD, Matrix S+/HD, Christie DH/DS/DW, DLV User Manual supports software v1.6g or higher. The projectors listed below are all professional 3-chip projectors, based on nextgeneration Digital Light Processing™ (DLP™) technology by Texas Instruments™ to deliver high quality, crisp, clean images.

Mirage S+3K/6K/8K and Mirage HD3/6/8 projectors provide a powerful combination of SXGA+ and HD + resolutions, high brightness and high contrast ratios to produce flawless, realistic three-dimensional graphic images for simulation, virtual reality and other stereographic related applications.

Additional reliable and compact projectors are the Matrix S+2K/5K/HD2/HD4/HD7, Matrix 4000. With their purpose built simulation features such as RGB color matching, and gamma controls, it can be used to simulate any application.

The DLV1400-DX and DLV1920-DX are designed for the demands of 24/7 control room applications and provide long-term reliability and performance.

This guide applies to the following projector models:

Mirage S+3K

Mirage S+6K

Mirage S+8K

Mirage HD3

Mirage HD6

Mirage HD8

Matrix S+2K

Matrix S+5K

Matrix HD2

Matrix HD4

Matrix HD7

Matrix 4000

DLV1400-DX

DLV1920-DX

Christie DS+6K

Christie DS+8K

Christie DS+5Kc

Christie HD3K

Christie HD6K

Christie HD8K

Christie HD2Kc

Christie HD5Kc

Christie HD7Kc

Christie DW5K

Christie DW8K

Christie DW6Kc

Christie DW4Kc

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Section 1: Introduction

Main Features 

• Native SXGA+, HD or HD2 resolution (model dependant) with all others fully

scaleable

• Internal scaling of stereo signals (Mirage models)

• 10-bit video processing

• Built-in multi-standard video decoder

• Display of NTSC, PAL and SECAM video input

• User replaceable Cermax

• LiteLOC

™

for constant brightness

• Intelligent Lens System (ILS

Xenon lamp

™

) to save and restore lens settings

• Motorized lens mount for all models

• Auto-setup feature

• Integrated ChristieNET™

• Networking ability through RS232 and RS422 connectors

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

• Control with IR, wired or built-in keypad

• Two input slots for Optional Input Modules

Refer to Section 6 for a complete list of Specifications including Brightness and Contrast and Optional Input Modules

Inputs 

There are two different types of input face plate configurations (model dependant). See 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 Christie HD models only)

• Compatible with all currently used HDTV formats

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

Figure 1.1

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Section 1: Introduction



Figure 1.2

How the projector works 

1.2 Components

Lamp Type Model Name Resolution ChristieTWIS

500W Models DLV1400-DX SXGA+ Optional

1000W Models DW5K, 4Kc HD2 Optional

1200W Models DW8K, DW6Kc HD2 Optional

NOTE: Kc models include the same features, but are color corrected to film color standards.

The projector accepts data/graphics and video input signals for projection onto front or rear flat screens. High brightness light is generated by an internal Xenon lamp then modulated by three Digital Micro-mirror Device (DMD) panels that provide digitized red, green or blue color information. Light from the “on” pixels of each panel is reflected, converged and then projected to the screen through a single front lens, where all pixels are perfectly superimposed as a sharp full-color image (2D or 3D for Mirage models only).

The following listed items are shipped with your projector. Ensure you have received all these items before using your projector.

• User Manual

• IR remote keypad (includes two, 1.5V AA batteries and a mini-stereo cable for

conversion to wired)

• Line cord

• Stereo 3D Cable (Mirage only)

• Warranty Card

3D Motorized Lens

Mount



DLV1920-DX HD Optional Christie HD3K HD Optional Christie HD2Kc HD Optional Mirage S+3K SXGA+ Optional Mirage HD3 HD Optional Matrix S+2K SXGA+ Matrix HD2 HD

Christie DS+6K/5Kc SXGA+ Optional Christie HD6K/5Kc HD Optional Mirage S+6K SXGA+ Optional Mirage HD6 HD Optional Matrix S+5K SXGA+ Matrix HD4 HD

Matrix 4000 SXGA+

Christie DS+8K SXGA+ Optional Christie HD8K/7Kc HD Optional Mirage S+8K SXGA+ Optional Mirage HD8 HD Optional Matrix HD7 HD

   

  

 

  

 

  



 





 



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020-100001-05 Rev. 1 (12-2008)

Section 1: Introduction

Whether the projector is under warranty or the warranty has expired, Christie’s highly

1.3 Purchase Record and Warranty Registration

trained and extensive factory and dealer service network is always available to quickly diagnose and correct projector malfunctions. 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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2.1 Quick Setup

Section 2

Installation & Setup

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.

Step 1 

Ste

2 

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.

Ste

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3 

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

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

connector at video to

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

INPUT 6

Refer to 2.3 Connecting Sources for more details on connecting a specific source.

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

INPUT 3 and S-video to INPUT 4.

INPUT 5 or

for additional connections.

Section 2: Installation and Setup

Ste

4 

5 

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.

Plug the line cord to the AC receptacle located on the right hand side of the projector and the three-pronged end into a grounded AC outlet. Ensure the socket outlet is installed near the equipment and is easily accessible. The input voltage to the projector must be capable of 100 – 240 VAC in 500W and 1000W models and 200240 VAC in 1200W models. (See also Section 6 – Specifications for complete details on all power requirements.)

Use the approved North American-rated line cord supplied with the projector. If you are connecting to an area outside of North America ensure an appropriately rated line cord is used.

Turn the Projector ON

Press the

POWER button on either the remote or built-in keypad to turn the projector on. Wait a few minutes to allow the projector to warm up. The LED status window displays an active pattern of segments to indicate the projector is changing its state from powered down to powered up. The message “On” appears in the display when the projector has completed its initialization and is ready for use.

Ste

6 

7 

Select a Source

Press one of the input keys on the remote or built-in keypad to select and display the image for the source you connected in Step 3.

Adjust Image

Adjust the more common image settings, such as Brightness, Contrast, Gamma, Focus, Zoom etc. using the direct keys on the IR remote.

You can also access the menu system and adjust these and other image settings by

pressing

on the remote.

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Section 2: Installation and Setup

2.2 Installation Considerations

Proper installation of your projector will ensure the quality of your display. Whether you are installing a projector temporarily or permanently you should take the following into account to ensure your projector performs optimally.

Installation type 

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

Front Screen, Floor Mount Installation

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

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

• Shares floor space with audience

• Installation is more permanent

• It is more difficult to access the projector

• Requires separate room

• Installation cost is usually higher

• Requires separate room

• Installation cost is usually higher

• Requires separate room

• Installation cost is usually higher

Screen T

e 

Front Screen Installations

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

Flat screens are most recommended with this projector. They offer a gain of about one with a viewing angle just less than 180°. This type of screen reflects incident light equally in all directions so the audience can see the display from various angles.

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

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Section 2: Installation and Setup

Rear screen installations

There are two basic types of rear screens: diffused and optical.

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

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

Screen size

Choose a screen size, 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 eyeto-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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Section 2: Installation and Setup

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 screen must be at least 13.3feet (4m) wide.

Ambient Li

hting 

Other Considerations 

Projector Position and  Mountin

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.

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, which may affect performance.

• Keep the projector away from devices, which 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, using a 0.73:1 lens, throw distance would roughly be 0.73 x screen width.

IMPORTANT: Once you determine the type of lens and screen size you’re going to use, calculate the precise throw distance using the formula or graphs located in Appendix D. Due to lens manufacturing tolerances for lens focal length, actual throw distance can vary ±5% between lenses described as having the same throw ratio.

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020-100001-05 Rev. 1 (12-2008)

Section 2: Installation and Setup

Vertical and horizontal position

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

The vertical position of the image can be offset – that is moved above or below the optical axis (lens center) by adjusting the fully motorized lens mount with the keypad. The amount of vertical offset available depends directly on the lens installed in the projector and can be slightly limited if horizontal offset has been applied. Vertical offset can also be expressed as the percent of half the image height OR the number of pixels of shift from lens center. Refer to Figure 2.1 for some illustrated examples of vertical offset.

Table 2.1 along with Figure 2.2 show the maximum vertical offset of a lens or alternatively, how much of your projected image will appear above or below lens center if the maximum vertical offset is applied using that lens.

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%

 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.

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Section 2: Installation and Setup

Figure 2.1. Vertical Offset Examples

Mirage S+/HD, Matrix S+/HD, Christie HD/DS+/DW, DLV User Manual 2-7

020-100001-05 Rev. 1 (12-2008)

Section 2: Installation and Setup

Figure 2.2. Lens Vertical Offsets

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Section 2: Installation and Setup

The horizontal position of the image can be offset – that is moved to the left or right of lens center, by adjusting the fully motorized lens mount through software. The amount of horizontal offset available depends on the lens installed and if the image has already been vertically offset. Horizontal offset can also be expressed as the percent of half the image width – the number of pixels of shift to one side of lens center. Refer to Figure 2.3 for some illustrated examples of horizontal offset.

See also Table 2.1 along with Figure 2.4 which shows the maximum horizontal offset of a lens or alternatively, how much of your projected image will appear to one side of lens center if the maximum horizontal offset is applied using that lens.

Figure 2.3. Horizontal Offset Examples

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Section 2: Installation and Setup

Figure 2.4. Lens Horizontal Offsets

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Section 2: Installation and Setup

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.

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.

SPECIAL MOUNTING – The projector can be rotated (front-to-back) up to 360 degrees

and mounted without it affecting performance. However, the side-to-side tilt limit of the projector must not exceed ±15 degrees. This tilt limit is required to ensure optimal performance of the projector.

STACKING – An optional stacking frame is available for all models which allows

stacking up to a maximum of three projectors in an upright or inverted orientation. Refer to the instructions provided in the Stacking Frame kit (104-117101-01) for details regarding the assembly.

Adjusting projector height

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

Folded Optics

In rear screen applications where space behind the projector is limited, a mirror may be used to fold the optical path. See Figure 2.5. The position of the projector and mirror must be accurately set – if considering this type of installation call your dealer for assistance.

Figure 2.5. Folded Optical Path

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Section 2: Installation and Setup

Sources connect to the Input Panel located at the back of the projector. See Figure 2.6.

2.3 Connecting 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

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

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.

INPUT 1) typically accepts an RGB signal from an external

INPUT 2) accepts digital or

INPUT 3

RGB Signals 

Figure 2.6. Input Panel

NOTES: 1) See Section 6 – Specifications for details regarding compatible inputs.

2) Use high quality shielded cables only for all connections.

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

typical connection would be to an RGB source 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 2.7.

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Section 2: Installation and Setup

YPbPr Signals 

(COMPONENT VIDEO)

Figure 2.7. Connecting RGB and Sync

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. See 3.5 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).

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

2.8.

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 3.5, Adjusting

the Image. 2) Do not connect digital

. Install an appropriate optional module in INPUT 5 or INPUT 6 for this.

Figure 2.8. Connecting YPbPr sources

component signals (known as YCbCr) to INPUT

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Section 2: Installation and Setup

Com

osite and S-Video 

DVI Di

ital Video 

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 2.9.

Figure 2.9.Connecting Composite or S-Video sources

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.

tional Inputs 

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.

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 5 or INPUT 6. Options include:

• RGB 500 Input Module

• RGB 400 Active Loop Thru Input Module

• RGB 400 Buffered Amplifier Input Module

• PC250 Analog Input Module

• Serial Digital Input Module

• DVI Input Module (standard on Mirage HD models)

• Dual SD/HD-SDI Module (standard on Christie HD models)

NOTE: See Appendix F – Optional Input Modules for a brief description of each interface.

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Section 2: Installation and Setup

2.4 Connecting Communications

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 (RS232 and RS422), Ethernet or GPIO communications to the projector, all described below.

Remote Keypads 

Serial Port Connections 

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—see

3.6, Adjusting System Parameters and Advanced Controls for more information.

There are two types of serial ports available on the projector: RS232 and RS422. 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 RS232 IN and RS232 OUT on the input panel are dedicated to serial communication (see Figure 2.10). Using the appropriate serial communication cables (see Appendix C) connect the controlling source, such as a personal computer to the RS232 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 2.10. Connecting RS232

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 (see Figure 2.11). RS-422 is better suited for serial communication over long distances then is RS-232 communication.

Use the RS-422 port only if your device had RS-422 capability – always

consult the literature provided with your equipment before connecting. Connecting to the RS-422 port with incompatible equipment could damage your projector.

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Section 2: Installation and Setup

Figure 2.11. Connecting RS422

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 on the side of the projector.

Connecting Multiple  Pro

ectors

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

0.0.0.0.0 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 menu or via an ASCII serial command.

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 Section 3 for further information about setting up and using a projector connected via Ethernet.

Log on to www.christiedigital.com for detailed information on ChristieNET™.

RS-232 NETWORK: If you want to connect multiple projectors in a network with serial

communication, connect the controlling source to the RS232 IN connector of the first projector in the network. Then take another serial communication cable and connect one end to the RS232 OUT connector and the other end to the RS232 IN connector of the next projector. Continue this pattern of connection with all projectors in the network. The last projector in the network will only have a connection to the RS232 IN connector. See Figure 2.12.

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Section 2: Installation and Setup

Figure 2.12. RS232 Network

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

RS422 interface, first set them all to the same baud rate as your RS422 controller.

NOTE: You must enable this combination of RS422 and RS232 in the Communications menu. Set the “Network Routing” option to “RS232 and RS422 Joined”. See Section 3 for details.

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

RS232 port of the first projector

RS422 port) to an RS232

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

RS232 port. See Figure 2.13.

Figure 2.13. Mixed 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. See 3.6, Adjusting System Parameters and Advanced Controls if you need help changing the projector baud rate. In addition, set the Network Routing to “RS232 and RS422 Joined” if you want to reach all projectors.

NOTES: 1) To avoid damage, connect only properly wired serial communication cables. See Appendix C for details. 2) It is recommended that each RS232 communication cable be no more than 25 feet in length. Use high quality cables.

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 belonging to the network. A controller or PC must also be connected to the hub. See Figure 2.14.

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Section 2: Installation and Setup

Figure 2.14. 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 2.15.

Figure 2.15. 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.

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 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, 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.

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Section 2: Installation and Setup

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

and Advanced Control, System Configuration – Communication for additional

information about ArtNet settings.

arating Networks 

By default, communications originating from one type of serial controller—RS232 vs. RS422 vs. Ethernet—stay on the corresponding network path. A “Separate” setting indicates this separation for “Network Routing” in the Communications menu. If you are using an RS422 controller, for example, it will communicate only with the projector to which it is connected unless you change this setting to either “RS232 and RS422 Joined” or “All Joined”.

Communicating to  All Ports

To relay all messages to all ports—RS232, RS422, and Ethernet—set the “Network Routing” option in the Communications menu for each projector to “All Joined”. This configuration is useful if you are using a non-RS232 controller with the RS232 linking available between these projectors. For example, you may want to use both an RS422compatible controller and an Ethernet-connected PC for working with a network of projectors linked via their RS232 in/out ports.

2.5 System Integration GPIO Connector

Figure 2.16. Joining All Networks

To isolate just RS422 communications, select “RS232 and Ethernet Joined”. In Figure

2.16, only projector #3 will respond to the RS422 controller. To isolate just Ethernet communications, select “RS232 and RS422 Joined”—only projector #1 will respond via Ethernet.

The GPIO connector on the input panel can be used to provide a method of interfacing a wide range of external I/O devices to the projector.

Refer to Appendix E: System Integration for complete details on pin configuration and how to program the various pins on the connector.

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Section 2: Installation and Setup

2.6 Power Connection

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.

Plug the line cord to the AC receptacle located at the back of the projector, below the input panel, and the three-pronged end into a grounded AC outlet. Ensure the socket outlet is installed near the equipment and is easily accessible. The input voltage to the projector must be capable of 100 – 240 VAC in 500W and 1000W models and 200240VAC in 1200W models. (See also Section 6 – Specifications for complete details on all power requirements.)

Use the approved North American-rated line cord supplied with the projector. If you are connecting to an area outside of North America ensure an appropriately line cord rated for the region of use is used.

Always power down the projector before unplugging the AC line cord. Wait 5-10 minutes for the main exhaust fan to turn off and for the lamp to cool sufficiently before unplugging the projector.

WARNINGS

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

within the specified voltage and power range.

Wait for the cooling fans to turn off before unplugging the

projector.

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3.1 About the

Projector

Section 3

Operation

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.

Built-in Keypad 

AC Rece

ustable Feet 

tacle 

The built-in keypad is located at the back of the projector, beside the input panel. Use it similarly to the IR remote to control the projector. A status LED display is also included on this keypad for monitoring projector status.

The AC receptacle is located at the back of the projector just below the input panel. Use this outlet to plug in an appropriately rated line cord. Refer to Section 6 – Specifications for details.

Located on the underside of the projector are two fully adjustable feet. Raise or lower these feet when positioning the projector to ensure it is level on all sides so the displayed image will appear rectangular without any keystone.

NOTE: The third foot, located at the rear of the projector (underside) is not adjustable.

Refer to Section 2 - Projector Position and Mounting for instructions on how to adjust the projector’s feet.

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Section 3: Operation

Lens Mount & Pro

ection Lenses 

ut Panel 

The projector is built with a motorized lens mount that allows for easy lens control and adjustment. This includes such functions as adjusting vertical and horizontal offsets, zoom and focus. The lens mount can be fitted with any one of the available optional lenses – see Section 6 - Specifications.

• Zoom and Focus – There are two internal lens motors that allow for quick

motorized adjustment of zoom and focus. Adjust zoom to fit the displayed image on the screen and adjust focus to improve the clarity of the image.

• Lens Offset – Vertical and horizontal offset is performed on the lens mount

through the use of DC motors.

• Shutter – Standard on all models the shutter allows you to turn the screen

absolutely black when in the “on” state.

• Optical Aperture – Enables adjustment of light output and contrast ratio.

NOTES: 1) The projection lens is shipped separately from the projector. 2) Use the lens cap when transporting the projector to avoid scratching and damaging the lens, which could affect your displayed image.

All source connections are made to the input panel located at the back of the projector. Connect RGB or YPbPr sources to

2, composite video to INPUT 3, and S-video to INPUT 4. Any of the available optional

modules can be installed in

INPUT 5 and/or INPUT 6.

INPUT 1, analog or digital display signals to INPUT

Coolin

and Air Vents 

Front & Rear IR Sensors 

Lam

Door 

There is no status display on the input panel. The only status display is part of the built-in keypad located at the rear of the projector.

There are numerous air vents located around the projector. It is important these vents remain unobstructed. Adequate airflow through the projector will prevent it from overheating.

The two IR sensors located on the projector receive transmissions from the IR remote from up to 100 feet away. It is important to keep the transmission path to these sensors unobstructed for uninterrupted communications with the projector. The front IR sensor is located next to the projector’s nameplate and the rear IR sensor is located at the back of the projector just above the status LED display.

The lamp door is located at the back of the projector, which provides easy access to the lamp module for replacement. See Section 4 for lamp replacement procedures.

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Section 3: Operation

play

3.2 Using the Remote or Built-In Keypad

Keypad Commands 

Built-in 

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

directly into the beam of the remote.

The projector is typically controlled using one of the following keypads:

• Built-in Keypad located at the back of the projector

• Remote Keypad for tethered or tether-less control up to 100 feet away (includes

cable for use 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 what functions can be accessed directly with a key press rather than requiring use of the menu system. You may find one keypad more convenient than another for your specific installation and application.

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 3.1). The nearby LED display provides feedback indicating current status and activities of the projector, (see Table

3.1). 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.

IR Remote 

TABLE 3.1 – LED Status Dis



NOTE: The built- in keypad cannot be disabled.

Refer to the key

Figure 3.1. Built-in Keypad

descriptions provided for the IR remote – see Figure 3.2.

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.

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 occured

the Lamp

Cooling down (Rotating Horizontal Bars)

Power to Off state or Powering up (segments spinning clockwise

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Section 3: Operation

*These are toggle keys, which require you to press and hold or press twice or press and use the up/down arrow keys.

OSD

NOTE: To turn the OSD off you must press

Figure 3.2. Remote Keypad

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and .

Section 3: Operation

Wired Remote 

Guide to Ke

ads 

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.

Keep in mind the following guidelines:

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

• Note that the two keys—Power

and Shutter

Shutte r

are “press-and-hold” keys

that do not function with a typical quick press-and-release key press (see Figure

3.2).

• 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.

• 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.

ad Commands 

Te s t

Auto

Specific keypad commands are explained below:

Power ON/OFF

Press and hold or (off) with a single keystroke. Or press and release

(on) or

for two seconds or press twice quickly to toggle the projector (on)

followed immediately by

(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 five minutes to cool the lamp. 2) It is a good idea to avoid turning a projector back on until it has been off for a few minutes. Hot re-strikes of the lamp may reduce lamp life.

Test

Te s t

Press lead you to the current input. If you press

to step forward through all internal test patterns and this will eventually

Te s t

and then cycle by using the and

right arrow keys, you’ll be cycling in either direction through the test patterns

only, no input.

Auto

Press

to initiate an automated process in which the projector optimizes critical display parameters such as size, position, pixel tracking, etc., for the current source. These parameters are listed in Table 3.1. An Auto Setup can save time in perfecting a display and you can modify the adjustments as desired.

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Section 3: Operation

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

NOTE: You must have an unlocked channel present to use Auto Setup.

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.

Channel

NOTE: Channel (

) key behaviour 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. See Menu Preferences later in this section.

Input 1

Input 2

Input 3

Input 1

Press

Input 2

Press

Input 3

Press

to display from the data input source connected to BNCs labeled

to display from the DVI source connected to INPUT 2.

to display from the composite video source connected to INPUT 3.

INPUT 1.

Input 4

Input 5

Input 4

Press

Input 5

Press

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

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

NOTE: If you have the optional Dual SD/HD-SDI Module installed and there are two inputs connected here, the second input (B) is considered built-in keypad or the remote keypad, press

• While displaying from

INPUT 5, press

INPUT 5 to access INPUT 7 as follows:

Input 5

again. This switches to INPUT 7.

INPUT 7. If you are using the

• 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

SD/HD-SDI 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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Section 3: Operation

Input 6

Press

to display from the INPUT 6 interface module installed in the Option 2 slot.

NOTE: If you have the optional Dual SD/HD-SDI Module installed and there are two inputs connected here, the second input (B) is considered built-in keypad or the remote keypad, press

INPUT 6 to access INPUT 8 as follows:

INPUT 8. If you are using the

• While displaying from

INPUT 6, press

Input 5

again. This switches to INPUT 8.

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

Input 5

, which switches to either INPUT 5 or INPUT 8, depending on which of the

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

Input 5

again to

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

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. See 3.5, Adjusting the Image (Image Settings subsection).

Bri g h t

Brightness

Bri g h t

Press

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. See 3.5, Adjusting the Image (Image Settings subsection).

Gamm a

Gamma

“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

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to enter or exit the projector’s menu system.

Section 3: Operation

OSD

OSD (On-screen display)

Press

OSD

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

• Press

OSD OSD

for two seconds

OSD

followed immediately by

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.

Shutte r

Shutter

Shutte r

Press and hold

for two seconds to toggle the internal mechanical shutter blade

closed or open with a single keystroke. Or press and release immediately by

(closed) or

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

(open) to guarantee the correct toggle (useful if

Shutte r Shutte r

Shutte r

followed

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 display shows “5H”, when the shutter is closed. 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

Func

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

Func

display 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 from stacked projectors.

NOTE: Color enabling can also be implemented from numerous locations within the menu system.

Pro j

Projector

Press

Pro j

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

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Section 3: Operation

The “Projector” checkbox (read-only) shows whether or not the projector physically connected to a keypad is 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, press

Pro j

and then enter the threedigit 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 projectors, press

Pro j

and then

Pro j

again without entering a projector number. Keypad commands will then affect all projectors present. Note that there is no method of controlling a group of projectors within the same wired configuration using the wired keypad exclusively, since there is only one wired protocol available.

NOTES: 1) 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. 2) See 3.6, Adjusting System Parameters and Advanced Controls.

Exi t

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.

Exit

Exi t

Press

NOTE:

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 slide bar value) or within pull-down lists. It acts as a “cancel” in these cases.

Arrow Keys

Use the

keys to change a slide bar value or to select a different option within a pull-down list without having to first scroll through options. See also Editing Text later in Section 3.

Use the

Lens Focus, Zoom and Lens H, Lens V

keys to navigate within a menu, pull-down list or text box.

When adjusting the image for focus, zoom, horizontal and vertical positioning, use the specific arrow keys (

/ or / ) related to each function. A small

window will appear to indicate the type of adjustment taking place. For example,

• Use the “Focus”

• Use the “Zoom” ”

or keys to improve image clarity as desired.

or keys to achieve a desired image size.

• Use the “Lens H” ” or keys to position the image horizontally while still

keeping it rectangular.

• Use the “Lens V”

or keys to position the image vertically while still

keeping it rectangular.

Press

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Exi t

to return to presentation level.

Section 3: Operation

Le n s

NOTE: Use the

Sh i f t

key (built-in keypad) with the general keys to get the same effect as if using the arrow keys related to “Lens V” or “Lens H” on the IR remote.

Laser

3.3 Navigating the Menus

Press

to activate the laser pointer on the remote. This feature is useful when making presentations - just point the remote at the screen to highlight an area of your presentation. The closer you are to the screen the brighter the laser beam appears. The laser pointer works best in an environment where ambient lighting can be controlled.

NOTE: Leave batteries in the wired remote keypad for the

Most of the controls for the projector 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.

On the remote keypad, either enter the number corresponding to the function menu you wish to access,

such as highlight the desired option, then press

for the Image Settings menu, or use the

. The corresponding function menu or

pull-down list of further options will then appear.

CAUTION

LASER RADIATION DO NOT STARE INTO BEAM

LASER DIODE

key to work.

keys on any keypad to

Wavelength 670nm Max Output 1mW

CLASS II LASER PRODUCT

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.

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

to return to the previous screen

to leave the menu system and return to the presentation

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Section 3: Operation

On-line Hel



If at any time you are uncertain what to do next, press

Help

information about the current menu or highlighted option. Press addition, a line of “hint” text is included at the bottom of some menus.

Lamp

Lamp Hours

Lamp S/N

Lamp Message

Press

Lamp Limit

Lamp Mode

Power

Intensity

Optical Aperture

Lamp History

Change Lamp

Help

from the presentation level to access general Help Topics. Scroll 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).

Exi t

to return to your presentation.

to display summary

Help

again to exit. In

Time-outs 

If a slide bar, menu, or message is displayed, you have limited time in which to make a keypad entry before the projector returns to presentation level disappears. These time-outs may vary depending on what is displayed.

The Global Icon 

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

Using Slide bars and  Other Controls

Most of the function menus allow you to change settings by using slide bars, checkboxes, and pull-down lists. To select a slide bar, 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 Position menu).

• Move the highlight to the option desired and press

immediately.

• Bypass the menus entirely and use a single key to immediately access an

adjustment during your presentation (applies only to options having their own key, such as Contrast, Brightness, Gamma, etc.).

• For “blind” access, hide the entire menu system (see OSD key, above) and/or

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

Help

and the graphic

to select “Vertical Stretch” in the Size &

(Enter).

to adjust

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Section 3: Operation

Once selected, change the setting as desired (see below) and press to save and return to the current function menu.

Slide bars in menus – The current value for a given

parameter, such as size or vertical stretch, appears to the left of its slide bar 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 number entry via the keypad and then press

“Direct” slide bars - For quick access, you can access Gamma, Brightness, and

Contrast slide bars without traveling the menu system. For example, simply press

to activate a slide bar text box for specific

to save (or press

Exi t

to cancel).

Cont

to immediately display the same contrast slide bar accessed with the Contrast option in the Image Settings menu.

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

Exi t

you are done, press

to save and return to your presentation.

to save (or

and enter a specific

Exi t

to cancel). When

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

OSD

(see

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

direct slide bar disappears if it is not used within five seconds.

Checkboxes - Conditions are present if its adjacent

checkbox contains a checkmark. To toggle the checkbox, simply highlight and press

, or highlight and use to check and

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

• Enter the menu option number

Use the

is noted with a small

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

∋). Press to choose an option from the list, if desired (see

Figure 3.3).

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Section 3: Operation

Communications

Baud Rate for RS232

1. Baud Rate for RS422

Network Routing

Ethernet Settings

Projector

Broadcast Key

Backlight

Front IR

Wired Keypad

Back IR

115200 115200 004 All Joined

On On Off

Example of Pull-Down List

Separate

RS232 and RS422 Joined

RS232 and

All Joined

Ethernet Joined

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

. Press

when the desired choice appears.

Editin

Text 

NOTES: 1) Press list. 2) Press

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

Exi t

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

(such as a channel name) and press

to jump between pages in an extra long pull-down

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.

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 number directly from the

Figure 3.3. Entering Text

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

Func

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

Fu n c

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

press

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(Enter).

Section 3: Operation

Editin

Numerical Values 

3.4 Using Inputs and Channels

Do I Select an Input  Or a Channel?

NOTE: Press

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: See 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.

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

Inp ut

describes the

source signal according to which input slot it is connected.

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 image from the new source will be as large as possible without losing its aspect ratio. This and other default image settings depend on the incoming source.

If you used the source once before and changed a display parameter such as contrast, V-Position, etc., then a channel was automatically created and still exists in

projector memory (see below). Using one of the

Inp ut

keys will automatically recall

this channel—and all its setup parameters—and update the display accordingly.

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.

NOTE: Inputs 7 and 8 require the Dual SD/HD-SDI module in either of the projector’s option slots. For their selection, see also 3.2 Using the Remote or Built- In Keypad.

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

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Section 3: Operation

you choose for a VCR source may be very different from those you choose for a highresolution 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

Channel

selected by using the

key on the keypad followed by the two-digit channel

number.

Channel

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

. This is

typically called the channel list.

NOTE: The list or not, depending on what you have defined for “Display Channel List” (see Menu Preferences later in this section).

In order to access channels by using the keypad, you must first create the channels. See below.

Creating a New  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 (see Copying or Deleting Channels later in this section).

When you select a direct input ( channels in the projector are searched for matching input and signal parameters – this only occurs if Auto Source is enabled on these channels. If no match to the incoming input signal is found in currently defined channels, a new channel is temporarily created based on factory-defined defaults for this type of signal. The channel number assigned is the lowest available number from 01-50.

Channel

key may display a channel

Input 1, Input 2

Channel

Input 3

Input 4, Input 5

Channel List

Input 6

), any existing

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.

USING A CHANNEL: You can normally select a channel at any time by pressing

Channel

(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.

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Section 3: Operation

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.

What Channels  Are Defined So Far?

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

Press

from the presentation level to display the Main menu. To display the Channel Setup menu,

press

, or move the highlight to the Channel Setup option and press Channel Setup menu will appear (see sample at right),

. The

All Channels Appear in the

Channel Setup Menu

with the active channel highlighted.

WHAT APPEARS IN CHANNEL SETUP MENU? This menu

lists all channels defined so far and indicates where they are connected on the input panel. The far left column lists channel numbers currently defined. The values in the far right columns indicate horizontal and vertical frequencies—if someone 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, a variety of icons indicating access to each channel, and an abbreviated description of each signal type. See 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

Channel

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.

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Section 3: Operation

Copying o Deletin

Channels

Table 3.2. Abbreviations for Signal Type

Abbrev. Signal Type

4WH Composite (4 wire) on HC input 4W

Composite (4 wire) on V input SG Sync-on-green 5

Separate H, 5WR Separate H,V swapped SVid S-Video CVid Composite Video Dig Digital

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:

Fu n c

• Press

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

channels. See Copying or Deleting a Channel below.

• 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, then



Fu n c

press

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

—a new channel will be created. It is identical to original, which still remains, but it is identified with the next available number from 01-50. If you change your mind and do not want to copy the current channel, press

Exi t

to cancel and return to the previous menu. Copying channels is a quick method for creating numerous channels, each of which can then be edited and adjusted for a variety of presentations in the future. See Figure 3.4.

Figure 3.4. Copying A Channel

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

Fu n c

then press press

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

—a window will appear to confirm the deletion of this channel. See Figure

3.5.

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Section 3: Operation

Figure 3.5. Deleting a Channel

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

Fu n c

and press Only” and press

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

to delete all unlocked channels. 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 window will appear to confirm the deletion of the desired channel. Select “Cancel” (default) if you don’t want to delete after all.

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.

Press

Channel Setup menu, press and press

from the presentation level to display the main menu. To display the

, or move the highlight to the Channel Setup option

. The Channel Setup menu will appear.

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

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

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 alphanumeric 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.

•

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Section 3: Operation

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 up to 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 when

Channel

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

Channel

the keypad or via the Auto Source function.

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

Channel

locate the selected channel only when it is directly selected via

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.

3.5 Adjusting the Image

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

•

the previous channel in the Channel Setup list.

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

•

next channel in the Channel Setup list.

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 slide bars, checkboxes and pull-down lists.

Exi t

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

Exi t

“contrast” slide bar immediately. Press

to return to your presentation.

Contrast

to access the

NOTES: 1) To hide these “direct” slide bars, disable the “Display Slide bars” checkbox in the Menu Preferences menu. 2) To hide the entire menu system from view, turn off the on-screen display by pressing

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OSD

Section 3: Operation

Before You Be

in 

Size and Position Menu 

Use Auto Setup (

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

Auto

)

Auto

. This initiates an automated process in which the projector quickly optimizes critical display parameters 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.

In the Size and Position menu, you can increase or decrease the size of your image, change its proportion (aspect ratio), move the image to a specific area of the screen, and refine other related parameters. Use Size and Position controls to match the image precisely to the screen used at the site.

Refer to "Using Slide bars 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

Exi t

Resize Presets

NOTE: The same resize presets are available to all HD and HD2 widescreen models. Please note however, 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 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 as possible for the type of incoming source data, but with minimal or no changes to aspect ratio. 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. This option is not offered 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.

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Section 3: Operation

• Select

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

may not match the projector’s resolution. For example, for a source with a native resolution of 800 x 600, “No Resizing” in an SXGA+ projector will use the central 800 x 600 pixels and have a black border—the black border areas are unused areas. See below.

• Select “FULL SIZE” to use all

pixels 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 left-toright 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

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Section 3: Operation

fill the screen from side-to-side and be centered between black bars at top and bottom.

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.

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, the aspect ratio is maintained, and that the pixel phase can be optimized (described below). Tracking determines the frequency of the pixelsampling 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 shutdown screen. Adjust the slide bar until the vertical stripes broaden to the point where one large stripe fills the image. If the image still exhibits some shimmer or noise, adjust 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 pixelsampling 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 slide bar until the image stabilizes and each pixel is clearly defined. You may notice that you can stabilize the image at more than one point—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.

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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.

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 projector automatically determines what portion of its full resolution to use, and pixels in the surrounding

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

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 right). 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 (see Figure 3.6). For example, left Blanking zooms the right side of the PIP image; Right Blanking zooms the left side. There are no black

Blanking of a Primary Image

bars.

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Section 3: Operation

PIP Advanced Size & Position

Active Input Window

4. Plug & Display <EDID>

Top Blan k

Bottom Blank

Left Blank

Right Blank

1600x1200 0 0 0 0 Native Resolution 60Hz

Figure 3.6. Blanking of a PIP Image

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.

PIP Advanced Size & Position

Active Input Window

4. Plug & Display <EDID>

Top Blan k

Bottom Blank

Left Blank

Right Blank

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

1600x1200 49 2 485 67 Native Resolution 60Hz

Image Settings Menu 

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 slide bar.)

“Contrast” increases or decreases the perceived difference between light and dark areas of your image (0-100). For best results, keep close to 50. If 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).

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Section 3: Operation

Brightness

(

SHORT CUT: Press

Bri g h t

and adjust the slide bar.)

“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.

Gamma

(

SHORT CUT: Press

Gamma

and adjust the slide bar.)

“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.

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.

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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

or INPUT 6. Although color space for these analog signals is

INPUT 1, INPUT 2, INPUT

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

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 only (

— SUBMENU

INPUTS 3 or 4).

Enable Decoder AGC

Video Standard

Input Video Black

Decoder Luma Delay

Video Options

A Auto

0 IRE

Color

Tint

50.0

50.0 35

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.

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Section 3: Operation

)

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”.

COLOR: This slide bar 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 slide bar 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

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Section 3: Operation

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 two 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 black levels for each of the three colors, red, green and blue— ensure that images from analog sources other than decoded video have maximum contrast without crushing black or white. By default (and in an “Auto Setup”), the projector automatically determines the best input levels by monitoring image content and adjusting the controls appropriately—further adjustment is typically not required to obtain proper blacks or whites.

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 black levels (typically caused by a noisy source causing black level 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.

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.

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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 black levels (black) that would cause “crushing” of light and dark colors in the image. After entering a checkmark, wait for the six slide bar values to stabilize, then delete the checkmark and exit. The Auto Input Level is automatically turned off upon exit from the Input levels Menu.

BLACK LEVELS 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 or digital source not connected to INPUT 3

or INPUT 4. Input Levels are not applicable for sources going through 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 black levels manually instead. Judge by eye and change one or more of the six levels as necessary to obtain proper blacks and whites. You may want to see only a certain color while adjusting—use the “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 black level

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.

CLAMP LOCATION – This option (formerly known as sync tip

clamping) can brighten the image produced from certain high-

resolution high-frequency graphic sources. The projector automatically selects the best clamp location for almost all sources. Use the normal Back Porch location if the image is either sufficiently bright or overly bright. Select Sync Tip if the image appears unusually dim, if there are horizontal streaks across the image, or if there is significant color drift. This moves the clamping pulse from the normal back porch location (which is likely too short) to the tip of the horizontal sync pulse. Tri Level is typically needed for an HDTV source.

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.

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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.

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 black levels 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 3.7. 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 “Black level” slide bar just until a

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

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

just until a single band of color appears at the opposite edge of the screen. This band represents the last band of the 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 black

level slide bar if necessary.

NOTE: Readjusting the black levels affects the gain at this point; 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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Section 3: Operation

Figure 3.7. 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 only available for Mirage HD.

dvanced Image Settings

1. Select Color Adjustment

Film Mode Threshold

Gamma Table

Color Temperature

Optical Aperture

Reserved

Simulation 3D

Motion Filter

Detail Threshold

3D Source

Floating Inputs

Graphics Max. Drives

7600

Auto 0 0

GAMMA TABLE: This control applies

a default video, graphics or simple gamma table or “curve” to your images, controlling the intensity of mid-level colors and producing maximum contrast, brightness and color performance. As shown at right, the graphics curve is a modified power curve that will show more detail in darker areas of the projected content 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 true power curve that does not alter the contrast or the intensity of mid-level colors. 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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NOTES: 1) If no user curves have been defined and downloaded to projector

memory, only the 2.2 default gamma curve is available here – adjust as desired using gamma in the main Image Settings menu. 2) Some graphic material will look best with the video setting while some video material is best with the graphic setting.

SELECT COLOR ADJUSTMENT: In “Select Color Adjustment”,

choose an overall color palette for all images. The “Max Drives” factory default simply drives all three 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 slide bar and applies its current setting (default = 6500K). If none of the predefined “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 slide bar is enabled only if you have a source connected and have selected “Color Temperature” in the adjacent “Select Color Adjustment” pull-down 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.

RESERVED - No function.

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Section 3: Operation

Mirage S+ Series — Simulation 3D — SUBMENU OF ADVANCED IMAGE

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

Frame Delay Monitor

3D Stero Sync Locking

3D Stero Sync Select

3D Stereo Sync Delay

Frame Lock Enable

Simulation 3D

1047

Frame Delay

Dark Interval

Reserved

Mirage S+ Models

1000

128 Output Input A 1000 Locked

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.

NOTE: See separate Using 3D in Mirage manual provided for more information.

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: See separate Using 3D in Mirage

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

manual provided for more information.

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: See separate Using 3D in Mirage

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

manual provided for more information.

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 leftwith-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.

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Section 3: Operation

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: See separate Using 3D in Mirage

3D STEREO SYNC SELECT

— Define which of the

manual provided for more information.

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.

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

1. Rate Matched

2. Free Run

NOTE: 1) See separate Using 3D in Mirage

manual provided for additional

information.

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Mirage HD Series — Simulation 3D — SUBMENU OF ADVANCED IMAGE

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

Frame Dela

3D Stereo S

Frame Lock Enable

Simulation 3D

Monitor Frame Delay Dark Interval

3D Sync Input

3D Sync Output

nc Dela

3D Source

Mirage HD Models

1047 1000 2500 Input A To Emitter 592 Locked

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: See separate Using 3D in Mirage manual provided for more information.

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: See separate Using 3D in Mirage

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

manual provided for more information.

NOTE: See separate Using 3D in Mirage

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

manual provided for more information.

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.

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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

NOTE: See separate Using 3D in Mirage

3D SYNC INPUT —

Define which of the

Mirage 3D Stereo Sync Cable’s input connecters

is routed from your server. Use only if the cable is present. Only the first projector, possibly connected to

manual provided for more information.

Input A

1. Input A, inverted

2. Input B

3. Input B, inverted

4. None / internal

5. None / internal, inverted

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.

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) See separate Using 3D in Mirage

manual provided for additional

information.

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 non3D 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.

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Simulation 3D — MATRIX MODELS ONLY — SUBMENU OF ADVANCED IMAGE

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 is

Frame Delay Monitor

Frame Lock Enable

Simulation 3D

Frame Delay

Accuframe

Reserved Reserved Reserved

Reserved

Warp Latency

All Matrix Models

1050 1050

Locked

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

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 ChristieTWIST module. See ChristieTWIST

User Manual provided with the module.

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Advanced Image Settings continued — SUBMENU

MOTION FILTER —

This control is most useful for smoothing out moving images from 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.

3D SOURCE — When using a Mirage projector with HD 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 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.

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3.6 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 (passwordprotected).

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

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.

Set Date & Time

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

Menu Preferences

— SUBMENU

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 Location” to accommodate the increased menu area.

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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” slide bars to move the menu to the desired location. Avoid locations too close to a corner or edge to prevent cropping of larger menus.

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

Channel

list whenever you press

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

also enables on-screen feedback when using the

from your presentation. Channels marked with a list icon

Channel

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 SLIDE BARS — Enter a checkmark to superimpose a small slide bar over the

current image whenever an adjustable parameter is selected directly with a key such as

Bri g h t

If “Display Slide bars” is unchecked, these slide bars can still be

Contrast

accessed, but will be hidden during adjustment. This option does not affect slide bars 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 RS232 or RS422 serial communication only. To hide error message displays, such as during shows and presentations, select “Off” or “Serial Ports”.

SPLASH SCREEN SETUP —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.

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

• Start-up And No Signal – A splash screen appears at start-up 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.

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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.

Baud Rates

The baud rate setting determines the speed of communication to and from the projector on the RS232 or RS422 links. The

Baud Rate for RS232

1. Baud Rate for RS422

Network Routing

Ethernet Settings

Communications

Projector

Broadcast Key

Backlight

Front IR

Back IR

Wired Keypad

115200 19200 004 All Joined

On On Off

maximum rate for the RS232 is 115200; for RS422 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, use the pulldown list and select the correct baud rate using the control with

keys. Serial communication is always eight data bits, no

key—do not just scroll this

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 the menu shown above). Numerical identity for projectors enables you to communicate with a single projector within a multiple-projector application (see also make a mistake in assigning or changing the projector number, press

Pr oj

key in 3.2, 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.

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

Ethernet Joined

SEPARATE:

RS232 and

3. All Joined

Select “Separate” (factory default) to keep RS232, RS422 and Ethernet messages on their respective paths instead of being broadcast to the other types of ports. In Figure 3.8A, RS422 controls only the projector to which it is connected. In Figure 3.8B, either RS232 or RS422 will control the network.

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Figure 3.8. Using the “Network Routing” Option

RS232 AND RS422 JOINED: Messages originating from an RS232 or RS422 controller

will be relayed to all RS232or RS422 ports. Any Ethernet communication, however, will not.

RS232 AND ETHERNET JOINED: Messages to and from the RS232 ports will also be

relayed to the Ethernet port, and vice versa. Any RS422 communications will be isolated.

ALL JOINED: All messages reach all ports, regardless of type.

Ethernet Settings

(SUBMENU)

NOTE: Recommended for network administrators only.

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.

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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 port # 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.

NETWORK NAME: Set the name for the projector, as it should appear on the local

network. The control is most useful when DHCP is enabled, since the IP address may change from one session to another.

ArtNet Interface Settings

— SUBMENU

ArtNet is an Ethernet communication protocol that was developed by Artistic License. It is used for controlling lighting/staging equipment from a lighting console or PC application. It is based on the popular

ArtNet Device Description

ArtNet Universe

ArtNet Advanced Mode

ArtNet Base Channel

ArtNet Device Name

ArtNet Interface Settings

ArtNet Subnet

00 00

001 Christie Christie / ArtNet Interface

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 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:

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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

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

* Functions are only active when the Slider Lock is set to Unlocked

NOTE: It is important to ensure 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

ARTNET 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.

ARTNET DEVICE DESCRIPTION: More information that is returned when a “device

query” has been done.

Broadcast Key

Enter a checkmark if you want keypad commands sent to one projector to be relayed to all projectors in a serial network. Note that the

Pr oj

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

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(

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 are 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

Choose the desired internal test pattern, or select OFF to turn off a test pattern. Alternatively, use the

Tes t

Geometry and Color



Brightness Uniformity

Color Adjustments by X,Y

Black Level Blending

Default Color Adjustments

Intelligent Lens System (ILS)

Test Pattern

Keystone

Edge Blending

Color Saturation

Grid

50.0

key for cycling through test patterns.

Keystone

Keystone and Warping



standard in Matrix models, optional in all others).

if ChristieTWIST warping module is present

NOTE: If the optional ChristieTWIST 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.

Use to correct a keystoned image shape in which both sides of your image are inclined toward the top or bottom edge. Tilting the projector in relation to the screen typically causes keystone; the lens surface and screen are no longer parallel to each other.

Figure 3.9. 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.

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NOTES: 1) See also 3.10, 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 black levels. 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.

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) See also 3.10, Using Multiple Projectors.

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. 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 (“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.

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• Color Adjustments by X,Y — Enter known x/y coordinates from the chromaticity

graph.

• Color Saturation

— Adjust color slide bars and judge image color by eye or

meter.

A user-defined color “adjustment” can be applied by selecting it in the Advanced Image Settings menu (“Select Color Adjustment”).

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. The x/y coordinates for each color define its location on the standard CIE chromaticity graph (see Figure

3.10)—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 3.10. 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 slide bars 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 3.11. CIE 1931 Chromaticity Diagram (without Yellow Notch Filter)

NOTE: Keep new x,y coordinates within the original color gamut triangle shown here.

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PROCEDURE FOR X,Y ADJUSTMENTS: See 3.10, Using Multiple Projectors.

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.

Adjust the hue of each primary color (red, green, blue, and white) by using more or less of it in relation to the other colors.

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. 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.

NOTES: 1) Refer to section 3.10, 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

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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™ .

System Configuration 

DIAGNOSTICS / CALIBRATION

NOTES: 1) See 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.

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 centerline (both horizontal and vertical) in the Edge Blending test pattern. The intersection of

Automatic ILS Lens Calibration

Diagnostics and Calibration

Test Pattern

Grey Level

Freeze Image

Color Enable

Odd Pixel Adjustment

Aspect Ratio Overlay

Reserved

Peak Detector

Level Detector

Level Value

LiteLOC Calibration

ILS Calibration

Grid 512

White

512

Calibrate LiteLOC Full Calibration

these lines is the true center of the projector’s display area.

Test Pattern Grey Level

Set the desired level of grey for displaying in the full gray field test pattern.

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.

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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/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 (one-pixel wide) “checks” or vertical stripes that indicate adjacent “on” and “off” pixels. Using the Level Detector simplifies this process (see Figure 3.12):

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 slide bar.

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

Level Detector

Level Value

Auto Color Enable

Color Enable

Input Levels

Figure 3.12. Using “Odd Pixel Adjustment”

128 145 128 128 116 128

200

White

Set to ~ 200 & adjust Offset.

Set to ~ 800 & adjust Gain.

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.

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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 black levels 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. See 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.

Use Default Settings

1. Calibrate LiteLOC

Intelligent Lens System (ILS

™

) Calibration

This option allows you to choose between three types of lens calibrations. Reference calibration determines a reference point that is used as a defined starting position for

relative motion of the lens. All positioning is measured from this reference point. A reference calibration is lost when power is removed from the projector and will occur on every power up as long as ILS™ is enabled. A motion calibration determines the

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characteristics of each motor and values are saved in the projector’s memory. If ILS™ is enabled and a motion calibration has previously been done, the projector will automatically recall these settings from memory when it’s being powered up and a motion calibration will not take place. A full calibration performs both a reference and motion calibration.

Automatic ILS Lens Calibration

When this option is selected (default) and the projector is in ILS mode, the projector will perform a lens calibration on each power-up. During calibration, the shutter will be closed and the status LED will display ‘LC’. If ILS is not selected, the ALC setting will be ignored. If, during power-up, ALC is not selected and ILS is, the last stored location from the previous ILS calibration will be assumed to be true and the lens will moved to that position upon power-up if necessary.

System Configuration 

OPTIONAL INPUT MODULES

System Configuration 

CONFIGURE CHANNELS - SUBMENU

The two “Option Card” entries In the Configuration menu identify which optional

Option Card 1: Dual SD/HD-SDI Module

Loop Thru Output Selection

Configure Channels

Input A to C, Input B to D Automatic

input modules (a.k.a. cards) are present at

INPUT 5 (Option 1) and INPUT 6 (Option 2). If

either of these option

Input A to C, Input B to D

1. Input A to D, Input B to C

2. Main to C, PIP to D

3. Main to D, PIP to C

slots is empty, the corresponding read-only menu entry does nothing. If there is a module installed, the corresponding menu entry may activate a submenu of further options pertaining to that module.

For example, if the Dual SD/HD-SDI module is installed at

INPUT 5 (Option 1). The

Option 1 Card submenu provides controls for configuring the various connections on this multi-input, multi-output module. As desired for your application, you can define

1) which physical input loops through to which output, and 2) which functional input (main or PIP signal) loops through to which output.

Select Automatic mode or a series of manual modes. In Automatic mode the input video payload information is read and compared to that of the SMPTE 352 standard to detect the dual link format and the primary channel. Single video input will also work in this mode without any

Automatic

1. Two Single Channels

2. 4:4:4 RGB Dual Link, Channel A Primary

3. 4:4:4 RGB Dual Link, Channel B Primary

4. 4:4:4 YCbCr Dual Link, Channel A Primary

5. 4:4:4 YCbCr Dual Link, Channel B Primary

payload information. Dual link input video which does not contain payload information must be set up manually. Select the format and which of the two channels is the primary input.

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3.7 Working with PIP or Seamless Switching

PIP (Picture-in-Picture) and Seamless Switching are independent but related projector features that both utilize two image-processing paths within the projector. In the case of Picture-in-Picture, this double processing enables you to display two different images simultaneously – typically a smaller “secondary” image within a large “primary” background. In a seamless switch, the double processing essentially occurs between displays so that a full image relayed from one source can smoothly transform into a full image from another source. This change can be virtually instantaneous, or slowed as desired so that the current image appears to dissolve or “fade” into the new image.

Options for enabling and controlling PIP and Seamless Switching all reside in the same menu. Note, however, that because both features utilize the projector’s double processing capability, PIP and Seamless Switching cannot be used together. For example, fading a pair of PIP images into a new display from a different source is not possible.

For best PIP or Seamless Switching results, use two different signal types* as defined below. Do not mix two signals of the same type.

Signal Type Description (Input Location)

#1 5 BNCs (RGBHV or YPbPr) #2 DVI - I (analog or digital) #3 Decoded signals (Input 3, Input 4, Composite video, S-Video, or any video

signal via Input 1 BNC connectors or via an analog option card). #4 Analog Option Cards #5 Digital Option Cards #6 Digital Option Cards

* HD interlaced sources are not recommended for the PIP window.

Working with PIP 

Other PIP or Seamless Switching tips to keep in mind include:

• When using two digital signals or one analog and one digital, each must be ≤ 165

megapixels.

• When using two analog signals, each must be ≤ 90 megapixels.

• Avoid using an interlaced source in the PIP window

• Seamless switching may affect image quality in some cases

NOTE: To control the primary image, access all picture controls through the Main menu. To control the secondary (PIP) image, access picture controls through the Picture-in-Picture and Switching menu.

Use the first of six options in the PIP and Switching menu to enable and define how you want to use PIP.

Picture

-in-

Picture

Options

Swap Main and PIP Image

Numbers Select Main Image

PIP and Switching

PIP Enable

PIP Size & Position

PIP Image Settings

PIP Border Width

PIP Border Color

Image Optimization

Fade Time

4 Red

PIP Onl

Switchin

Options

(n/a)

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Swap Main and PIP Image

Toggle the current picture-in-picture relationship so that the primary (main) image becomes secondary (PIP), and the secondary image becomes primary. Swapping is available only when PIP is enabled.

NOTE: There may be a slight delay when swapping the Primary and Secondary images.

PIP Enable

Short cut: Press

on the Remote if menu not present.

Toggle to display from two sources at once (Picture-inPicture) or the primary source only. This checkbox turns the secondary source on and off.

NOTE: Disable PIP and

Best Switching for Interlaced sources > 35kHz.

PIP Size and Position –

SUBMENU

Most controls in the PIP Size and Position menu adjust the PIP

(secondary) image in the same fashion as their counterparts in the main Size and Position menu adjust the main image—see 3.6, Adjusting the Image for details. Exceptions are:

POSITION PRESETS –Set the

location of the PIP (secondary) image in the display.

ASPECT RATIO PRESETS – Choose the desired aspect ratio for your PIP pixels. Use

the “Default” aspect ratio when incoming format has square pixels (most common). This ensures that the resulting PIP image maintains its intended aspect ratio. Use “Anamorphic” for NTSC signals having narrower pixels--this will stretch the pixels horizontally to regain the intended aspect ratio of the PIP image.

NOTE: If the image is already resized at the source it will remain that way in the PIP window. If, for example, an NTSC signal is already set to anamorphic through the Resize and Preset menu it will remain that way in the PIP window. If the NTSC signal is formatted as widescreen at the source, then the image in the PIP window will appear with black bars above and below it.

PIP Image Settings —

SUBMENU

Adjust the PIP (secondary image) without affecting the size or position. The primary image remains unchanged. See 3.6, Adjusting the Image for details

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Working with Seamless  Switchin

PIP Border Width

Set the desired line thickness for your PIP window border.

PIP Border Color

Select the desired color for the PIP window border.

NOTES: 1) Numbers 7 and 8 on the Picture-in-Picture and Switching submenu control switching parameters. 2) Disable PIP in order to work with Seamless Switching. 3) Disable PIP and Best Switching for Interlaced sources > 35kHz.

Seamless Switching is the ability to instantly and/or smoothly switch sources, and is controlled with options 7 and 8 in the PIP and Switching menu. To use Seamless Switching, PIP must be disabled.

Tips for best source switching:

• Ensure a channel has been configured for each source.

• Progressive digital and analog sources are recommended.

• Set Image Optimization to Seamless Switching (see below).

• For best results, use the same frame rate and gamma setting for each.

NOTE: Avoid using two interlaced sources.

Image Optimization

Use this setting to choose what is more important, image quality or switching between sources. Selecting Best Image Quality will ensure your image is always proper however when switching sources, the screen will go blank increasing your switching time. Smooth Switching allows for a cleaner transition between sources. The image will fade from one image to another according to the Fade Time control. Seamless Switching overrides the Frame Lock Enable settings and forces the output to run at 60Hz regardless of the input signal. Image is 100% seamless when switching sources.

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

Fade Time

Set how long (in seconds) it takes to gradually dissolve one image into another for a source switch when Image Optimization is set to Smooth Switching.

NOTE: PIP must be disabled for Fade Time to take effect. Also, the PIP window must be closed to activate it.

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Numbers Select Main Image

Use Numbers Select Main Image to use the numeric keys #1-8 as input keys. This remapping of the keypad (see right) can be particularly useful with PIP displays, providing a convenient shortcut for changing the primary (background) image without first having to return to the Main menu. Select “Always” to use the keys in this manner all of the time, even with single displays. For normal keypad function, select Never (default). Set to When PIP Active to activate number keys only when PIP is in use.

NOTE: Numbers Select Main Image keypad functionality works only when menus are closed.

3.8 Working with the Lamp

Whenever you install a new lamp in the projector, access the Lamp menu to record the lamp serial number in the projector’s memory. You can also choose a lamp mode for regulating power and light output, change optical aperture size, and access other read-only information pertaining to past and present lamps.

LAMP HOURS (read-only) shows the number

of hours logged on the current lamp.

Lamp Hours

Lamp Message

Lamp Limit

Lamp Mode

Optical Aperture

Lamp History

Change Lamp

Lamp

Lamp S/N

Power

Intensity

0 ?

1000 Power 500 0 3

Whenever you record a new lamp serial number this value automatically resets to “0”, where it begins to log time for the new lamp. This information also appears in the Status menu.

LAMP S/N (read-only) is the serial number recorded for the current lamp. When you

install a new lamp and enter its serial number, the number will appear here.

Enter a checkmark for

LAMP MESSAGE to enable a warning message that will appear

upon power-up when the lamp has reached the specified lamp limit and should be replaced. Delete the checkmark to prevent display of this message—instead, when your lamp expires, only the status display messages on the back of the projector will provide the visual warning to replace the lamp.

NOTES: 1) It is recommended that the Lamp Message checkbox remain enabled. 2) When a lamp warning message appears, press

Exi t

to temporarily cancel the message. The message will continue to appear upon power-up until you install a new lamp.

LAMP LIMIT to the number of hours you expect to log on the current lamp before

Set replacing it. This will trigger a lamp message on-screen (if enabled).

NOTES: 1) If you change modes over the life of a lamp, the lamp limit you originally expected may no longer be possible. 2) Turning the lamp on and off reduces lamp life significantly, as do other factors. 3) It is recommended that Lamp Limit not exceed

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Section 3: Operation

the expected lamp life, otherwise a lamp could become dangerously fragile with overuse.

Set which

LAMP MODE you want to use in order to control

the light output. You can choose to run the lamp as bright as possible (i.e., always using maximum power—this is the default upon power up) or you can power the lamp with a specific wattage appropriate for the installed lamp or you can set a specific intensity (brightness) to maintain. Although there are exceptions, generally higher light output or higher power settings can shorten lamp life.

Use the lamp mode that best suits your brightness needs. For example, in a tiled application you may want to precisely match brightness levels between adjacent images—judge by eye and set each individual you want images to be as bright as possible—choose

Lamp Power setting as necessary. Or if

Max Brightness. Always keep in

mind that higher lamp power settings can shorten lamp life.

Lamp modes are described below:

Max Brightness: The lamp will always burn as brightly as possible, driven by

•

100% of the power level rating for the installed lamp (see Section 6, Specifications). Keep in mind that the “maximum brightness” for any lamp

gradually diminishes with age—images will become dimmer over time. Its current output level appears in the “

Intensity: Brightness will remain close to a specified level for as long as possible.

•

Intensity” option (not in lumens).

Once you select this option, enter a number representing the intensity level (brightness) you wish to maintain—the projector will automatically adjust power as needed to maintain this intensity as closely as possible. Note that the intensity value is a correlation only and does not represent an actual lumens level. See “

Intensity” below.

Power: The power supplied to the lamp will remain at your specified wattage

•

level. Once you select this option, enter the number of watts representing the power level you wish to maintain. See “

Power” below.

POWER - This slide bar and number indicates how many

watts are applied to the lamp. You can apply anywhere from approximately 60-65% of the maximum power intended for the installed lamp up to 100% of the lamp rating. Set for the number of watts as desired, keeping in mind that lower power levels produce dimmer images. When in either

Brightness

level here is the same as operating in

NOTE: Power level can be set only if the lamp is in P

INTENSITY – This value and slide bar represents the

modes, the power level remains constant. Specifying a maximum power

Max Brightness mode.

ower mode.

Power or Max

current brightness of your lamp, decreasing over time when you are operating in you are operating in “

Max Brightness mode or at a specific Power level. When

Intensity” mode this value remains at the original “Intensity”

setting chosen and cannot be adjusted.

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NOTE: The number shown for “intensity” is not the actual lumen output, but rather a

correlated value only—1246 may represent 3500 lumens, for example.

To use “

Intensity” mode, judge by eye (or use a meter) and set the level as desired for

your application. Over time, the projector will automatically increase the power supplied to the lamp as needed to maintain the chosen intensity as closely as possible. This mode is known as “Brightness Tracking” or “LiteLOC™”.

HOW LONG CAN I MAINTAIN BRIGHTNESS? Software can maintain your “Intensity”

setting until the required power reaches the maximum rating for the lamp. The lower the setting, the longer it will take to reach this threshold and the longer you can maintain the desired brightness. Keep in mind that once the lamp power reaches its maximum wattage (see “

Power”, above), this tracking is no longer possible. At this

point, the lamp will gradually begin to dim as usual, even though your original “

Intensity” value will still appear in the menu. To resume accurate tracking, reduce the

intensity setting so that the resulting “

Power” value is less than its maximum—the

lower the intensity, the longer it can be maintained.

For example, a 1000-watt lamp can be driven at no more than 1000 watts. To produce desired brightness at the screen, a new lamp would likely need less than this maximum rating—perhaps 812 watts (example only). Over time, however, the lamp will require more and more current in order to generate the desired light, until eventually the lamp wattage reaches its 1000-watt maximum and the lamp power automatically levels off. At this point, the tracking function terminates (i.e., the power level stabilizes) and the lamp will begin to dim normally. Either reduce your “

Intensity” setting or replace the lamp.

Do not lower the “

Intensity” so much that the corresponding “Power” value reaches its

minimum—the intensity setting will be inaccurate and cannot be maintained. For best results in achieving uniform intensity amongst tiled images, choose an “

Intensity”

setting that enables all lamps to operate at less than the maximum number of watts available in your projector but high enough to keep the corresponding lamp power above its minimum. See “

Power”, above.

NOTES: 1) Lamps become more stable over time, thus a specific intensity is more

easily maintained as the lamp ages. 2) Intensity can be set only if the lamp is in "Intensity" mode 3) Intensity cannot exceed the output of Max Brightness mode.

OPTICAL APERTURE - This option is also available under the Advanced Image

Settings menu. See 4.6 – Adjusting the Image for details.

LAMP HISTORY - This read-only option lists the lamps most

recently installed and recorded in the projector. Lamp History automatically updates whenever you record a new lamp serial number—the new lamp is added to the bottom of the list.

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Section 3: Operation

Use CHANGE LAMP to record the serial number for a newly installed lamp:

In the Lamp S/N window, use the number text entry keys to record the new lamp serial number and press

again to accept the change. See Using Slide bars and Other Controls if you need help entering the number. Once entered, the new lamp serial number will be added to the Lamp History menu and the Lamp Hours timer will reset to “0”. Lamp Mode and Lamp Limit remain as they were for the previous lamp and can be changed at any time. See Figure 3.13.

NOTE: To scroll through letters/alpha numerics, refer to 3.4 Navigating the Menus, Edit Numerical Values.

Lamp

Lamp Hours

Lamp S/N

Lamp Message

Lamp Limit

Lamp Mode

Optical Aperture

Lamp History

Change Lamp

Figure 3.13. Recording the New Lamp Serial Number

Power

Intensity

0 ?

1000 Power 500 0 3

New serial# entry automatically updates Lamp History...

Lamp S/N

...and resets Lamp

Hours to “

Lamp History

5679 1234

”

S/N

Hours 1001 0

How Old is M

Lamp? 

When to Replace  the Lam

NOTE: Enter a serial number only if you have just installed a new lamp. This will help ensure that lamp timer is not reset on an old lamp and that the number of hours logged on the lamp will be accurate.

IMPORTANT

ALWAYS record the serial number of a NEW lamp.

When a new lamp is installed and its serial number recorded by selecting “Change Lamp” in the Lamp menu, the lamp timer resets to “0” and begins logging time for the new lamp. This tally appears in both the Lamp menu (see right) and the Status menu.

To review the number of hours logged for previous lamps, consult the Lamp History menu.

Lamp Hours

Lamp Message

Lamp Mode

Optical Aperture

Lamp History

Change Lamp

Lamp

Lamp S/N

Lamp Limit

Power

Intensity

0 ?

1000 Power 500 0 3

If the “Lamp Message” checkbox has been enabled in the Lamp menu (recommended), an expiry message will appear upon power-up when the lamp has reached its defined “Lamp Limit”. In addition, the LED’s next to the built-in keypad will flash “LP” when lamp time has expired. The lamp should be replaced.

The “Lamp Limit” setting should not exceed the expected lamp life, as an old lamp becomes increasingly fragile and more prone to sudden failure. See also 4.4, Lamp

and Filter Replacement.

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The read-only Status menu lists a variety of details about the standard and optional

3.9 Status Menu

components currently detected in the projector. Refer to the Status menu for versions of hardware and software installed, the type (size) of lamp, the hours logged in total and for a specific period (such as a rental period), and for your projector model name and serial number. In addition, the Status menu identifies the current channel, its location, its frequencies and other details.

3.10 Using Multiple Projectors

Matching Colors  In Multi

le Screens

Scroll the full Status menu using

. Use for page up/down.

IMPORTANT:

When working with more than two projectors, it’s important to work

left to right, top to bottom.

When an installation requires multiple projectors, you can use the RS232 serial ports to daisy chain the units together and control the group with a single keypad or a computer/controller connected to the first projector. In such a network, you can choose to broadcast commands to the entire group, or use the

Pro j

key as desired to

limit responses to an individual projector.

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

2.4, Connecting Communications for full routing details.

NOTE: Refer back to 3.6, Adjusting System Parameters and Advanced Controls for complete information about communicating with multiple projectors.

In a multiple-projector wall, you will likely want to precisely match color and intensity from image-to-image so that the full wall is as uniform as possible. This matching is typically done in conjunction with brightness uniformity and edge blending.

Preliminary Calibration

As a final part of the manufacturing process, all primary colors in the projector are precisely set to pre-established values to ensure that overall color performance is optimized and is as accurate as possible. Upon installation at a site, however, lighting and other environmental factors may slightly change how these colors appear on your screen. While the change is negligible in most cases, you may prefer to recover the originally intended color performance before trying to match colors from several projectors. Or you may be renting a projector in which the colors were corrected for use at its previous site, but are not ideal for yours.

The recommended first step in achieving such consistency is to use a color meter to measure the native primary colors—red, green, blue, and white—as they appear at the screen and record these as Color Primary Settings in the Service menu (passwordprotected) for each projector. On the basis of these new values, which are stored in memory, each projector will then automatically calculate any necessary corrections to reproduce the original factory colors under the current environmental conditions. This essentially calibrates a projector to its surroundings, compensating for factors such as screen type; lamp and/or ambient lighting that can alter the final color characteristics on-screen, and will improve color accuracy and consistency in a group of projectors. It ensures a good starting point for further customizing and matching; however, is not critical for all installations.

To return to the factory-set color primaries, such as when a projector is moved to different site, you must access the Service menu (password-protected). Select the

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Section 3: Operation

“Reset to Factory Defaults?” option in the Color Primaries submenu. Then repeat the calibration process describe above, if desired, and continue with matching of colors.

Color Adjustment Procedure

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

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

1. Set up and optimize all projector settings. You can ignore color temperature, since

you will be redefining color performance in this procedure, but do optimize each projector in every other aspect. Closely align all screen edges.

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

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

• Set Select Color Adjustment to “Max Drives”

• Display a full white test pattern

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

same brightness.

4. Display the Color Adjustments by X,Y menus for all projectors. Each menu shows

the x/y coordinates defining the “Max Drives” color gamut for this projector. Note the values shown in one (any) of the displays. See Figure 3.14. Or use the “Copy From” function to copy them into a “User” gamut in one projector.

Figure 3.14. Jot Down a Set of ”Max Drives” X/Y Values

5. In each projector, select a “User” color adjustment (1-4) to enable Color

Adjustments by X,Y changes. Then enter your recorded x/y values into each menu

(Figure 3.15).

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Figure 3.15. Copy X/Y Values into All Projectors

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

manner:

• To match reds, decrease “Red

X” until full field red screens match.

• To match greens, decrease

“Green Y” until full field green screens match.

• To match blues, increase both

“Blue X” and “Blue Y” until full field blue screens match.

NOTE: For speed, enable the “Auto Color Enable” checkbox. Each color coordinate you select will then automatically trigger a full field display of the corresponding color.

Alternatively, use the Color Saturation menu for these adjustments or to fine tune.

NOTE: For speed, enable the “Auto Color Enable” checkbox. Each color coordinate you select will then automatically trigger a full field display of the corresponding color.

These coordinate adjustments move the three color points closer together (see below) to establish a “shared” gamut attainable by all projectors in your group. Adjust only as necessary to ensure that the resulting color palette is as large as possible. When done, you may need to adjust lamp power slightly.

7. All screens should now be color-matched. Apply this new “User” gamut to a

source at any time by selecting it in the “Select Color Adjustment” list accessed in the Advanced Image Settings menu.

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Using the Color Saturation Menu for Color Matching

You may prefer to use the Color Saturation menu to match colors across multiple screens. In the three Color Adjustment submenus (Red, Green, Blue—see right), set all main values to 100 and the secondary values to 0. Then judge by eye and adjust the slide bars as needed. Note that adjustments here define new x/y coordinates in the Color Adjustments by X,Y menu.

For best results, use this menu after doing the color adjustment procedure.

Figure 3.16. Color Matching Using Color Saturation

Achieving Brightness  Uniformit

WHAT IS BRIGHTNESS UNIFORMITY? When used to refine screens already matched for

their primary colors (see Matching Colors in Multiple Screens, above) and overall light output, proper adjustment of Brightness Uniformity can create an exceptionally smooth screen in which:

• No area of the screen appears more red, green or blue than another

• No area of the screen appears brighter than another

• Color and light output from one screen closely matches adjacent screens

Although the Brightness Uniformity control can be used for a stand-alone projector, it is particularly useful for setting up and maintaining tiled images that form a cohesive display wall in which the color “cast” and light output appear uniform throughout each image as well as throughout the entire wall. The procedure provided here assumes a multiple-screen application.

Before You Begin

Read through the entire procedure before attempting to adjust Brightness Uniformity controls, and keep in mind the following checklist of prerequisites and guidelines:

 ADJUST COLORS FIRST—Always adjust the primary colors as described in the

“Matching Colors in Multiple Screens” procedure (above) before attempting to work with Brightness Uniformity. This ensures that primary colors, color temperature, and maximized light output are all well matched from one screen to another. These matches are needed before you can achieve good Brightness Uniformity results.

 RUN LAMP FOR 100 HOURS—Light output and Brightness Uniformity can vary

significantly during the first 100 hours of lamp use. For best results with new

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lamps, either set up Brightness Uniformity after this period, or do an initial setup and re-check at 100 hours.

 SET LAMP POWER—Ensure that each “Lamp Power” setting is as high as possible

for your application while still maintaining a good overall match of light output from screen-to-screen. By nature, achieving a uniform brightness will require a slightly reduced overall brightness—this reduction will help ensure that you have enough range of adjustment when examining brightness variables more closely from screen-to-screen, and will help prevent premature “maxing out” when trying to match to a certain color, zone or projector.

 USE A “USER” COLOR TEMPERATURE—Always adjust Brightness Uniformity for

a User color temperature defined when you matched primary colors, and continue to use it for all sources displayed on the wall. Your other color temperatures will not necessarily be matched from screen-to-screen.

 WHITE UNIFORMITY SLIDE BARS—White Uniformity slide bar values may not

reduce to “0”. Each slide bar adjusts overall light output in a specific screen zone, but the value shown represents the current setting for green in this zone. When other “hidden” values (red or blue) are lower than green, during adjustment in the White Uniformity menu their values will reach “0” first, causing the slide bar to stop earlier than expected.

 JUDGE BY EYE OR USE A METER—Good brightness uniformity can be achieved

with either.

Step 1: General Setup

1a) Adjust primary colors (see Matching Colors in Multiple Screens) to ensure

matched overall color temperatures and light output between screens.

IMPORTANT

Double-check that all WHITES and LIGHT OUTPUT are well-matched.

1b) Enable the Brightness

Uniformity checkbox. This will enable access to the uniformity controls and will apply the settings to your image.

1c) Select the 13-Point

test pattern for display. This pattern provides nine screen “zones” with 13 targets.

FOR BEST RESULTS: Rather than examining the CENTER of each zone when assessing Brightness Uniformity adjustments focus on extreme EDGES as indicated in the illustration at right.

1d) In either Color Adjustments menu, select a “User” color. Then:

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• If you have created a “User 1” color gamut (recommended) for a well-

matched wall, continue to Step 1e.

• If you prefer maximum brightness rather than a particular color

temperature, select “Max Drives”.

IMPORTANT: Do not change User 1 Color Adjustment in color-matched applications!

1e) In the White Uniformity

menu, set the “Overall” output level to 50.0 and all remaining slide bars to 0.0. This decreases the light output just enough throughout the screen so that any color level can then be increased later as necessary for matching light output from zone-to-zone. Do not exceed 50.0 for “Overall”—a higher level will likely interfere with achieving brightness uniformity and is not recommended.

Ensure that overall light output remains well matched from one screen center to the next. Where necessary, increase or decrease Lamp Power slightly to recover center matches.

Step 2: Adjust Color (level of red/green/blue) in Eight Zones

NOTES: 1) At this point, ignore the brightness of individual zones. 2) Always ignore menu colors.

2a) On each screen, compare the color temperatures in the eight target zones (four

edges and four corners) to that of the color temperature of the center. Compare using a white field only, and take note of any areas that do not match the center. Also decide if any screen exhibits a more obvious color shift than other screens—begin with this screen in Step

2b) Return to the Brightness Uniformity menu. Beginning with the screen that exhibits

2b.

the most obvious color shift(s), for each edge that exhibits a noticeably different color temperature from the center, select the corresponding Uniformity adjustment menu—Left, Right, Top or Bottom. For example, if any part of the left side is too blue, too red or too green, go to the Left Uniformity menu and adjust the colors (i.e., change their light output) until all portions of the left side closely match the center color temperature. Adjust an edge first (focusing on its center), and then adjust its corners. See Figure 3.17.

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Figure 3.17. Match Zones to Center Color Temperature

Repeat the color adjustment of sides and corners for each edge of the screen that does not yet match the center (note that each corner is adjustable in either of its two adjacent “side” menus). When done, all areas of a given screen should match. Repeat

2a & 2b for all remaining screens.

Steps

Step 3: Adjust Light Output in Eight Zones

3a) For each screen, compare the light output of each edge and corner to that of the

center. If any of the areas differ, use the White Uniformity menu to match edges

and corners to the center as described below (see Figure 3.18). Begin with the screen exhibiting the most obvious variations in light output.

• Adjust edge White Uniformity first—note that each edge adjustment also

affects the rest of the screen slightly. Keep all edges just slightly lower than the center light output rather than matching light output precisely. Otherwise, it may not be possible to brighten the corners (typically the dimmest areas of the screen) enough. I.e., the best uniformity is a compromise between the brightest and darkest areas of the screen.

• Adjust corner White Uniformity last—each corner adjustment affects only

this quadrant.

• Repeat for each screen.

Figure 3.18. Match Zones to Center Light Output

Step 4: Readjust Color Temperature (level of red/green/blue) in Eight Zones

4a) Return to Steps 2a & 2b and, if necessary, fine-tune the zones so that they all

still exhibit a single color temperature.

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Cancelling Brightness Uniformity

If you do not want to use or apply Brightness Uniformity settings, delete the checkmark from the “Uniformity Enable” checkbox at the top of the Brightness Uniformity menu.

e Blending 

Christie Edge Blending is an innovative set of software functions that can quickly and easily blend white levels along the edges of multiple adjacent projected images to create a single seamless larger image.

What is a Blend?

In simple terms, a blend appears as a gradient strip along an edge of a projected image. It is darkest along the extreme edge of the image, and lightens nearer to the rest of the image (see right).

How Are Blends Used?

In multiple-projector walls, complementary blends between neighboring images can compensate for the extra “brightness” or intensity where these edges overlap. By controlling blend width and other properties, you can achieve uniformity across the group of images. Visible overlaps will disappear:

Figure 3.19. Edge Blending Concept

For best results, use the same projector model and type throughout your display wall. In addition, avoid high-gain screens whenever possible—the optical performance of such screens demands minimal image offset, thus projectors must be located very close to one another.

Edge blending software controls are located in the two-page Edge Blending submenu—access via Configuration menu, then go to the Geometry and Color menu and select Edge Blending. The More option opens the second page of the Edge Blending submenu.

Main Functions

Use Edge Blending controls to set the precise width, shape and midpoint you need to blend overlapping edges together smoothly.

Blend Width determines how much area is used for blending along an overlapping

•

edge. Slide bar values represent the number of eight-pixel steps used for the blend. For example, a setting of “eight” creates a blended edge 24 pixels wide. A setting of “0” signifies no blending. For best results in most applications, use a blend width of 16-48 steps (128-384 pixels).

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Ranges: 0-80 horizontal, 0-60 vertical.

Blend Shape determines the rate of

•

roll-off across the blend width, i.e. how quickly the white levels across the blend change from light and dark. Increasing the Blend Shape setting accelerates the rate of change at both extremes so that less of the region appears mid-gray (see Figure 3.20). Decreasing the Blend Shape setting slows the rate of change so that more of the region appears mid-gray. For

Figure 3.20. “Shape” Examples

most applications, this subtle control is best left close to 50.

•

Blend Midpoint determines the white

level at the blend midpoint (the point equidistant between the beginning and end of the blend). Increasing the Blend Midpoint setting creates a blend that appears brighter than the rest of the image. Decreasing the Blend Midpoint setting creates a blend that is darker than the rest of the image. A setting of 50 means the midpoint is approximately 50% black—for best results in most applications, keep fairly close to this

Figure 3.21. “Midpoint” Examples

default.

•

Show Blending Overlap turns your

defined blend width area to solid gray so that, if needed, simply overlapping the gray bars can seamlessly align two adjacent images. Toggle the Show Blending Overlap off to reactivate the blend effect.

NOTE: Blending Overlap appears as

Reserved when ChristieTWIST is installed.

Other Functions

For convenience, the Edge Blending submenu also includes related options for enabling a specific color and/or test pattern, or for working with colors or the lamp. Such functions duplicate those provided elsewhere in the menu system.

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Edge Blending Procedure

NOTE: Before attempting to work with edge blending software functions, you must 1) physically align the projectors/images by correctly overlapping the displays from your intended external source, and 2) Match colors and Brightness Uniformity.

IMPORTANT: For a shared edge, all Blend procedures and settings should be identical on BOTH projectors.

1. Start with two projectors. Display full white field test pattern from both.

2. In the Edge Blending submenu, enable Edge Blending by entering a checkmark in

the top checkbox.

SET STARTING POINTS FOR ADJUSTMENT:

• Set all blend widths to 0.

• Go to “More” and set everything in the Edge Blending (2) menu to 50.

Figure 3.22. Set Starting Points for Each Projector

4. SET BLEND WIDTH: On one projector, increase the Blend Width for an overlapping

edge (for example, if the projector’s image is on left, its right edge overlaps the adjacent image—adjust Right Blend Width). Use the same setting on the second projector for this shared edge.

5. Re-adjust width (both projectors) until the overly bright band at the midpoint of the

overlapping blends disappears or just changes to very light gray. For the shared edge, use the same Blend Width setting on each projector. If the “best blend” appears to be between two settings, choose the wider setting for both projectors.

CHECK BLEND: If the blended region appears too dark or light in relation to the rest

of the image:

• Increase Blend Midpoint in both projectors to “lighten” the overall blend,

decrease to “darken” the overall blend.

• Adjust Blend Shape in both projectors to fine-tune change the amount of mid-

gray intensity (as opposed to black/white) in the blend.

7. Repeat with remaining projectors / overlaps.

8. Check completed display wall with the desired external signal.

9. Adjust mechanical alignment if necessary to maintain perfect pixel-on-pixel

alignment over time.

In applications where you are projecting only white or light images, the Blend Width may be slightly higher—set according to how much overlap you have between images. Use the following as a guide (examples show overlapping width only—values for overlapping height will differ):

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• Recommended overlap is 12.5% - 25%

Black Level Blendin



Similar to Edge Blending, Black Level Blending allows you to adjust the black level hues of multiple adjacent projected images to create one large seamless display. Edge blending must be enabled in order to use the Black Level Blending features.

The use of Black Level Blending feature and the use of Christie Twist module are mutually exclusive. 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.

Black Level Blending Procedure

NOTES: 1) Adjust white levels before adjusting black levels. 2) The zones in BLB menu correspond to the Edge Blend zones. If a given Edge Blend zone width is set to 0 (i.e. no blend on that side) then the corresponding BLB zone is disabled. It only becomes accessible when that Edge Blend zone is active.

1. Start with two projectors. Select the black test pattern for both projectors from the Geometry and Color submenu.

2. In the Black Level Blending submenu, enable black blending by putting a checkmark in the checkbox for each projector.

3. Working with one projector at a time, use the center brightness slide bar to adjust the center brightness (brightness of the non-blended region) so that the center intensity matches that of the brightest blended region (the center of all images when blending a 2 x 2 display is the target area).

4. Use the following three color slide bars, Black Red Level, Black Green Level and Black Blue Level, so the black hue of each projector matches.

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