Mirage 2000, 4000, 6000 User Manual

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User’s Manual

Table of Contents

Section Contents Page

Introduction

Installation & Setup

Operation

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Maintenance

Specifications

Appendices

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

iii

1.1 The Projectors

Section 1

Introduction

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



(DLP) technology from Texas



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

Features and Options

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

• Mirage 2000 = 2000

• Mirage 4000 = 4000

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

changing aspect ratio when desired

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

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

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

(requires customized RGB signal at native resolution)

(requires optional decoder)

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1-1

INTRODUCTION

How The Projectors Work

1.2 Components

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

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

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

Difference Between Models

1.3 Purchase Record and Servicing

Figure 1.1. Components

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

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

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

Purchase Record

Dealer:

Dealer Phone Number:

Projector Serial Number*:

Purchase Date:

Installation Date, if applicable:

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

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Section 2

Installation & Setup

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

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

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

2.1 Quick Setup

STEP 1

STEP 2

STEP 3

STEP 4

Position the Projector

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

Connect a Source

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

INPUT 1

a video decoder is installed) accepts a composite video at

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

Connect the Line Cord to AC Power

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

INPUT 3 or S-video input at

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

Section 5.

WARNING

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

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

Turn the Projector ON

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

POWER

LED, located in the lower right corner of the rear

Powe r*

and hold for approximately 1

). Let the projector warm up for

input panel, should glow a steady green.

STEP 5

Select a Source

Using either the built- in or rem ote key p ad, press and display the image for the source you connected in Step 2. The display will resize as needed, producing an image as large as possible for the type of source presen t.

Input1, Input2, Input3

Mirage 2000/4000/6000 User’s Manual

, or

Input4

to select

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INSTALLATION AND SETUP

STEP 6

Adjust Image

(STANDARD NON-MOTORIZED LENS)

• ZOOM:

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

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

•

focus the image clearl y.

OFFSETS:

•

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

• OTHER: Press

to refine other display

parameters as described in Section 3.

Adjust Image

(REQUIRES MOTORIZED LENS)

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

Lens

With the input image displayed, press

Figure 2.1. Motorized Lens Adjustments

on any keypad.

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

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Press

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

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

2.2 Installation Considerations

Liftin

Hoistin

Stackin

Installation Type

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

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

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

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

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

Mirage 2000/4000/6000 projectors cannot be stacked.

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

or inverted mount.

Front Screen, Floor Mount Installation

ADVANTAGES CONSIDERATIONS

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

Front Screen, Inverted Mount (ceiling) Installation

ADVANTAGES CONSIDERATIONS

• Does not take up audience space

• Projector is unobtrusive & stable

Rear Screen, Floor Mount Installation

ADVANTAGES CONSIDERATIONS

• Projector is hidden yet accessible

• Usually good ambient light rejection

Rear Screen, Inverted Mount (ceiling) Installation

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Usually good ambient light rejection

Rear Screen, Floor Mount with Mirror

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Usually good ambient light rejection

• Requires less space behind screen than

other rear screen installations

• Installation is more permanent

• It is more difficult to access the projector

• Requires separate room

• Installation cost is usually higher

• Requires separate room

• Installation cost is usually higher

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2-3

INSTALLATION AND SETUP

Screen T

Front Screen Installations

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

Screen Size

Figure 2.2. Audience Coverage with Flat Screen

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

Rear Screen Installations

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

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

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

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

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

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

Screen Aspect Ratio

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

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

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

Using a 5:4 Screen

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

Figure 2.3. Adjusting a 4:3 Video Image

Using a 4:3 Screen

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

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

noticeable in most cases.

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

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INSTALLATION AND SETUP

Ideal Room Lightin

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

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

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

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

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

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

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Mirage 22000/4000/6000User’s Manual

Figure 2.5. Poor Screen Placement

INSTALLATION & SETUP

Figure 2.6. Better Screen Placement

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

Other Considerations

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

installation:

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

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

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

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

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

optical path.

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

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

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

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

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

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

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

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INSTALLATION AND SETUP

2.3 Projector Position and Mounting

Figure 2.7. Screen Locations for Maximum Audience Coverage

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

Throw Distance

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

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

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

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

the screen

approximately 0.8

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

Figure 2.8. Estimating Throw Distance

IMPORTANT: For proper

(SEE APPENDIX E)

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

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Vertical & Horizontal

Position

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

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

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

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

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

Table 2.1. Maximum % of Image Offset from Lens Center

Lens Type Max. Recommended Image Offset

✻ 0.8:1

1.2:1

1.5 - 2.2:1

2.2 - 4:1

✻ 2.5 – 4:1

4-7:1

✻ 4-7:1

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

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

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

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

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INSTALLATION AND SETUP

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Mirage 22000/4000/6000User’s Manual

Figure 2.13. Maximum Vertical Offsets

Continued…

INSTALLATION & SETUP

Figure 2.9. Maximum Vertical Offsets, Continued (

ALL LENSES

)

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

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

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

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

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

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INSTALLATION AND SETUP

Mountin

Figure 2.10. Maximum Horizontal Offsets

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

(ALL LENSES)

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

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

Special Mounting

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

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

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Figure 2.11. Horizontal and Vertical Tilt Ranges

INSTALLATION & SETUP

Folded Optics

2.4 Source Connections

In rear screen applications where space behind

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

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

INPUT 1) typically

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

INPUT 3

or S-video at

INPUT 4

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

INPUT 1

INPUT 2.

Such an option

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

from

Figure 2.12. Rear Connector Panel

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INSTALLATION AND SETUP

RGB Signals

INPUT 1

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

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

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

Connect the outputs to the

SYNC

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

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

SYNC

HOR/COMP

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

VERT. See Figure 2.13.

SYNC

input labeled

HOR/COMP

and connect vertical sync to

SYNC

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

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

section.

. If

input

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Figure 2.13. Connecting RGB Input

INSTALLATION & SETUP

YPbPr Signal

(COMPONENT VIDEO)

Composite Video

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

Figure 2.14. Connecting YPbPr Signal

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

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

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

video source (

INPUT 3

) and an S-Video source (

INPUT 4

INPUT

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

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

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

Figure 2.15. Connecting Composite Video

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INSTALLATION AND SETUP

S-Video

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

video source (

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

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

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

2.16.

Figure 2.16. Connecting S-Video

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

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INSTALLATION & SETUP

Video Loop Through

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

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

Composite Video Loop Through

CONNECTIONS:

INPUT 3

to cable from whichever

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

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

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

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

INPUT 3,

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

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

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

Figure 2.17. Connections for Composite Video Loop Through

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INSTALLATION AND SETUP

S-Video Loop Through

CONNECTIONS:

INPUT 4

to Connect a second cable from whichever

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

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

INPUT 4

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

INPUT 4,

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

Extra Video

– COMPOSITE OR S-VIDEO

VIDEO TERMINATION:

In the Video Options submenu, make sure “Video

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

Figure 2.18. Connections for S-Video Loop Through

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

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

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

INPUT 2.

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Mirage 22000/4000/6000User’s Manual

Figure 2.19. Connecting an Extra Video Source to Input 1

INSTALLATION & SETUP

Optional Inputs

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

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

INPUT 2

. They include:

• RGB 500 Input Module

• RGB 400 Active Loop Thru Input Module

• RGB 400 Buffered Amplifier Input Module

• Composite/S-Video Input Module

• PC250 Analog Input Module

• Serial Digital Input Module

• Digital HDTV Input Module

• DVI Input Module

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

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

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

INPUT 1

or to any “RBG” input module installed at

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

Connecting a switcher

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

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

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

the projector serial port labeled

SWITCHER (see Figure 2.20). The switcher

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

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

Figure 2.20. Connecting a Marquee Signal Switcher

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INSTALLATION AND SETUP

Connecting Multiple

Switchers

2.5 Power Connection

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

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

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

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

WARNING

Do not attempt operation if the AC supply and cord are

not within the specified voltage and power range.

2.6 Operating Orientation

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

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

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

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

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2.7 Leveling

2.8 Zoom, Focus & Lens Offset

INSTALLATION & SETUP

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

Figure 2.21. Adjusting the Feet Height

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

2.3, Projector Position and Mounting earlier in this section.

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

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

NOTE: A non-motorized lens mount is standard.

Zoom

Focus

Lens Offset

NON-MOTORIZED:

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

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

MOTORIZED: If you have a zoom lens installed, press

menu. Select the “Zoom” option (

) and adjust image size as desired with or

Lens

to display the Lens Control

. Refer back to Figure 2.1.

WARNING

Keep fingers away from the lens opening when

operating the motorized zoom function.

NON-MOTORIZED:

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

sharp as possible.

MOTORIZED: Press

desired with

Lens

to display the Lens Control menu. Adjust image clarity as

or . Refer back to Figure 2.1.

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

Lens

menu option. Remember that press

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

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

sight is likely poor. Contact your dealer for service.

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

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

NON-MOTORIZED:

adjacent to the lens. The top knob “Vertical” will raise or lower the image, the bottom knob “Horizontal” will shift the image left or right.

To relocate the image, turn eit her or both of the front knobs

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INSTALLATION AND SETUP

Intelligent Lens System

(ILSTM)

MOTORIZED: Press

option (

Lens

to display the Lens Control menu. Select either lens offset

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

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

menus—refer to Section 3, Operation.

NOTE: Requires motorized lens, available as an upgrade.

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

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

ENABLING ILS

option (highlight it and press

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

Enter

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

time you use this channel. The ILS

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

You can still change lens settings as usual when the ILS

is enabled. Changes will be

recalled the next time you use the channel.

DISABLING ILS

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

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

Enter

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

Operating Tips for Lens Settings and ILS

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

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

performance:

• The lens mount must be calibrated.

• When decreasing (

• When increasing (

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

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

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

• When holding

or , lens movement gradually accelerates.

or .

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

Enter

keypad, if desired. Press

before and after.

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

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

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INSTALLATION & SETUP

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

This protocol helps ensure ILS

accuracy. In general:

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

• To make small adjustments for ILS

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

FOR EXAMPLE:

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

. If even, press .

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

the lens will not be accurately recalled by the ILS

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

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

• Try to release the

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

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

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

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

Figure 2.22. Lens Settings and the ILS

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

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

. If

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INSTALLATION AND SETUP

2.9 Serial Port Connections

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

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

If using a computer

RS-232 Ports

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

RS-232 serial communication cable between the

RS-232 IN

—this 9-pin D connector port

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

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

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

Figure 2.23. RS-232 Serial Connection to a Computer

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RS-422 Ports

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

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

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

Mirage 22000/4000/6000User’s Manual

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

RS-422 serial

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

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

INSTALLATION & SETUP

If usin

a switcher

If using multiple projectors

Figure 2.24. RS-422 Serial Connection to a Computer

WARNING

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

computer with RS-422 capability. The voltage levels of

this signal can damage incompatible equipment.

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

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

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

the projector serial port labeled

SWITCHER (refer back to Figure 2.20). The switcher

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

Serial Communications

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

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

RS-232 OUT connec tor of the fi rst projector

RS-232 IN connector of the next

projector in the chain.

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INSTALLATION AND SETUP

Figure 2.25. Adding Another Projector via RS-232

RS-422 NETWORK

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

RS-422 PORT 2

(already connected to the computer/controller) to the

connector of the first projector

RS-422 PORT 1 connector of the

next projector in the chain.

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Mirage 22000/4000/6000User’s Manual

Figure 2.26. Adding Another Projector via RS-422

INSTALLATION & SETUP

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

RS-232 OUT

(or

RS-422 PORT

, if applicable). See exam ples below .

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

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

Figure 2.27. Assorted Networks

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INSTALLATION AND SETUP

Back-u

or “Split” Networks

In a typical network, broadcast serial communications or messages destined for a specific projector travel through all serial ports in each projector regardless of whether the messages originate from an RS-232 or RS-422 source (refer back to Figure 2.27, bottom example). The communication path depends on the serial ca blin g connected at each projector.

You may prefer the option of two separate communication paths—RS-232 or RS422—in your network, essentially creating a redundant “back-up” communication path that can take over should a failed projector (or controller) prevent communications via the other path. For this setup, connect each projector to the nex t using both RS-232 and RS-422 ports.

Then enable the “Split Network” setting in the Communications menu for each projector present so that RS232 communications remain on RS232 paths only and RS-422 communications remain on RS-422 paths only (Figure 2.28). Each projector can then receive and send either type of message depending on which controller initiates the

Figure 2.28. Enable “Split Network”

commands—should one path fail, the second “back-up” network path can be used. Only one network should be active at a g i ven time, as determined by the controller (whether it is RS-232 or RS-422). Note that the “Broadcast Key” option is OFF.

IMPORTANT

Whenever downloading new projector software to networks, use a

single-route network only. DISCONNECT any redundant serial cabling

and UNCHECK the “Split Network” checkbox for each projector.

Two Different “Splits”

There are two differen t split ne tw ork configurations possible (Figure 2.29). Set up whichever option best suits your application needs:

A. SPLIT NETWORK WITH ONE CONTROLLER–

If you have a single cont roller and want a back-up serial link, connect one controller standard (e.g., RS-232) to one physical end of the network and the other controller standard (e.g., RS-

422) at the other physical end of the network. Make sure the “Split Network” option is enabled in the Communications menu. If a projector should then fail anywhere in the network, comm unication w ith the rem ainin g pro jecto rs can be resumed in the opposite direction using the other standard. NOTE: This

configuration requires that both standards be available from a single controller, or that you use an RS-232/RS-422 adapter.

B. SPLIT NETWORK WITH TWO CONTROLLERS– If you have two controllers (one

RS-232 and one RS-422) and want one to be a back-up, connect each controller to the appropriate port on the first projector in the network. Then connect projectors together using both RS-232 and RS-422 ports as shown. Make sure the “Split Network” option is enabled in the Communications menu. Now, if either controller fails, you can simply switch to the other controller and communicate via the other standard.

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INSTALLATION & SETUP

Figure 2.29. Two Types of Split Networks

ector Numbers

Pro

Each projector can be assigned a unique 3-digit projector number (for example, 001).

These numbers are necessary when you are working with multiple linked projectors, enabling you to direct commands to a certain projector rather than always broadcasting to the entire network. For complete information on how to assign projector numbers, see 3.7, Configuring System Parameters.

NOTE: To loop a single incoming video source through to another projector or display device on a network, see Video Loop Through in 2.4, Source Connections.

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INSTALLATION AND SETUP

2.10 Keypad Protocols and Conversion

At manufacture every keypad is assigned “A” as its default protocol, which is simply a collection of settings that determine how the keypad operates. Once assigned, this protocol remains in effect until it is changed—that is, the keypad will operate as it currently does until you change its protocol.

Protocols are most useful for multiple-projector applications. For example, you might want to change a keypad protocol if you are working with two projectors and two remote keypads in the same room and need to control each projector independently (Figure 2.30). When Keypad A has a different protocol than Keypad B, each keypad communicates only with the projector having a matching protocol. Or, if you have a network of two or more projectors connected together via RS-232 serial ports, you may want only certain projectors to respond to a wired keypad, thus you can use different protocols to limit responses.

NOTE: Matching the protocol on the projector to that of a keypad is done through a setting in the Communications menu. See 3.7, Configuring System Parameters for further information on how to change the projector 's inf rared sensor (rear and front) protocol.

A protocol for either type of remote keypad — IR or wired — can be changed through software commands entered on the keypad. A new protocol set through software commands remains in effect until the keypad batteries are removed and replaced (if an IR remote), or until the keypad is unplugged (if a wired remote). A remote can also be changed manually —you can "hard-wire" new jumper settings inside the keypad so that they remain in effect until you change the hard-wiring. Note that a hard-wired pr otocol can be temporarily overridden by the software protocol change, effective until the keypad is unplugged and plugged in again (if a wired remote) or until a battery is removed (if an IR remote).

Remote Keypad

Protocol

— IR OR WIRED KEYPAD —

The standard IR remote keypad or the optional wired remote can be set to one of two

different protocols — “A” or “B”. To hard-wire a protocol to “A” or “B” in eith er remote, follow Steps 1 through 5:

Step 1

Unplug the keypad from the projector (applies to wired remote only).

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Mirage 22000/4000/6000User’s Manual

Figure 2.30. Independent Keypads and Projectors

INSTALLATION & SETUP

Step 2

Unlatch and open the empty battery compartment on the back of the keypad as shown in Figure 2.31.

NOTE: A wired keypad opens as shown, but a cable passes through the battery compartment cover.

Figure 2.31. Opening the Keypad

Step 3

Find the 4 jumpers located along the latching side of the battery compartment. These jumpers set the keypad protocol and other settings so that the keypad functions in a certain manner.

Step 4: Set the Jumpers

Set the jumpers as shown in Figure 2.32. Take care to refer to the correct part of the drawing — IR or wired (optional). Use tweezers or needle-nose pliers to remove and replace each jumper as necessary.

J1 jumper: For either remote, set between pins 1 and 2 to set as Protocol “A”.

•

Set between pins 2 and 3 to set as Protocol “B”. J2 jumper: For either remote, set between pins 2 and 3 as shown; otherwise, the

•

projector will not respond correctly to keypad commands.

•

jumper: For the IR remote, make sure that the jumper is set between pins 2 and 3 as shown. For the wired remote, make sure that the jumper is set between pins 1 and 2 as shown.

J4 jumper: For the IR remote, make sure that the jumper is set between pins 1

•

and 2 as shown. For the wired remote, make sure that the jumper is set between pins 2 and 3 as shown.

Step 5

Replace battery comp artm ent cover. P lug in to projector (wired keypad only) and test.

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INSTALLATION AND SETUP

Figure 2.32. Locating and Setting the Jumpers

NOTE: A wired keypad can be converted into an IR remote keypad, a n d v i c e versa . Follow the settings shown above, adding or deleting the cable and batteries as required. The cable with 3-pin XLR connector is available separately from your dealer.

SHORTCUT METHOD:

You can also issue software protocol settings through the keypad. These software commands will be lost when the keypad is either unplugged or when a battery is removed — the keypad will revert back to the hard-wi red jumper settings (see above) until you enter the software commands again.

Press Press

Input1 Color Pixel

Posi tion

= Proto col “A”

= Protocol “B”

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

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Convertin

a Keypad

If desired, you can convert an IR remote keypad into a wired remote keypad and vice

versa.

TO CHANGE FROM INFRARED TO WIRED:

• Remove battery com partment cover from back of keypad.

• Remove batteries.

• Wait 1-2 minutes.

• Plug the keypad cable (availabl e separ at ely ) into the em pty batte ry

compartment. Make sure that the battery cov e r is notche d smoothly to accommodate the cable.

• Set keypad protocol as desired , using “wired” jumper sett ings.

• Replace battery compartment cover.

• Plug into the 3-pin XLR port at the rear panel of the projector.

TO CHANGE FROM WIRED TO INFRARED:

• Unplug the keypad from the projector.

• Open the keypad back and unplug the keypad cable.

• Wait 1-2 minutes.

• Install batteries (see Section 4).

• Set keypad protocol as desired, using “IR” jumper settings.

• Replace battery compartment cover.

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3.1 Overview

3.2 Projector Basics

Section 3

Operation

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

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

Most projector functions and adjustments are initiated via keypad commands that either control the projector directly or activate a system of intuitive menus. Collections of settings can be defined and retained in th e projector's internal memory as a custom channel, with up to 99 different channels possible.

Components and functions are illustrated below.

Figure 3.1. Basic Projector Components

Components / Features

ZOOM - Accessed manually (or via the keypad if a motorized zoom lens is present),

the lens barrel of a zoom lens (optional) rotat es to adjust the si ze of the i m age without moving the projector. Minimum and maximum image sizes depend on which zoom lens is installed — see Section 5, Specifications.

Mirage 2000/4000/6000 User’s Manual

3-1

OPERATION

FOCUS — Accessed manually via 2 “tabs” on the lens (or via the keypad if a

motorized lens mount is installed), focus adjusts the sharpness and clarity of the image at the current throw distance.

LENS OFFSET —

Accessed manually using the 2 front knobs (or via the key pad if a motorized lens is present), vertical and horizontal offsets shift the lens and move the image up or down and left or right. See Section 2, Installation and Setup for the offset ranges for any given lens. These are a lso listed on page 5-1.

SHUTTER (optional) — Closing the shutter blocks the lens internally and turns the

image to off. The shutter is controlled via a dedicated key on the keypad.

LAMP SIDE PANEL —

For accessing the interior lam p door and replac ing the lamp

module. NOTE: Lamp replacement requires a qualified service technician.

FILTER SIDE PANEL —

Louvered grille for air intake. Remove to replace air filter.

COMPOSITE/S-VIDEO INPUT (optional) —- Accepts a composite video and S-Video

signal from devices such as VCRs. Requires optional video decoder module.

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

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

STEREO 3D INTERFACE —- Use for inverting left/right frames in 3D images.

RS-232 SERIAL INTERFACE (WITH LOOP THROUGH) —

to be remotely controlled by a computer or contr oll er, and pro vides a communications connection for Christie’s Marquee Signal Switchers.

RS-422 SERIAL INTERFACE (WITH LOOP THROUGH) — Allows one or more projectors

to be remotely controlled by an RS-422 compatible computer or controller (such as the Two-Way Controller accessory). RS-422 communications can travel greater

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Mirage 22000/4000/6000User’s Manual

Allows one or more projectors

OPERATION

distances than can RS-232 communications, but require RS-422 compatible equipment.

AC LINE CORD INPUT — The Mirage 2000 requires input power of 100-240 VAC,

50-60 Hz @ 9 amps (@ 100 V). The Mirage 4000 require s input power of 100- 240 VAC, 50-60 Hz @ 11.5 amps (@ 100 V). The Mirage 6000 require s input power of 200-240 VAC, 50-60 Hz @ 8.5 amps (@ 200 V). Use the line cord provided with the

projector. See Section 5.

WARNING

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

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

STATUS/POWER LEDS —

Two LEDs (light emitting diode s) loc at ed in the lower right corner of the rear connector panel indicate projector "Status" (top) and "Power" (bottom). During normal operation, the "Power" lig ht is steady green and the "Status" light flashes green each time a key is pressed or when the projector receives a serial command. Use the following as a guide:

NOTE: A steady red power light accompanied by a coded pattern of red and yellow flashes from the status light indica te s an internal system error. Con sul t the rear LCD display for an explanation, and see 3.12, Error Conditions. Should the problem persist, contact a qualified service technician available through your dealer.

REMOTE WIRED KEYPAD CONNECTOR (3-pin XLR) —-

control of the projector.

BUILT-IN KEYPAD —- Alternative location for entering commands. NOTE: If desired,

the keypad can be inverted by a qualified service technician. Contact your dea ler.

LCD STATUS DISPLAY —

status.

Figure 3.2. Reading the Status LEDs

For optional tethered remote

Visual feedback for monitoring projec tor activities and

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3-3

OPERATION

INFRARED SENSORS —- The infra red (IR) sensors on the front and rear of the

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

3.3 Using the Keypad

Built-in

IR Remote

Wired Remote

—OPTIONAL—

HARD RESET —

Emergency access for powering dow n the projec tor in the event of a

system failure. Insert a pen point or small screwdriver. The keypad appears in three locations:

• Built-in to the rear of the projector

• Infrared (IR) Remote for tetherless control up to 100 feet away

• Wired Remote (optional) tethered to the rear of the projector

While each keypad is identical in layout and provides complete control of the projector, you may find one keypad more convenient than another for your specific installation and application.

The built-in keypad is located at the rear of the projector. An LCD window above

this keypad provides feedback regarding current status and activities of the projector. 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, point the keypad either toward the screen or toward the front or rear of the projector. One of two sensors on the projector will detect the signals and relay the commands for internal processing.

The wired remote keypad connects to the 3-pin XLR jack via a 50 ft. cable. It is

recommended when:

Guide to Keypads

• the rear of the projector is inaccessible

• the lighting conditions are unsuitable for proper IR transmission

• you want to use a separate keypad for each projector in a group

NOTES: 1) For extra long distances and/or harsh environments, you may prefer to use an optional remote Two-Way Controller to control the projector. For operating details, please see the Two-Way Controller User’s Manual included with this accessory. 2) Old Vista projector, but the

Keep in mind the following guidelines:

Press keys one-at-a-time; there are no simultaneous ke y presses req ui red.

For any key having an “*” (

GRAPHX

Func

key codes listed on the back are different and do not apply.

“Roadie style” keypads can be used with this

Powe r*

, for example), hold the key for approximately 1 second in order to toggle the function with a single key press. For other keys (or to use a “*” key in conjunction with

OFF

), a momentary press similar to

a mouse click is sufficient.

Press the “lightbulb key” to temporarily illuminate the backlight for the keys without sending any other comm and.

, and

OFF

repeat their “arrow” actions when held down. For other keys, release and press again to repeat an action. In a network, pause between adjustments to ensure that the last projector can “keep up” with the commands.

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OPERATION

If you press a key while the projector is busy with another act ion, such as during a power-up, the key press may not take effect.

When you turn on the projector it begins operating at presentation level, displaying an image from the most recently used source signal. The projector temporarily leaves presentation level whenever you use the keypad to work with control settings, display

menus, or on-line help. For example, pressing

after startup displays the main menu — presentation level is no longer active, although the image still appears in the background. Press

again (or

Exit

) to return or leave the menu system and return

to presentation level.

ad Commands

Specific keypad commands are explained below:

Figure 3.3. Keypad

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3-5

OPERATION

Powe r*

Input1

Input2

Input3

Input4

Power ON/OFF

Press and hold for approximately 1 second to turn the projector on or off with a single key press. Or press

Powe r*

followed immediately by

OFF

if you want to

guarantee the correct toggle (useful if you are unsure of the present status).

NOTES: 1) Whenever the projector is turned off, the lamp cooling fans remain on for about 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.

Input 1

Input1

Press

to select the source connected to

This is the same as entering

Input

INPUT 1

on the projector (data input).

Input 2

Input2

Press

to select the source connected to

interface). This is the same as enterin g

Input

INPUT 2

on the projector (an optional

Input 3

Input3

Press

to select the source connected to

video). This is t he same as entering

Input

INPUT 3

on the projector (composite

Input 4

Input4

Press

to select the source connected to

is the same as entering

Input

INPUT 4

on the projector (S-Vi deo). This

Input

Press

Input

when you want to display from a specific source location, such as a switcher connected serially to the projector’s switcher port. The first digit represents the number you have assigned to your switcher (usually 1-9, or “0” for one of the four inputs on the projector). The second digi t represent s the swit che r’s sl ot number (1-9). For example:

Input

= display data from switcher 1, slot 2.

NOTES: 1) Although you don’t need to use the input key unless a switcher is

Input

connected to the projector, you can also use the projector itself: use switcher), then

, , , or

as the first digit (representing the projector as the

as the second digit (the desired input slot number).

to access the four input “slots” on

in combination with higher numbers is an invalid entry. 2) See 3.5, Using

Channels and Inputs for a detailed explanation of inputs.

Input

NOTE:

key behavior during a presentation depends on whether or not the

Display Channel List option is selected in the Menu Preferences menu. You can

Input

choose to have on-screen feedback when you press

, or you may prefer to enter

the desired source location “blind”, i.e., without on-screen feedback. See Menu Preferences later in this section.

Chan

Channel

Chan

Press

to select a specific source setup (channel) defined and stored in projector

memory. Once you enter a 2-digit channel number (or, if there is a list displayed,

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Mirage 22000/4000/6000User’s Manual

OPERATION

highlight it and press

Enter

), the display will automatically change and update

according to the numerous setup parameters defined for that channel.

Chan

NOTE:

key behavior during a presentation depends on whether or not the

Display Channel List option is selected in the Menu Preferences menu. You can

Chan

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.

Stby*

Standby

Stby*

Press

and hold for approximately 1 second to blank all display while keeping the projector in a warmed-up and ready state. Or quickly press and release follow immediately by

OFF

if you want to guarantee the correct toggle (useful if you are unsure of the present status). Note that the lamp and electronics remain ON in standby mode, even though the image turns to black and most

Stby*

functions are disabled. To leave standby press and hold Or simply press

Press

Exit

to display the Main menu. A list of several options ap pea rs for acc ess to

again (or use

specific functions, such as Channel Setup or Image Settings. Press remove all menus and return to presentation level.

Stby*

and

Stby*

again to

OFF

Enter

Press

Enter

to select a highlighted item, to toggle a checkbox (checked vs. unchecked),

or to accept a parameter adjustment and return to the previous menu or image.

Exit

Press

NOTE:

Exit

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

Exit

does not save changes within text editing boxes (including number

editing of a slidebars) or within pull-down lists. It acts as a “cancel” in these cases.

Arrow Keys

The arrow keys have a variety of functions depending on the situation. Some typical uses are described below. See also Editing Text later in Section 3.

• Use

or to change a slidebar value—hold as desired for continuous adjustment (note the adjustment increments and range depend on the parameter being adjusted).

• Use or to change to a different option within a pull-down list

without having to display th e lis t first

• Use

or to jump between “pages”, such as in Help or lengthy pulldown lists.

Use the

increase or decrease the value in the second (bottom) slidebar of a double slidebar.

OFF

You can also use

OFF

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

OFF

in conjunction with certain toggle keys—i.e., those including an asterisk symbol—to ensure a toggle only in the desired direction. When turning the projector on, for instan ce, you m ay be too far from the projector to know

Powe r*

whether it is really off or if the shutter is merely clo sed. I f you press

and hold it

for approximately 1 second in hopes of turning the projector on, the projector will

Mirage 2000/4000/6000 User’s Manual

3-7

OPERATION

actually turn off if the projector was already on. Instead, to avoid the risk of toggling in the wrong direction, quickly press and release normally the function key you wish to toggle (in this case

OFF

as desired. The specific toggle will occur.

Powe r*

). Then immediately (within 2 seconds) press either

Toggle keys are labeled with an asterisk on the keypad. They are listed below:

Color

Press

Shutter*

•

Shutter*

Stby*

•

Stby*

Powe r*

•

Powe r*

Mute*

•

Mute*

OSD*

•

OSD*

Color

to adjust the color saturation level, i.e. the amount of color i n a video

= close the shutter

OFF

= open the shutter (OPTIONAL)

(OPTIONAL)

+ ON = put the projector in standby mode

OFF

+ +

= leave standby

= turn the projector on

OFF

= turn the projector off

= hide the current menu

OFF

= show the current menu

= turn the menu system on

OFF

= turn the menu system off

image. Lower settings produce less saturated co lor s — a setting of “0” produces a black and white image, for example. If the color level is too high, color s will b e overpowering and unrealistic. Use level is displayed. The

Tint

Press

to adjust the red/green color hue for true color re pro duction of NTSC video

Color

key has no effect when the ADP option is used.

and until the desired color saturation

signals or HDTV signals. For best results, ad just tin t wh ile dis play ing a prope r external test pattern from the source — otherwise, it is recommended that tint remain at its default setting. Use

and until the desired tint is displayed.

3-8

Detail

Press video). Use that any level of detail above 3 will also introduce a certain degree of noise in the image. Set below 3 to filter the signal and remove noise from a noisy source.

Cont

Contrast

Press reach the desired level of contrast—for best results, start low and increase so that whites remain bright but are not disto rte d or tinted, and that light areas do not become white (i.e., are “crushed”). Conversely, low contrast causes dim images. See

3.6, Adjusting the Image (Image Settings subsection).

Bright

Brightness

Press

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. See 3.6, Adjusting the Image (Image Settings subsection).

Mirage 22000/4000/6000User’s Manual

Detail

to adjust the sharpness of a video image (it is of limited use for non-

and until the display is as sharp as desired, keep ing in m ind

Cont

to change the amount of white in your images. Use and until you

Bright

to increase or decrease the amount of black in the image. Use and

until you reach the desired level of contrast—for best results, start high and

Vol

Volume

Non-functional.

Proj

Projector

Proj

Press

when you want to access a specific projector within a network or if you simply need to see if the local projecto r is listening. The number appearing in the “Enter Number” window indic ate s which pro jector is currently listening to commands, and will match the projector number that has been defined in its Communications menu.

The “Projector” checkbox (read- only ) shows whether or not the pro jec tor 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 use a specific projector, enter the 3-digit number assigned to the projector you want to use. Press

Enter

to select, press

Exit

to cancel. If you switch to a projector

other than the one you are currently using, the checkmark will be deleted.

OPERATION

Pixel

Posi tion

Lens

To broadcast to multiple projectors, press

Proj

and then

Proj

again without entering a

projector number. Keypad commands will then affect all projectors present.

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 remainin g projec tor s. See 2.10. Keypad Protoco ls and Conversion, and 3.7, Configuring System Parameters.

Pixel

Press tracking first: use sampling clock to correct consist ency of the image. For proper phase, use

OFF

to access the pixel tracking and pixel phase double slideb ar. Adjus t pixel

and to increase or decrease the frequency of the pixel

to increase or decrease pixel phase so that any shimmer disappe ars and the

and

image is stable throughout. See 3.6, Adjusting the Image (Size and Position subsection) for a complete explana tio n of tracking and phase.

Position

Posi tion

Press and to move the image left or right, use

to move the image using the double slidebar. At the slidebar, use

and

OFF

to move the image up or

down.

Lens

(OPTIONAL)

NOTES: 1) Requires a motorized lens. In non-motorized projectors, adjust the lens manually for proper focus, zoom and offsets as described on page 2-2. 2) For full details regarding use of motorized lens functions, refer to 2.8, Zoom, Focus and

Lens Offset.

Mirage 2000/4000/6000 User’s Manual

3-9

OPERATION

Lens

Press

to access remote motorized control of horizontal/vertical offsets, focus and zoom, and other related functions in the Lens Control menu. All slidebars can be adjusted with

and , or set with a specific value entered from th e keypad.

Figure 3.4. Lens Control Menu (

Lens

)

NOTE: Since the direction of lens travel affects the final true posit ion of the lens, se tt ing a lens position (focus , zoom or an offset) to a specific value may cause the lens to reverse its direction of travel, depending on its starting point, so that it approaches the setting from the necessary direction. Any even-numbered setting is approached from above (the slidebar values will decrease), any odd-numbered se tt ing is approached from below (the slidebar value will increase). This ensures accu rat e lens positioning.

FOCUS: Adjust the image clarity. If focus is not uniform throughout the image, bore

sight is likely poor. Contact your dealer for service.

ZOOM: Enlarge or shrink the image (note: requires a non-Vista

HORIZONTAL OFFSET:

Shift the lens and image left or right. Note tha t slidebar val ues

GRAPHX

zoom lens).

will not reach extremes of 0 or 9999. This is normal.

VERTICAL OFFSET:

Shift the lens and image up or down. Note that slidebar values

will not reach extremes of 0 or 9999. This is normal.

INTELLIGENT LENS SYSTEM: Enable “Intelligent Lens System” (ILS

) to add the 4 lens positions—focus, zoom, horizontal and vertical offset—to the current channel settings recorded in projector memory (see 3.5, Using Inputs and Channels if you are unfamiliar with channels). This featu re is part icu la rly use ful if you are using sources with differing aspect ratios, such as anamorphic vs. 5:4. When switching to and from such displays, the lens will automatically move to the last defined position for each channel, quickly optimizing the display for focus, zoom and offsets.

ILS

is a global

Figure 3.5. Lens Settings and the ILS

function—any lens settings you subsequently def ine for other channels will be recalled whenever you use those channels. Delete the checkmark if you want to use consistent zoom, focus and offset settings for all channels—the lens will not move unless you re-adjust a lens setting.

For full details regarding optimization of ILS

Focus and Lens Offset.

CALIBRATE LENS:

each of the four lens functions is defined as such in software, and that lens mount

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Mirage 22000/4000/6000User’s Manual

performance, refer to 2.8, Zoom,

Select “Calibra te Lens” to en sure that the phy sica l m id-point for

OPERATION

movements remain accurate to this reference. Regular calibration can correct for slight eventual mechanical “drifting” of movements over time. It is particularly recommended whenever the projector is bumped or subjected to vibration, and it is required whenever a new lens is installed and after certain service procedures.

During calibration, th e lens mount will mov e in variou s direct ions for app roximately 30 seconds, detecting the center of focus and offset ranges and the extremes for zoom. A small “Lens Calibrating” message appears on screen during calibration. Calibration is complete when lens mount movement stops (and the menu reappears)—note that the lens retu rns to the previou s settin gs.

NOTES: 1) Calibration with a fixed lens installed causes the zoom calibration to time-out, possibly delaying the completion of calibration by a few seconds. This is normal. 2) If calibration with a zoom lens installed takes longer than approximately 30 seconds to complete, make sure the focus motor is engaged as described in 4.5,

Replacing the Lens.

CENTER LENS: This option removes most vertical and horizontal offset and returns

the lens to the approximate center of the lens opening—th e im ag e will be fairly we llcentered on this axis. Note that if centering remains significantly “off”, lens mount bore sight is likely poor. Contact your dealer fo r serv ice.

Shutter*

Mute*

Func

Shutter

(OPTIONAL FUNCTION)

If your projector has a mechanical lens shutter (a.k.a. douser) added, press and hold

Shutter*

for approximately 1 second to toggle the shutte r closed or open with a single

key press (this also blanks the image electronically ). Or quickly pres s and release

Shutter*

and follow immediately with ON or

OFF

if you want to guarantee the correct toggle (useful if you are unsure of the prese nt status ). Clo se the shut te r when ev er you want to mute all display yet maintain access to projector functions. Open the shutter to regain the display. With no shutter installed,

Shutter*

still blanks the image

electronically, but the blank ing is not quite as black.

NOTES: 1) The status of the shutter is shown in the LCD window on the rear panel of the projector. 2) Upon power-up, the shutter is open. 3) The lamp remains on.

Mute

Mute*

temporarily turns the curren t menu on or off—press and hold

Mute*

for approximately 1 second to toggle with a single key press. Or quickly press and release

Mute*

and follow immediate ly with ON or

OFF

if you want to guarantee the correct toggle (useful if you are unsure of the present status). With either method, a small message appears on screen while the menu is muted.

Function Key

Func

From presentation level, press color or colors in the display. For example, data,

Func

will display all colors data. The list of available color combinations is

followed by a 2-digit number to enable a specific

Func

will display only red and green

shown below and also appears on the back of the IR remote keypad. Color enabling can also be accessed through the menu system rather than these shortcuts.

Mirage 2000/4000/6000 User’s Manual

3-11

OPERATION

NOTE: Once

Func

is pressed in presentation level, the projector will not respond to

= Red = Green

= Blue

= Red and Green = Green and Blue = Red and Blue = All colors (

Exit

does the same thing)

non-numeric entry until 2 digits have been entered or until 5 seconds of inactivity have elapsed.

Func

Use of the elsewhere in Section 3. For example, press

key within the menu system is noted with the appropriate topic

Func

in the Channel Setup menu to enable

deletion or copying of a channel.

OSD*

OSD (On-screen display)

OSD*

Press and hold visible or invisible). Or press

for approximately 1 second to toggle menus on or off (i.e.,

OSD*

followed immediately by

or guarantee the correct toggle direction (useful if you are unsure of the present status). Note that invisible menus are fully functional.

NOTES: 1) With OSD on, you can still mute menus, error messages, slidebars, etc. with the appropriate setting in the Menu Preferences menu. 2) The status of the key is displayed in the LCD window on the rear panel of the projector.

OFF

OSD*

Help

Press again to exit. From presentation level, press

for detailed information about any current menu and highlight. Press

Help

to access the General Help menu

consisting of Using Help, Setup, Keys, Source (Input) Selection, Stat/Pwr LEDs and

Exit

Using 3D. Press

Tes t

Test

Tes t

Press

to display one of the available test patterns. Press

next available pattern in the sequence.

to leave General Help and return to presenta tion level.

Tes t

again to display the

Tes t

will exit after the last pattern, or press at any time t o remove the current test pattern from the screen and return to presentation level.

NOTE: For a complete list of available patterns, see the Communications submenu description later in Section 3.

Keypad operating settings (protocols)

The remote keypad and the optional wired keypad both store keypad operating settings (called protocols) in memory. In some advanced applications, such as when you want to use two separate keypads to control t wo p rojectors independently, you may want to override the original protocol set at manufacture (which is "A or B") for one of the keypads. See section 2.10, Keypad Protocols and Conversion for complete instructions.

Help

Exit

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Mirage 22000/4000/6000User’s Manual

3.4 Navigating the

Menus

OPERATION

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 the Main menu. On the keypad, either enter the number

corresponding to the function menu you wish to access, such as or use the option and press

for the Image Settings menu,

keys to highlight the desired

Enter

. The function menu you selected will then appear. If you select

Figure 3.6. Main Menu

“Auto Setup”, this will not activate a separate function menu but rather initiate an automated process of optimiz ing criti ca l display parameters such as size, position, pixel tracking, etc.

Once you have a function menu displayed, navigate in a similar manner—ent er a menu option number for any numbered option, or use and press

Enter

at the desired option. Extra long menus have a scroll bar on the right–

to move the highlight

use the arrow keys to see the remainder of the menu. Items that are locked out or do not pertain to the current action appear dimmed and cannot be selected.

On-line Hel

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:

Exit

• Press

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

to return to the previous screen

to leave the menu system and return to the presentation

Help

to display detailed information ab out the current menu or highlighted option. A scroll bar appears on the right-hand side of a help window if there is additional text–use the arrow keys to scroll. Press

Help

again to exit.

From presentation level, press within a topic. Press

Figure 3.7. Context-sensitive Help

Help

to access general Help Topics. Scroll as necessary

Exit

to return to your presentation.

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3-13

OPERATION

Figure 3.8. Accessing General Help Topics

At the bottom of some menus, a line of hint text also appears.

Time-outs

The Global Icon

Using Slidebars and

Other Controls

Whenever the projector is not at presentation level, such as wh en ther e is a slidebar,

menu, message or test pattern displayed, you have limited time in which to make a keypad entry before the projec tor re turn s to presen ta tion l ev el and the graphic disappears. These time-outs vary depending on the current display, as shown in the following chart:

TIME-OUTS

Slidebar (from pres.) 5 seconds Slidebar (from menu) 15 minutes Lamp Timer Msg. 30 seconds Channel entry 5 seconds Other 15 minutes

In the menu system, settings that include this icon apply universally to any incoming

signal.

Most of the function menus allow you to change settings by using slideba rs,

checkboxes, and pull-down lists. To select a slidebar, toggle a checkbox status, or view a pull-down list, do one of the follow ing w ith in the func tion menu:

• Enter the menu option number corresponding to the setting you wish to

change (for example, press

• Or move the highlight to the desired parameter and press

• Or move the highlight to the option desired and press

for Vertical Stretch in Size & Position menu).

Enter

or .

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

adjustment (note: applies only to options having their own key, such as Color, Tint, Detail, Contrast, Brightness, Pixel and Position).

Enter

Once selected, change the setting as desired (see belo w) and press

to save and

return to the current function menu.

Slidebars in menus -

such as size or vertical stretch, appears to the left of its slidebar icon. This number may express a percentage or specific units (such as pixels, degrees Kelvin, etc.), depending on the option. Press setting up or down—both the number and the length of the bar change accordingly (for continuous adjustment, hold down the desired arrow key). Or press activate a slidebar text box for specifi c num ber entry via the keypad, then press or and

3-14

Mirage 22000/4000/6000User’s Manual

The current value for a given option,

Enter

to save (or press

Exit

to cancel).

or to gradually adjust the

Enter

OPERATION

Double slidebars -

In double slidebars, such as the pixel tracking/pixel phase double slidebar, adjust the top slidebar with

or as desired. When you have finished with the top slidebar (whether changed or not), adjust the bottom slidebar with

OFF

. When you are done, press

Exit

to return to your presentation. For

fast continuous adjustments, hold down the desired arrow key.

“Direct” slidebars -

For quick access, you can often use a slidebar (or double slidebar) without traveling the menu system. For example, simply press immediately disp lay the same contrast slidebar accessed with the

Contrast

the Image Settings menu. Direct slidebars are listed below.

LIST OF DIRECT SLIDEBARS

H-Position or V-Position

Pixel Tracking or Phase

Volume

Contrast

Brightness

Color

Tint

Detail

Posi tion

Pixel

Cont

Bright

Color

Tint

Detail

Cont

option in

Use the arrow keys to adjust a direct slidebar, or press

Enter

number from the keypad , then When you are done, press

Exit

or or to save ( or

to save and return to your presentation.

Enter

and enter a specific

Exit

to cancel).

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

OSD*

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

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

Checkboxes -

To toggle the checkbox, simply highlight and press

Conditions are present if its adjacent checkbox contains a checkmark.

Enter

, or highlight and use to

check and

to uncheck. For a checkbox that is numbered, simply enter the number of the option to toggle the checkbox.

Pull-down lists –

labeled with a

• Highlight it and press

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

, you can:

▼

Enter

• Or enter the menu option number.

Use noted with a small

OFF

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

). Press

Enter

to choose an option from the list, if desired.

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OPERATION

Figure 3.9. Example of Pull-Down List

Or, of you prefer to quickly scroll through a list without f irst pull ing it down, highlight the option and use

or . Press

Enter

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

Exit

(such as a channel name) and press

or to jump between “pages” in an extra long pull-down

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

Enter

to activate its adjacent edit window. Any previously entered text is displayed with its first character highlighted in a square cursor, signifying that this charac te r is ready for edi t ing .

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 3.10. 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

Func

PRESS

press

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Mirage 22000/4000/6000User’s Manual

Enter

WHEN FINISHED:

Enter

To acc ept the edits and move out of the edit window,

OPERATION

Editin

Numerical Values

3.5 Using Inputs and Channels

NOTE: Press

Exit

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), switchers, or slots. As each digit is entered, it is displayed and the cursor moves on. Note that channel numbers are always defined with 2 digits—for example, if you enter only a single digit (like “7”) for a channel number, the channel will automatical ly be define d as “07”. Use “07” t o u til i ze this channel.

NOTES: 1) Once you enter the first digit, this digit re plac es all old dig its. 2) If you press any non-numbered key, the number entered up to that point is accepted and

Exit

updated as the new value. 3) Press

to cancel editing of numerical values.

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

The projector stores and automatically recalls up to 99 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 repea tedly re-configure the projector for di ff eren t pres ent at ions. Each physical source (i.e., input) can have several different channels associated with it.

Do I Select an Input

Or a Channel?

INPUT -

An input simply describes a physical location for an incoming signal connection. These connections are always either on the project or itsel f (one of the four inputs at the rear of the projector) or on any swit che r connec ted to the

Input

projector’s switcher port.

describes the source signal according to two specific criteria only—to which switcher it is connected and to which slot it is connected— and is identified by a 2-digit number entered on the keypad. The first digit specifies the switcher (0-9), the second specifies the slot (1-9). Note that the projector is always considered “switch er #0”.

EXAMPLES:

Input

= use source connected to switcher #1, slot #3

= use source connected to the projector, slot #1 (i.e.,

You can switch to an input in either one of two ways. Pressing the appropriate direct key —

Input3

, or

Input4

— is a quick and seamless way to display from one

Input1

Input2

of the four inputs connected at th e rear of the projector. Or, if your projector has a switcher connected to it at the

SWITCHER port, press the general

Input

key and enter the 2-digit number representing the switcher and slot location for the desired signal (note there is no on-screen feedback for entering the numbers).

Regardless of which method you use to select a source/input, the 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. Note that a graphic source will resize into a full-screen image, whereas video or HDTV sources will resize only as much as possible while maintaining the ir aspe ct ra tio.

Input1

)

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OPERATION

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

Input

projector memory (see below). Using an

key will automatic al ly reca ll th is

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.

Creating a New

Channel

— AUTOMATIC —

CHANNEL -

A channel is a collection of measurements, locations and settings that tailor a display 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, tint, size, etc., in order to customize and optimize the display coming from a particular source. For example, the display settings you choose for a VCR source may be very different from those you choose for a high resolution computer source, or one signal may simply vary from another signal used earl ier through the same input location. Once you have adjusted a display parameter, such as pixel tracking or contrast, all cu rre nt set tin g s are collectively stored in the proje cto r's memory as a unique 2-digit channel, such as

. You can have numerous distinct channels available for the same input, any of which can be selected by using the key on the keypad followed by the 2-digit channel number.

Chan

NOTE: The

key may display a channel

list or not, depending on what you have defined within the Menu Preferences menu (see Menu Preferences later in this section). Shown at right is a sample channel list

Chan

available from

In order to use channels (

Chan

on the keypad),

you must first create them. See below. To use a new source with the projector, a new

channel must be added to projector memory

Channel List (

Chan

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).

Chan

)

When you select a direct input (press channels in the projector are searched for match ing inpu t and sig na l param e ters. I f no match to the incoming input signal is found in the currently de fin ed ch anne ls, a new channel is temporarily created based on factory-defined defaults for this signal. The

channel number assigned to this channel is the lowest available number from 01-99. 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 a signal present.

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

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Mirage 22000/4000/6000User’s Manual

Input

Input1, Input2, Input3

Input4

), the existing

OPERATION

What Channels

Are Defined So Far?

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

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

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

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.

From the presentation

level press

to display the Main menu. To display the Channel Setup menu, press

, or move the highlight to the Channel Setup option and

Enter

press

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

Figure 3.11. All Channels Appear in the

Channel Setup Menu

highlighted.

Chan

WHAT APPEARS IN THE CHANNEL SETUP MENU? As shown in Figure 3.11, this menu

lists all channels defined so far and indicates how they are connected to the projector. The far left column contains current channel numbers defined. The values in the far right columns indicate horizontal and vertical frequencies—if a name has been defined for this channel, it appears here instead. Other columns contain details pertaining to each channel setup, such as its switcher number, slot location, a variety of icons indicating access to the channel, and an abbreviated description of each signal type. See Editing a Channel Setup for details.

SIGNAL TYPE — Either channel list, whether the

Chan

key list or the Channel Setup menu, identifies signal types in a shortened form as defined below. These descriptors indicate what signal information the projector used to identify a match for a given channel, and are preceded by either an “i” (interla ced sig nal ) or “p” (progressive signal). See Table 3.1.

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OPERATION

Table 3.1. Abbreviations for Signal Type

Abbrev. Signal Type

4WH Composite (4 wire) on HC input 4WV Composite (4 wire) on V input SG Sync-on-green SR Sync-on-red 5W Separate H,V 5WR Separate H,V swapped SVid S-Vid CVid Composite Video 3LH Tri-Level on HC input 3LV Tri-Level on V input 3LG Tri-Level on green E3LH European Tri-Level on HC input E3LV European Tri-Level on V input E3G European Tri-Level on green Dig Digital

If you have more than a handful of channels, use and to see the remaining channels not visible in this initial di spl ay.

Copying or

Deleting Channels

To copy, delete or edit any of the channels listed in the Channel Setup menu, highlight the desired channel and do one of two things:

Func

• Press

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

channels. See Copying or Deleting a Channel below.

Enter

• Press

if you want to edit channel setups (i.e., non-image related parameters) for the selected channel. See Editing a Channel Setup, below.

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

Func

press

Enter

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 01-99. If you change your

Exit

mind and do not want to copy the current channel, press

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.

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Mirage 22000/4000/6000User’s Manual

Figure 3.12. Copying A Channel

OPERATION

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

Func

then press

Enter

press

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

—a confirmation window will appear to make sure that you really want to

delete this channel.

Figure 3.13. Deleting a Channel

Editin

a Channel Setu

CHANNEL EDIT — STEP 1

CHANNEL EDIT — STEP 2

TO DELETE MULTIPLE CHANNELS

Func

and press Only” and press

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

Enter

to delete all unlocked channels. Or select “Delete All Channels”

, highlight any channel in the Channel Setup menu

to delete all channels, even those that are locked. In either case, the current channel will remain but will be redefined from projector defaults.

NOTE: For any deletion, a confirmation box appears to make sure that you really want to delete. Select “Cancel” (default) if you d o n’t w ant to d elet e af ter all.

The basic setups that describe how and where a channel can be accessed are listed in

the Channel Setup menu. These channel setups can be edited at any time in the Channel Edit submenu.

From the presentation lev el pre ss Channel Setup menu, press

Enter

and press

. The Channel Setup menu will appear.

, or move the highlight to the Channel Setup option

to display the main menu. To display the

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

Enter

. The Channel Edit menu will appear similar to the sample shown in Figure 3.14.

CHANNEL EDIT — STEP 3

If desired, edit the following channel setups in the Channel Edit menu:

Figure 3.14. Channel Edit Menu (

Mirage 2000/4000/6000 User’s Manual

SAMPLE

)

3-21

OPERATION

• CHANNEL NAME:

An alpha-numeric label can be defined and/or changed

here. Channel names can be up to 12 characters in length.

•

CHANNEL NUMBER:

A channel number from 01 to 99 can be changed

here. NOTE: 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.

•

SWITCHER NUMBER: “

0” represents the projector itse lf. O r, if the input source is connected to a switcher, the default will be the lowest switcher number available (from 1-9)–change here as desired.

•

SLOT: 1 (

Input1

), 2 (

Input2

), 3 (

Input3

), or 4 (

Input4

) for projector inputs, or

current slot number (1-9) if the source is connected to a switcher.

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.

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

•

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

Chan

list available when accessed via

Chan

key is pressed. If unchecked, the channel must be

on 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.

3.6 Adjusting the Image

• AUTO SOURCE:

If checked, (default), the projector can automatically locate this channel when an incoming input signal matches. If not checked, the projector can locate the selected channel only when it is

Chan

directly selected via

on the keypad—and a change in input signal will

not result in a channel change.

•

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.

Most options for source-specific im ag e adjustments can be accessed through two menus: Size and Position (

) and Image Settings (

), both of which are listed in the Main menu. While in either of these two menus, you can change settings affecting the image from the current channel by working with the appropriate

Exit

slidebars, checkboxes and pull-down lists.

will always return to the previous menu (or to the presentation, if from the Main menu) and accept any changes you may have made. Or you may prefer to begin with an automated setup in which the projector quickly defines certa in param e te rs for you—s el ect Auto Setup from the Main menu. These settings can then be fine-tuned in Size and Position and Image Settings at any time.

From your presentation, access any of the individual options in these menus by pressing location in the menu system. For example, press “Color Setup” option in the Image Settings menu.

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Mirage 22000/4000/6000User’s Manual

followed by the appropriate two- dig it number repr ese nting the ir

to quickly access the

OPERATION

For certain options, you may prefer to use a “direct key” from presentation level to go directly to a particular option rather than traveling through the menu system at all

Cont

(note: this is not available for all display parameters). For example, press access the “contrast” slide b ar immediately. Press

Exit

to return to your presentation.

NOTE: 1) To hide the “direct” slidebars only, make sure the Display Slidebars option in the Menu Preferences menu is unchecked. 2) To hide the entire menu

OSD*

system from view, toggle the on-screen display OFF: press and hold the

key.

Auto Setu

Image Size and Position

If you want the projector to quickly set up the image for you, select “Auto Setup”

from the Main menu. A confirmation box will ask if you really want to continue, in which case display param eters listed in the Table below will be set for you. An “Auto Setup” can save time in setting up an image, and you can also make further adjustments as desired. You must have an unlocked channel present to use Auto Setup.

Table 3.2. Auto Setup Parameters

What an “Auto Setup” Does

OPTIMIZES: SETS TO DEFAULT:

Pixel Tracking Contrast & Brightness

Pixel Phase Auto Input Level (off)

Size Blanking

Vertical Stretch Detail

Position Filter

Input Levels

The two-page Size and Position menu

(if analog source)

(if video source)

Luma Delay

allows you to 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 size and aspect ratio needed for your application.

Refer to "Using Slidebars and Other Controls" (earlier in this section) if you need help using any of the following slidebars or pull-down lists to alter your image. Changes made to the Size and Position menu are applied immediately and are saved when you exit the menu (press

Exit

Figure 3.15. Size and Position Menu

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OPERATION

Resize Presets

Use Resize Presets to quickly display an image in its native resolution (including anamorphic) or to automatically resiz e an image to closely fit the screen. The value for Size, Position and Blanking parameters (described later) will, in turn, change as necessary without your having to set them

Figure 3.16. Resize Presets Choices

manually. Resizing options for non-tiled applications are explained in detail below.

WHAT IS THE PROJECTOR’S DEFAULT? When displaying a new source, by default

your image will fill the screen as fully as possible for the type of source present. See Select “Default” below.

WHEN “CUSTOM” APPEARS:

The “Custom” descriptor autom a tica lly app ear s in the Size and Position menu when any of the values for Size, Vertical Stretch, H-Position, V-Position or any Blanking do not correspond to those for a preset. It is not an option in the Resize Presets pull-down list.

• Select

“DEFAULT” (default) for most images. This option will center and display

your image as large as possible f or the pres ent sour ce as descr ibe d below:

9 A graphic image will resize to fill the screen, regardless of its original

aspect ratio. For example, 1024 x 768 becomes 1280 x 1024.

9 A video image will resize to fill the screen while still maintaining its

aspect ratio (assumed to be 5:4).

9 An HDTV wide-screen (16:9) image will resize to fill the screen

horizontally while maintaining its 16:9 aspect ratio —i.e ., ther e wi ll be black borders at top and bottom, commonly called “letterboxed”.

9 A non-HDTV anamorphic (16:9) image, typical of DVDs, will be

stretched vertically.

So with the exception of HDTV (16:9), the “Def ault” se tt ing produc es an aspec t ratio that is either almost or exactly 5:4. See examples below.

NOTE: 3D images are displayed with No Resizing only.

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

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Mirage 22000/4000/6000User’s Manual

smaller or larger than the native resolution of the projector. All Size, Vertical Stretch, H-Position, V-Position or Blanking values will change acc ordingly. For

example, for a source with a native resolution of 800 x 600, “No Resizing” will

OPERATION

center a small image within a black border. Conversely, an HDTV image is wider than both 1024 and 1280 and will be cropped on the sides—or, in the case of “1080i” HDTV, cropped at top and bottom too. With “No Resizing”, signals with non-square pixels, such as video connected to

INPUT 3

INPUT 4

, produce

distorted images that are too tall or too wide. See below.

• Select “FULL SCREEN” to use all pixels (1280 x 1024)

for displaying the image, regardless of source or original aspect ratio. See right.

• Select

“FULL WIDTH”

to fill the display from left-toright. Depending on the source, this may create top and bottom borders. See right.

• Select

“FULL HEIGHT”

to fill the display from top-tobottom. Depending on the source, this may create side borders. See right.

• Select

“ANAMORPHIC” to display an entire non-

HDTV “wide screen” (anamorphic) image in its native 16:9 aspect ratio. Known as letterbox, the im ag e will fill the screen from left-to-right, but will not use all vertical pixels available (top and bottom will be black). If you do not choose “Anamorphic” when a non-HDTV anamorphic image is present, the default image will be stretched vertically, characterized by obvious distortion and “thin people”.

• All

NOTE: Use “Anamorphic” for regaining a 16:9 display of non-HDTV anamorphic sources only (typically found on some DVDs, for example). For HDTV, the “Default” setting will produce the same result.

resizing choices are selecta ble only if you have defined a tiled group of

TILED

projectors in the Tiling Setup submenu. See 3.11, Using Multiple Projectors.

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OPERATION

Size

Size controls both the image width and height in tandem, maintaining the original aspect ratio (proportion) of data from the incoming signal.

Vertical Stretch

Vertical stretch adjusts the height the image while keeping the width constant. Use Vertical Stretch to display data from the incoming signal in a different aspect ratio.

Pixel Track (

SHORT CUT: Press

Pixel

and adjust the top slidebar.)

Pixel tracking adjusts the frequency of the pixel sampling clock, indicated by the number of pixels per line, so that all pixels generated by a particular source are sampled. Proper pixel tracking ensures that the image quality–whether good or poor– is consistent across the screen, that aspect ratio is correct, and that pixel phase can be optimized (below).

NOTE: By default, the projector will sample at the correct frequency for most sources. Make sure that pixel tracking is set to 1424 or higher for 3D images.

Pixel tracking is adjusted most effe ct iv ely using a g ood test patter n, such as a sm ooth gray consisting of a clear pattern of tiny black and white dots, or a similar “half on, half off” graphic image, such as the Windows shutdown screen. Steady flickering or several soft vertical stripes or bands across the entire image indicates poor pixel tracking. Adjust the slidebar unt il the st rip es broad en to the point w her e one larg e stripe fills the image. Again, the image may still exhibit some noise. See Pixel Phase.

Pixel Phase

SHORT CUT:

(

Press

and adjust the bottom slidebar.)

Pixel

Pixel phase adjusts the phase of the pixel sampling clock relative to the incoming signal. It is used primarily for adjusting RGB inputs.

NOTE: Adjust pixel phase after pixel tracking is properly set.

Adjust pixel phase when the image (usually from an RGB source) shows shimmer or “noise”. Pixel phase adjustment is done mo st effect iv ely from within a proper test pattern, such as a smooth gray consisting of a clear pa tte rn of tiny bla ck and white dots, or a similar graphic image, such as the Windows shutdown screen. Adjust until the image is stable and each dot is clearly defined. Using the numbers on the slidebar as a guide, you will notice that you can actually 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 select either setting.

Filter

Filter applies a low pass filter to the input sig nal . This remov es high frequen ci es which can improve pixel phase noise but which also reduces signal bandwidth. Note that most signals will not require any filter adj ustment—use the filter option only if standard pixel tracking and pha se ad justm ents do not ade qua tely cl ea r up a “noisy” signal. For best results:

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Mirage 22000/4000/6000User’s Manual

1. Optimize Pixel Tracking and jot down the

value.

2. Optimize Pixel Phase

3. If the image is still too noisy, return to Pixel

Tracking and “mis-adjust” so that 2 vertical bands of noise appear, separated by a good center band. See right.

4. Adjust Filter to maximize the width of the good

area. See right.

5. Return Pixel Tracking to its correct setting from

Step 1.

6. Readjust Phase.

NOTE: “Filter” affects only the current signal.

H-Position (

SHORT CUT:

Press

Posi tion

and adjust the top slidebar.)

This option moves image right or left.

OPERATION

NOTES: 1) 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 2) Range of adjustment is limited in 3D mode.

V-Position

SHORT CUT: Press

(

Posi tion

and adjust the bottom slidebar.)

This option moves the image up or down.

NOTES: 1) The value shown represents where the approxi m ate center o f 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. 2) Range of adjustment is limited in 3D mode, and affects 3D performance. See 3.10, 3D Images for details.

Lens Control (

SHORT CUT: Press

For a full description of the Lens Control submenu, see 3.3, Using the Keypad (

(REQUIRES MOTORIZED LENS UPGRADE)

Lens

to activate the Lens Control submenu.)

Lens

key) and 2.8, Zoom, Focus and Lens Offset.

Blank: Top, Bottom, Left or Right

These slidebars blank (turn to black) the top, bottom, left, or right edge of the image so that any unwanted information is cropped from view. For example, when displaying native size video you may want to blank out a few of the top lines.

PLL Loop Gain

This control changes the rela tive offset to the default gain. The default PLL (P has e Lock Loop) Gain setting of 10 is set automatically wi th a Pixel Track ing ad justment

Mirage 2000/4000/6000 User’s Manual

3-27

OPERATION

and is correct in most cases. In rare instances, such as if your image exhibits tearing or “flag-waving”, increase the PLL loop gain setting as necessary. Or, if your image is unstable and “breaks up”, this may indicate that the PLL loop gain setting is ei ther too high or too low. PLL Loop Gain affects the current channel only.

Keystone

Not available in this projector.

Plug & Display (EDID)

NOTE: Requires optional DVI Input Module. Disabled for all other inputs.

By default, the Plug & Display option d etect s an incom ing dig ital flat panel video signal and displays it in the native resolution of your projector. If you have additional daisy-chained projectors, they will display in this resolution as well. If you want to use a different resolution (for example, your graphics card may not support the current resolution ), sele ct a different Plug & Play setting fr om the list.

Tiling Setup

See 3.11, Using Multiple Proje cto rs (Ti ling Se tup section).

Image Settings

Use options in the two-page Image

Settings menu to alter your image in ways that do not affect its size or position. Changes made to the Image Settings menu are applied immediately and are saved when you exit the menu (press

Exit

). Options not available for your projector model appear dimly and are disabled.

Contrast

(

SHORT CUT: Press

Cont

and adjust the

slidebar.) “Contrast” increases or decreases the

perceived difference between light and dark areas of your image (0-100). If contrast is set too high, the light parts of the image lose detail and clarity. If set too low, the light areas will not be as bright as they could be

Figure 3.17. Image Settings Menu

and the image will be dim. 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., are “crushed”). For best results, keep close to 50.

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Mirage 22000/4000/6000User’s Manual

OPERATION

Brightness

(

SHORT CUT: Press

Bright

d adjust the slidebar.)

“Brightness” increase s or decreases the amount of black in the image (0-100). Start high 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. For best results, keep close to 50.

Pixel Phase

(SHORT CUT: Press

Pixel

and adjust the slidebar.)

See description in Size and Position section, above.

Detail

(

SHORT CUT: Press

and adjust the slidebar.)

”Detail” adjusts the sharpness of a video image. Use

and until the display is as sha rp as desired, keeping in mind that any increase in detail above 3 (default) will also introduce a certain degree of noise in the image. Set below 3 to filter the signal and remove noise from a noisy source. Keep at 3 to apply no detail.

Color Space

This option determines how the color components of an input signal are decoded for accurate color in the display. Selecting a color space option is useful only for analog sign als conn ected to

INPUT 1 or INPUT 2. Although the color space for such a signal

is automatically dete rmined by the projector, in some circumstances you may wish to override this and manually set a diff eren t colo r space.

NOTE: For 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.

• Select

• Select YPbPr (Video)

• Select

RGB unless you are using component video at INPUT 1 or 2.

with a standard definition televised signal (SDTV)

YPbPr (HDTV)

with a high definition televised signal (HDTV).

NOTE: When certain RGB signals are first conne ct ed, the proj ect or may not initiall y recognize them as RGB and will incorrectly decode th eir col or info rmat ion as YPbPr (video). These signals can include:

For these signals, change the Color Space to RGB, which will define a new channel for future use.

• RGB signals in NTSC, PAL, SECAM frequency ranges

• Scan-doubled sync-on-green

• Scan-quadrupled sync-on-green

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OPERATION

Color Setup

Select this submenu t o work with aspects of color—adjust for saturation and overall hue in video signals, or adjust gamm a or temperature in any sig nal.

COLOR —

“Color” adjusts the color saturation level or the amount of color in a video image. When set to “0’ the image appears black and white, and when set too high the colors appear overpowering and unrealistic. Use

and to adjust “Color” until the desired saturation level is displayed. For a

Color

shortcut to “Color” slidebar, press

TINT —

“Tint” adjusts color hue to obtain true colo r repr oduc tio n of NTSC video

signals or HDTV signals. Use

at any time.

and until the desired balance or red-to-green is displayed in your image. It is best to adjust tint while displaying an external test pattern—otherwise, i t is recommended that tint remain at its default sett ing . For a shortcut to “Tint” slidebar, press

SELECT COLOR TEMP — “Select Color Temp” applies either a

Tint

at any time.

preset color temperature (3200 K, 5400K, 6500K or 9300K) o r any previously “User” define d color temperature. Color temperatures are measured in degrees Kelvin and represent the “coloration” (reddis h or bluish ) of th e whites displayed by the projector—the lower the temperature, the more reddish the whites; the higher the tempera tur e, the m ore bluish the whites.

NOTE: The custom temperatures “User” or “Interpolated Color” can be defined in the Color Temperature Setup menu. Until defined, these custom choices all default to 6500K. See 3.7, Configuring System Parameters.

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INTERPOLATED COLOR — Use this o ption if you need a specific color temperature

that lies somewhere between one preset color tempera ture and another. Adjust the slidebar to define a new temperature which will be interpolated from the neighboring presets (for example, 7841 is in ter pol ated from 6500 and 9300). This slidebar is disabled unless you have a source connected and have selected “Interpolated Color” in the “Select Color Temp” pull-down list.

GAMMA — NOTE: Gamma does not normally require adjustment and is intended for

experienced users only.

The "Gamma" option affects the shape of the curv e dete rm ining what gray shades are available for a giv en amount of si gnal input between minimum (black) and maximum ( white). Different curves can improve performance for certain kinds of source input and applications. Generally the best gamma curve is one that produces maximum contrast, brightness and color performance for the current signal and ambient lighting conditions.

DEFAULT (default) – This setting provides good black levels and high contrast

under optimum viewing conditions for vi rtu al ly all ty pes of images, including

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OPERATION

video, HDTV and computer graphics. “Default” is the only gamma setting available when using the Adjust Primary Colors (CDS) feature—see 3.11, Using Multiple Pro jectors.

ENHANCED –

This setting elevates middle gray levels compared to “Default”, and provides a more gradual rolled-off transition to maximum white. Together, these differences can improve the appearance of many kinds of images.

HIGH AMBIENT –

This setting elevates low gray levels compared to the “Default” and “Enhanced” settings. In high ambient light conditions, details can be seen in the dark parts of an image that would otherwise be difficult to perceive.

PAL/SECAM – This setting results in a darker image with higher contrast. The

gamma curve more closely matches the official standard for PAL and SECAM video signals.

LINEAR –

This setting is a straight, linear transition from black to white. For normal source signals, it results in a picture of low contrast with highly elevated low- and mid- level grays. It should be used only with sources that have their own pre-applied gamma control.

COLOR TEMPERATURE SETUP —

Use the Color Temperature Setup submenu to apply, alter, add, or copy a color temperature, or if you want to use an unaltered factory default color temperature.. This menu is duplicated in other locations.

By default, the projector can utilize any of four calibrated factory-set color temperatures: 3200, 5400, 6500 or 9300 (expressed in degrees Kelvin). For most applications, these temperature s will disp lay accurate and realist ic col or s fr om a variety of sources. They can b e selec ted at any time from the “Select Color Temp” list in the Color Setup submenu.

However, if you require extra color temperatures, you can also add up to five custom color temperatures—four “User” and one “Interpolated Color”—by defining them within the Color Temperature Setup menu (each defaults to 6500K until then). Any “User” or “Interpolated Color” temperature created here is immediately applied, or it can be selected at any time from the Color Setup menu as usual, regardless of your source or channel. Use of the Color Temperature Setup menu is described below.

NOTE: For best results, use an internal grayscale test pattern when working with color temperature.

Figure 3.18. Color Temperature Setup Menu

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SELECT COLOR TEMP – See Figure 3.18. Upon opening the Color Temperature

Setup menu, the current temperature appears as the top option. You can change to a different color temperature here as desired, just as in the Image Settings menu. Note that selecting a “User” color temperature, enables the “ W hi te Level” options in the Color Temperature Setup—adjust as desired to define or change a “User” co lor temperat ure (see “White Levels”, below). Likewise, selecting “Interpolated Colo r” here ac tivates the “Interpolated Color” slidebar for choosing a new interpolated color temperature for a connected source.

INTERPOLATED COLOR –

Select this option if you need a specific color temperature that lies somewhere between one preset color te mperat ure and another. Adjust the slidebar to define a new temperature which will be interpolated from the neighboring presets (for example, 7841 is interpolated from 6500 and 9300). It can be used any time and appears as a 4-digit temperature when in use. NOTE: This option is disabled unless you have a source connected and have selected “Interpolated Color” in the “Select Color Temp” pull-down list.

WHITE LEVELS –These 3 controls are adjustable only if a “User” choice is

selected (in which case “User 1, 2, 3 or 4” appears at the top of the Color Temperature Setup menu). Their current values are shown for the active color

temperature. Changing a white level here changes the drive (contrast) for that color, essentially crea ti ng a new color temperature that is “warmer” or “cooler” etc. For maximum overall brigh tne ss, a lways keep at least one white level at

100. When you are satisfied with the new “User” temperature, it can be used immediately upon exit or it can be selected from either the Image Settings menu or the Color Temperature Setup menu as usual. You can re-define a “User” color temperature at any tim e using th e Color Temperature Setup menu.

COLOR ENABLE –

Select which color or colors you want to see, useful while

working with color tem perat ur e white lev els.

COPY FROM – Use this option to replace the currently selected “User” color

temperature setup with that of another. This function can be particularly useful as a starting point for a new “User” color, or for accessi ng an unaltered factory default. It is disabled for all colo r temperatures except “User”. See Figure 3.19.

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Mirage 22000/4000/6000User’s Manual

Figure 3.19. “Copy From”

To create a starting point: To set a starting point for a new custom user color temperature, select a user temperature, then highlight “Copy From” and select a

OPERATION

temperature that is similar to wha t you want. Adjust white levels from there as desired.

To use a factory default: The preset color temperature setups (3200K, 5400K, 6500K and 9300K) can be altered from within the password-protected Service menu only—note that although such an alteration changes the setup and appearance for a preset, it does not change its name. If you suspect that you are using a preset temperature that has been altered and you want instead to use the original factory-calibrated color temperature without cle ar ing the entir e projector memory, you can use the “Copy From” option in the Color Temperature Setup menu to set up a “User” temperature with settings from a permanent factory prese t:

Figure 3.20. Presets and

“Factory” Presets

1. Select the “User” color temperature

you wish to update at the top of the Color Temperature Setup menu, such as “User 2”.

2. From the “Copy From” list, select the matching temperature labeled “Factory”

(such as “Factory 5400K”). These are the ca lib ra ted co lo r tem peratures set at manufacture—they remain intact for the life of the projecto r.

3. The setups for the “User” color temperature you sel ected at th e top of the

Color Temperature Setup menu will now be updated/replaced by those for the permanent factory calibrated temperature you selected in the “Copy From” list. Again, a “User” temperature can be altered at any time, if desired.

Video Options

Not applicable with graphics sources.

VIDEO STANDARD —

The projector automatically detects the video standard present and displays the name of this standard here. Press

to view or select a different video standard from a complete list available to the projec tor (some will appear disabled, depending on the current incoming signal). Selecting a specific standard forces the projector to process the signal according to this standard.

NOTE: This option should remain set at “Auto” for all instances EXCEPT: 1) a poor quality input signal or 2) a black-and-white video si gnal. In o rde r to detect and display such signals, select the relevant standard.

INPUT VIDEO BLACK —

This control compensates for incoming elevated black levels– called “setup”–that are present in certain v ideo sig nals, and ensures that bl ack s on screen are neither crushed (i.e., with dark gray appearing black) nor excessi vely elevated (i.e., with black appearing dark gray). By default, the projector autom atically determines the correct setting according to the type of incom ing video sig n al:

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• 0 IRE

– For DVD output with “enhanced black”, SECAM, most PAL

standards, and Japanese NTSC.

•

7.5 IRE – For most NTSC video signals.

For some types of video, you can overr ide the setting. The control is disabled for other types of video (and all graphics sources). Genera lly, if black appears crushed when brightness = 50, choose “0 IRE”. If black appears excessively elevated, use “7.5 IRE”.

VCR – This control determ ines to what degree the projector tolerate s sig n al

disturbances. The correct setting is automatically determ ined and set according to the type of incoming source signal–for instance, there should be a checkmark for all VCR sources. The VCR option may require a change from its auto setting in very rare circumstances only, such as if you are having difficulty switching between two unusual and almost identical VGA computer sources. Otherwise, it is not necessary to change this option.

VIDEO TERMINATION —

Enter a checkma rk

to terminate the video inputs 3 and 4 (75

The input should be terminated unless

the signal loops through (continues) to anothe r projector or display device, in which case only the last projector in the chain should be terminated.

ENABLE DECODER AGC – The “automatic gain control” affects decoded video images

only. Enter a checkmark (default) for most decoded video sources—this activates the 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 betwee n this sour ce and the AGC.

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

NOTES: 1) It is recommended that only experienced users use the Input Levels submenu—the projector automatically optimi zes inpu t le v els for a ll but the most unusual of sources. 2) Before attempting an input level adjustment, 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 one white pixel present in the image for proper “Auto Input Level” function. Leav e this con tro l off.

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Good RGB or input levels—that is, the drives and blacklevels for each of the three colors, red, green and blue—ensure that images from analog sources other than decoded video have maximum contrast without crushing black or white. By default (and in an “Auto Setup”

Figure 3.21. Input Levels Submenu

from the Main menu), 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 requ ire s at leas t 1 white pixel in the image. Without a white pixel, input levels may produce skewed colors, particularly in non-video images.

However, for a very unusual source exhibiting overly high blac kleve ls ( most oft e n caused by a noisy source that causes blacklev el spikes), an experienced user may prefer to use the Input Levels menu (see Figure 3.21). These adjustments, which are actually a calibration process to compensate for differences in sources and cabling, enables an experienced user to perfect the source image input levels. Note that Input Levels are of limited use with digital signals, but offer some ability to tweak poorly mastered source materials.

AUTO INPUT LEVEL – Keep off for virtually all sources (default). Temporarily enter a

checkmark only if you are an experienced user and you have an unusual source that you feel needs further color tem peratu re and /or inpu t lev el adjus tm ent. Aft er enter ing a checkmark, wait for the six values to sta bili ze, then delete the checkmark and exit.

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

1. Make sure overall Contrast and Brightness are both set to near 50.

NOTE: Not required for “Auto” adjustment.

Cont

•

= 50 (approx.)

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

pattern, adjusting as desired to obtain a neutral grayscale. NOTE: Not

required for “Auto” adjustment.

3. Make sure you are using an analog source not connected to

INPUT 4, as Input Levels are not applicable for digital sourc es or source s

INPUT 3 or

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 6

values to stabilize. Alternatively, do not use “Auto”—reduce blacklevels manually instead. Judge by eye and change one or more of the six levels as necessary to obtain proper blacks and whites. You may want to see

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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.

CLAMP TIP – This option (full name sync tip clamping) can brighten the im age

produced from certain high resolution, high frequency graphic sources. Enter a checkmark if the image appears unusual ly dim, if there are horizontal streaks across the image, or if there is significant co lor dr ift. D elete the checkmark if the image is either sufficiently bright or overly bright. This option is useful for non-3D as well as 3D.

NOTE: The sync tip clamping option is not used for video sources or any RGB source with sync information on the video (e.g., sync-on-green).

COLOR ENABLE –

Select which color or colors you want to see, useful while working

with color temperature white levels or input levels.

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 lev el s for a given source so that it matches the color temperature of the interna l tes t patterns.

PEAK DETECTOR – The Peak Detector is fast method of defining indiv idua l input

levels, and may improve the accuracy of input levels set by the Auto Input level function. Enabling the Peak Det ec tor act iv ate s a special operating mode that detec ts 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, where the black and white bands are known to be at the edges of the image, you can watch these isolated areas while adjusting indiv idual bl ack lev els and inpu t driv es as necessa ry . Images from this source will then display correct blacks and whites without crushing.

See Figure 3.22.

Display a 16 level grayscale test pattern from the desired external source, and enter a checkmark in the Peak Detector check box. NOTE: The “Peak Detector”

will initially rend er the grays cal e as a unifo rm gray field be fore adj ustme nt.

Display one primary color (use Color Enable to select).

For the current colo r, adjust its correspond ing “Blackl evel” slidebar just until a single band of black appears at one edge of the screen. This band represents the first band of the grayscale pattern, which shou ld be 100% black. Do not adjust too far.

With the same color still active, adjust its corresponding “Input Drive” slidebar just until a single band of white appears at the opposite edge of the screen. This band represents the last band of the grayscale pattern, which should be 100% white. Do not adjust too fa r.

5) Go back and check the black band—adjust the blacklevel sl ide bar if nec ess ary .

Adjustments are related, so you may have to go back and forth until both bands are just optimized.

Repeat Steps 2-5 with the other two remaining prim ary color s. When each primary color shows one optimized black band and white band, the input levels

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Mirage 22000/4000/6000User’s Manual

for this source are correctly set. Upon exiting the Input Levels menu, the Peak Detector checkbox will clear.

Figure 3.22. Adjusting Input Levels Using the Peak Detector

(RED EXAMPLE SHOWN)

Processing Mode

This control determines the projector’s processing route for the incoming signal.

OPERATION

AUTO (default):

The projector will automatically select the correct processing mode according to what input signal it detects. Use “Auto” unless you want or need to override its performa nce and apply a specific mode instead. NOTE: Auto does not

process 3D signals. You must select “Min imum Delay” mode instead.

VIDEO: Performs 15 kHz NTSC/PAL video de-interlacing, regardless of

signal type. Note that this option utilizes 8-bit processing.

GRAPHICS / HDTV: Performs basic de-interlacing and scaling, regardless

of signal type. Note that this option utilizes 8-bit processing.

MINIMUM DELAY:

Provides minimum frame delays for 3D and simulation purposes. You cannot display in 3D without using “Minimum Delay”. This option requires the following conditions:



Stable RGB source (progressive), customized to match the projector



Native 1280 x 1024 resolution• i.e., the 3D image cannot be resized



Additional hardware and software as described in 3.10, 3D Images.

ADVANCED 10-BIT (ADP): Us es 10- bit process ing ins tead of the st anda rd

8-bit processing provided in the projector, resulting in smoother and clearer details in video images. This feature requires installation of optional internal hardware—the Advanced Digital Processing Module— and is disabled unless this module is present. It activates full source-toscreen 10-bit processing for a digital video source, typically connected via the optional Serial Digital Input Module or the Digital HDTV Input Module (

INPUT 2

). Images from analog signals (

INPUT 1, 3

or 4) will also be noticeably improv ed, however these signals are fi rs t converted w ith 8bit processing before routing th roug h the ADP m odule.

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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 incom ing sourc e signal. However, if your source is noisy and/or inconsistent you may wish to “force” a setting to ensure stable processing for this sour ce—if des ire d, overr ide the default “Auto” setting by select ing the appr opr ia te m otion filter :

AUTO: The projector will automatica lly use the co rre ct m otion filter according to

the incoming signal. Note that the “Still Video” filter will be applied for RGB non-HDTV interlaced signals, and the “Motion” filter will be applied for RGB HDTV interlaced sources.

STILL VIDEO:

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

Note: Applied for RGB non-HDTV interlaced signals.

VIDEO:

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

computer-generated images. NOTE: Applied for RGB HDTV interlaced signals.

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

quality and stability.

NOTES: 1) For 60 Hz video standards: NTSC, PAL M, PAL 60. 2) Also recommend for PAL video standard if the ADP module is present—note that you must select film mode manu ally in this case. 3) Signals can be from RGB video, composite video or S-video sources.

GRAPHICS:

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

For graphic images.

computer-generated images. NOTE: Applied for RGB HDTV interlaced signals.

Dark Interval

When displaying 3D imag es, use this se tting to artificially increase the a mount of dark time between displayed frames. Higher settings provide more time for shutters in 3D glasses to open/clo se, ensuring that each eye sees the fu ll disp lay in tend ed fo r it. Symptoms of cross-talk and /or colo r artif ac ts indicate d tha t the Dark Inter val default is approximately 375 µs, but slidebar values range from 0-255 and do not indicated µs.

NOTE: See 3.10, 3D Images for a full explanation of Dark Interval use.

Invert Stereo3D

This option is enabled and useful only if you are using the Stereo3D

Interface Module—and

related components—to reverse the projector’s 3D display of left/right fram es. Such a configuration replaces the need for a separate TTL inverter as described in 3.10, 3D Images.

With your sync, Z-screen and, if desired, emitter connected as described in 3.10, 3D Images, enter a checkmark (default ). This will inv er t the sync si gnal so that left /ri ght image data is seen by the intended eye, producing a proper persp ec tiv e in the display. Delete the checkmark if you do not want to invert the signal via your Stereo3D

Interface

Module.

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OPERATION

NOTE: This option has no function unless the Stereo3D

Interface Module is used.

By default, the checkbox is checked and the signal inverted.

White Boost

Not available in this projector.

PLL Loop Gain – See description in Size and Position.

Noise Reduction –

requires optional ADP Module

Select the amount of i mage noise reduction desired, with “0” applying no noise reduction (default) and “10” applying maximum noise reduction. The higher the value, the softer the image.

Horizontal Filter – requires optional ADP Module

Select the amount of horizo n tal filtering desired for the current source. Note that the default setting of “0” allows the projector to optimize the amount of horizontal filtering according to the curren t source, and is the recommended setting for most situations. You can override this by selecting a value from 1-10, with “1” applying no filtering and “10” applying maximum filtering. High filtering levels will soften the image slightly, particular ly evident along vertical edges.

Vertical Filter - requires optional ADP Module

Select the amount of ver tic al filtering desired for the current source. Note that the default setting of “0” allows the projector to optimize the amount of vertical filtering according to the current source, and is the recommended setting for most situations. You can override this by selecting a valu e from 1-10, with “1” applying no filtering and “10” applying maximum filtering. High filtering levels will soften the image slightly, particularly evident along horizonta l edges.

3.7 Configuring System Parameters

System Configuration

And Diagnostics

Use the Configuration menu to display and/or set global system operating parameter s that are typically in effect reg a rd less of source, or to work with other settings that are not unique to the current incoming source.

NOTE: For experienced users/technicians only.

In the Configuration menu, you

can define a variety of general system parameters to suit your preferences, run certain diagnostic tests, and access the Service Menu (password required). Settings in the Configuration menu will ty pica lly apply regardless of the type of source your are using.

Image Orientation

Use this pull down list to change the orientation of the im age according to the orientation of your projector. If the setting is incorrect, projected images will be

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OPERATION

reversed and/or upside down, See 2.6, Operating Orientation for an illustrated explanation.

Language

Choose from English, French, Spanish, German and Italian language. The menus will change immediately upon selection.

Menu Preferences

Use the options in this submenu to adjust the appearance, content and/or location of on-screen menus displayed in presenta tion level.

MENU LOCATION —

Use the pull

down list to choose a pre-defined or customized default location for the display of on-screen menus.

Figure 3.23. Menu Preferences Menu

To create a custom menu location, choose a preset that is closest to the desired area. Then adjust the slidebars of Horizontal Shift and Vertical Shift to move the menu to the desired location. To prevent cropping of larger menus, avoid locations too close to a corner or edge.

HORIZONTAL SHIFT AND MENU SHIFT —

Shift your menus as desired, creating a

customized menu location.

DISPLAY CHANNEL LIST —

list whenever you press with a list icon

in the Channel Setup menu. This option also enables on-screen

feedback when using the

Enter a checkmark if you want to see a scrollable channel

Chan

from your presentation. These channels must be marked

Input

key. If you prefer to hide the channel list and input dialog box while switching channels and sources during a presentation, do not enter a checkmark.

NOTE: The Channel List and input dialog box cannot be hidden when a menu is displayed.

DISPLAY SLIDEBARS —

Enter a checkmark to superimpose a small slidebar over the

current image whenever an adjustable parameter is selected direct ly with a key (th e option does not affect slidebars in menus) such as

Pixel

Posi tion

, , or

Bright

. “Display slidebars” is unchecked, these slidebars can still be accessed, but will be hidden during adjustm ent.

DISPLAY ERROR MESSAGES —

detected in either the incoming signal or projector. Select “Screen” or “All” to see a brief on-screen messages or select “RS232” to be see messages via RS232 and RS422 serial communication only. To disable error message display, select “Off”.

LARGE MENU FONT —

have to adjust “Menu Location” to accommodate the increased menu area.

Communications

This submenu of the Configuration menu is fully described in a separate System Communications subsection later in Section 3.

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Choose in what way you want to be notified of errors

Enter a checkmark to enlarge menus and their text. You may

Geometry

From the Configuration submenu, select the Geometry submenu to work with a motorized lens

(available separately), to define a multi-screen mapping of incoming source material, or to work with test patterns. Other options have no function in this projector model.

KEYSTONE —

Not available in this projector.

OPERATION

Figure 3.24. Geometry Menu

LENS CONTROL —

the Keypad (

For a full description of the Lens Control submenu, see 3.3, Using

Lens

key) an d 2.8, Zoom, Focus and Lens Offset. Controls are duplicated

here for convenience during set up.

TILING SETUP — Refer to desc rip tio ns under Size and Position earlier in this section.

Controls are duplicated here for convenie nce dur ing setup .

TEST PATTERN —

Use the pull-down list to select and display an internal test pattern. Selec t OFF to turn off the display of a test pattern.

(SHORTCUT: Use

Tes t

key.)

Color and Uniformity

Use the opt ions in the Color and Uniformity submenu to define color temperature and primary color hues and/or to achieve consistent brightness throughout all display areas. This submenu is typica lly use d only in multiple-project or appl ica tio ns tha t require pre cis e matching between adjacent dis play s.

COLOR TEMP SETUP — See Image Settings. This function is offered in multiple menu

locations for convenient access.

ADJUST PRIMARY COLORS — This feature, sometimes called color space conversion,

enables precise matching of color hue and intensity in multi-screen environments so that a wall of images is as consistent as possible. Selecting this option activates the Adjust Primary Colors (CSC) submenu, where for each projector you can adjust and judge by eye the specific hue or “cast” of its individual primary colors—red, blue and green—so that resulting full color images will be closely matched from screen-toscreen. Primary color adjustments affect all sources and can be applied or disabled at any time by entering or deleting a checkmark at the top of the Adjust Primary Colors (CSC) submenu, offering a quick and flexible method of color control.

For complete step-by-step instructions for using the Adjust Primary Colors (CSC) controls, refer to 3.11, Using Multiple Projectors.

NOTE: It is not necessary to adjust primary colors in stand-alone projectors.

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BRIGHTNESS UNIFORMITY — Brightness Uniformity provides further refinement of

screens already matched for their pr im ary colors (see Adjust Primary Colors, above) and overall light output, creating an exceptionally smooth screen in which no area of the screen appears brighter and/or more red, green or blue than another. Selecting this option activates the Brightness Uniformity menu, where you can enable the “Uniformity Enable” checkbox and access a multitude of adjustments for critical color light output control in specific areas throughout the image. Brightness Uniformity setting s are app lied as long as the “Uniformity Enable” checkbox is enabled and you are using the User 1 color temperature defined by the controls. To disable the Brightness Uniformity function, delete the “Uniformity Enable” checkmark.

Auto Power Up

Enter a check mark 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.

Diagnostics and Calibration

From the Diagnostics and Calibration submenu you can

access several options for testing and setup of images. You can work with test patte rns and specific colors, freeze an image for inspection, and/or access the Odd Pixel Adjustment menu for precision settings of offset and gain.

TEST PATTERN — Refer to description under Geometry submenu.

COLOR ENABLE —

FREEZE IMAGE — Enter a check mark to freeze (stop) an image at a single frame.

Refer to description under Image Settings.

This diagnostic tool is useful if you need to examine in detail a still version of the incoming image that cannot be “frozen” at the source. For example, in moving images it is sometimes dif ficult to observe artifa c ts suc h as external deinte rlacing/resizing and signal noise. Remove the checkmark to return back to normal.

NOTE: Freeze Image is disabled for 3D images.

ODD PIXEL ADJUSTMENT

– For sources with Color Space set to RGB only.

When using certain RGB sources with still images, you may need to adjust the normal gain or offset of odd pixels in relation to even pixels. This will smooth out very narrow (1-pixel wide) “checks” or vertical stripes that indicate adjacent “on” and “off” pixels. You can remove these patterns as follows:

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Use an external grayscale test pattern with both dark and light gray areas.

2) Display the image in its native resolu tion – select “No Resizing” by accessing

Resize Preset in Size and Position menu.

3) Display a single color—choose from a “Color Enable” list or use the

Func

key

shortcuts indicated on the back of the key pad.

Examine an area of darkest gray (but not black). If there is a 1-pixel wide pattern present, adjust “Odd Pixel Adjustment” offset for the current color. Stop when the pattern disappears and the area is smooth.

5) Examine an area of light est gray (not white). If there is a 1-pixel wide pattern

present, adjust “Odd Pixel Adjustment” gain for the current color. Stop when the pattern disappears and the area is smooth.

6) Repeat for each color, adjusting offset then gain for each.

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 “1 pixel on, 1 pixel off” patterns only, not any type of larger patterns.

Reserved

No function for these options.

stem Communications

Service

The Service submenu offers the ability to enable or disable service passwords, and to work with factory-defined color temperatures and other functions. This submenu is password-protected and intended for use by qualified service technicians only.

Use the checkboxes and pull-down

lists in the Communications submenu to alter the methods or types of communication to and from one or more projectors.

NOTE: Changes made to the Communications submenu will be saved upon exit of the menu.

Figure 3.25. Communications Menu

Baud Rate

The baud rate setting determines the speed of communication to and from the projector. By default, the projector baud rate is set to 19200. Setting the correct speed is important when you are controlling the projector with an external device such as a computer or another projector via an RS-232 or RS-422 port. You must set the projector baud rate at these ports to match the baud rate of the controlling device. If you are unsure about what baud rate to choose, refer to the documentation for the controlling device. In an existing network, if you discover that a projector has the wrong baud rate, make sure to use the pull-down

Enter

list and select the correct baud rate with th e with

and keys.

key—do not just scroll this control

NOTE: 1) The baud rate setting does not affect the switcher port, which is always 9600 baud. 2) See Serial Port Connections and Appendix D for more information about cable connections between d evi ces.

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Front IR / Back IR

As described in Section 2, the standard IR remote keypad is capable of sending data to the projector in either one of two protoco ls ca lle d

. Likewise, the front and rear IR sensors on the projector can be set to

accept IR data accordingly, responding t o

default is adequate for most single-projector installations. Select

A or B

A, B or both. The projector’s

a specific protocol to prevent interference wh en you are contr o llin g

two protectors in the same area and want to work with one projector at a time. Note that the front and rear IR sensors cannot respond to different protocols–if you

change a protocol for either sensor to anything other than other sensor also changes. For example, setting Front IR to IR to

B—disable the other sensor by setting its protoco l to OFF.

. If you want only one sensor to respond to a particular protocol—A, B, or

OFF, the protocol for the

B also changes the Back

A or

If you want to disable both IR sensors, you cannot use the IR remote keypad to select the second

OFF setting. This safeguard prevents accidentally disabling a keypad

while you are using it. Instead, use either the built-in keypad or the wired remote to set the remaining active sensor to

OFF. The projector will no longer respond to an IR

remote keypad.

IMPORTANT

Keep at “

A OR B

the current IR keypad protocol.

” unless you are sure of

NOTES: 1) The IR remote keypad for this projector is set at manufacture to "Protocol A". See 2.10, Keypad Protocols and Conversion for information about changing the keypad protocol. 2) A key press from a conflicting protocol will cause a single yellow flash on the Status LED located in the lower right corner of the rear projector panel.

Wired Keypad

Like the IR remote keypad, the optional wired keypad is either a "Protocol (default) or a "Protocol keypad data accordingly, responding to

B" keypad. Likewise, the projector can be set to accept wir ed

A or B. If desired, you can prohibit the

A" keypad

projector from responding to a particular wired keypad protocol, or you can ensure that the projector responds to either protocol (default). You can also prevent the projector from responding to the keypad entirely. In the pull-down list, select the desired protocol.

NOTE: The wired keypad for this projector is set at manufacture to "Protocol A". See

2.10, Keypad Protocols and Conversion for information about changing the keypad protocol.

ADDING A WIRED KEYPAD PROTOCOL: To add a protocol, se lec t the A or B option. CHANGING A WIRED KEYPAD PROTOCOL: As a safeguard, you cannot accidentally

select an option in the “Wired Keypad” list th at would disable the wired keypad during use, since such options are automatic ally disabled in the list. In other words, you cannot switch to the opposite protocol or select Instead, if you want to quickly change to the other protocol, you may find it more convenient to use one of the other keypads (the built-in keypad or the IR remote) to execute the protocol change for the wired keypad. The projector will now recognize

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OFF using the wired keypad.

OPERATION

only the opposing wired keypad protocol. Or, if you prefer, use the wired keypad to safely change its own protocol:

1. Select the

A or B option. This will ensure that once your keypad is manually

changed (see Step 2), it will still be recognized by the projector.

2. Unplug the keypad and change the protocol in the keypad as desired. Do this

either by entering th e short- cut softw a re com m and or by hard- w iring the keypad as described in 2.10, Keypad Protocols and Conversion.

3. Plug the keypad back into the projector. Return to the Communications menu

and select the new protocol you have just set up in the wired keypad.

TURNING OFF THE WIRED KEYPAD:

you cannot use it to select the

If you want to disable the wired keypad entirely,

OFF option. This safeguard prevents you from

accidentally disabling the w ire d key pad during us e. I nstead, use eit her the bui lt- in keypad or the IR remote keypad to select

OFF. The projector will no longer respond

to the wired keypad.

Broadcast Key

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

key will temporarily “ov err ide ” the effect of a broadcast setting and allow y ou to con tro l a specif ic pro jec tor w hen necessary. Make sure to remove the checkmark if using the split network feature.

Projector

Enter a three-digit number (such as "001") to assign or change a number to the projector currently in use – if the current pro jector already has a number assigned, that number will appear here (see right). Numerical identity for projectors is required whenever you want to communicate with a single projector within a multiple-projector application (see

key description in 3.3, Using the Keypad). If you make a mistake in assigning or changing the projector

Exit

number, press

to cancel.

For complete information about controlling multiple projectors, see 3.11,

Using Multiple Projectors.

Split Network

Enter a checkmark if you have a network in which each projector is connected via both its RS-232 and RS-422 serial ports (Figure 3.26 communications will then remain on either its RS-232 or RS-422 path (depending on the controller) rather than being broa dca st to all 3 rem aining serial ports. Should a projector or path ever fail, the other path will be available as a back-up.

The Split Network fe ature is unnecessary when only a single se ria l link is connected between any two projectors (Figure 3.26B), and will cause communication errors if these single links vary from RS-232 to RS-422 anywhere in the network. Likewise, if you have two serial links connected between any two projectors, failure to use the Split Network checkbox can also cause a communication error.

A). At each projector, serial

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OPERATION

NOTES: 1) Requires double serial links—RS-232 and RS-422—between all projectors in a network. 2) Set each projector’s Broadcast Key OFF. 3) Keypads cannot broadcast in a split network—use controller(s) instead. 4) Do not use a split network when downloading new projector software to a network.

3.8 Working with the Lamp

Figure 3.26. Split Network Checkbox — ON vs. OFF

Whenever you install a new lamp in the projector you must access the Lamp submenu (available from Main) and record the lamp serial number in the projector’s memory. You can also choose the lamp operation mode you prefer, such as maintaining a specific intensity (light output) or power level, and define the expected lamp life. Read-only information includes the lamp serial number and age.

NOTE: See 4.4, Replacing the Lamp and Filter for complete instructions on installing a

Figure 3.27. Lamp Menu

new lamp in the projector.

LAMP HOURS shows the number of hours logged on the current lamp. Whenever you

record a new lamp serial number, this read-only value automatically resets to “0”, where it begins to log time for the new lamp. “Lamp Hours” also app ears in the Status menu.

LAMP S/N 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. NOTE: Read-only.

LAMP MESSAGE — Enter a checkmark if you want to enable a warning message upon

power-up stating that the lamp has reached the specified lamp limit and should be replaced. Delete the checkmark to prevent this warning—instead, when your lamp

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expires, only the status information on the back of the projector wil l provide the 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

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

LAMP LIMIT

Set

to the number of hours you expect to log on the current lamp before replacing it. This typically should match your lamp warranty, and can be affected by what lamp mode you choose. When the lamp approaches the lamp limit, the Lamp Message (if enabled) will appear upon power-up.

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 can reduce lamp life significantly, as will other factors. Limit lamp strikes to what is necessary.

Set which

LAMP MODE you want to use in order to control the

light output in your application. Although there can be exceptions, in most lamps the higher the light output or power setting, the shorter the life span of the lamp.

Figure 3.28.

Use the lamp mode that best suits your brightness needs. For example, in a tiled application you may want to closely match brightness levels between adjacent images—choose

Intensity

for each projector, then judge by eye and set each individual intensity setting as necessary (see “Intensity”, below). Or you may simply alway s need as much brightness as possible, which will supply maximum power to the lamp at all times—choose

Max Brightness.

Lamp modes are described below:

•

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

maximum power of 500W (Mirage 2000), 700W (Mirage 4000) or 1200W (Mirage 6000). Keep in mind that the “maximum brightness” for any lamp gradually diminishes with age—im ag es will become dimmer over time. Its current output level (note: not in lumens) appears in the “

Intensity” option.

POWER -

Set from 350-500 watts (Mirage 2000), 450-700 watts (Mirage 4000) or 800-1200 watts (Mirage 6000) as desired. Keep in mind that lower powe r levels produc e dimmer images. When in “ constant. When in “

•

Intensity:

Brightness will remain close to a spec ified level for as long as possible. Once you select this option, enter a number represe nt ing the int ens ity 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 co rre la tion onl y (0-9999), not actual lumen levels possible (0-5000, e.g.). See “

•

Power: The power supplied to the lamp will remain at a desired watt level

Intensity” below.

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

Power”

below.

The number shown here indicates how many watts are applied to the lamp.

Power” or Max Brightness modes, the power level remains

Intensity” mode, the power level will change as necessary.

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OPERATION

Specifying the maxim um power level in Power mode is the same as operating in Max

Brightness

mode.

NOTES: 1) Power level can be set only if the lamp is in “power” mode. 2) If you are in “Intensity” mode, the power level value will automatically increase over time as necessary to maintain the desired brightness as closely as possible, until power reaches its maximum. 3) After approximately 500 hours of use, all models using a 700W lamp require lamp power of 550W or higher. If set too low, the aging lamp can cause a projector shutdown. Upon your next power up, lamp power will automatically maximize—a message box relates “Unexpected lamp off. Power set to max.”. In these models, use 550W or more to ensure normal operation and prevent similar shutdowns, or install a new lamp in order to reliably use lower lamp power levels.

INTENSITY – This number is a representation of the current brightness of your lamp,

decreasing over time when you are operating at level. However, when you are operating in “ original “

Intensity” setting chosen.

Intensity

Max Brightness

” mode, this value remains at the

or at a specific

Power

NOTE: The number shown for “intens ity” is not the actual lumen o utp ut, b ut rather a correlated value only—9999 may represent up to 6000 lumens, for example.

To use “

Intensity” mode, judge by eye and set the level as desired for your

application, remembering tha t hig her sett ing s can sig ni fi can tly shor ten lamp life. 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 is called “Brightness Tracking” or “LiteLoc”.

Keep in mind that once the lamp power has reached its maximum of 700 or 1200 watts (see “ will gradually begin to dim as usual, even though your original “

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

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. Do not lower the “

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

its minimum (350 watts in Mirage 2000, 450 watts in Mirage 4000, 800 watts in Mirage 6000)—the intensity setting will be inaccurate and cannot be maintained.

Note also that lamp power of 550W (or higher) is required for any 700W lam p having more than 500 hours on it. Make sure your “

Intensity” setting is high enough

to keep the corresponding lamp power at 550W or higher. For best results in achieving fairly uniform intensity among st tiled i mages, cho ose 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 mini mum. 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.

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LAMP HISTORY - This read-only option lists the mo st lam p s most

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

CHANGE LAMP

Use 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

Figure 3.29. Recording the New Lamp Serial Number

the change. See Using Slidebars 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.

3.9 Projector Status

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 DO record the serial number of a NEW lamp.

This read-only menu lists a variety of det ails about th e standa rd and optional components currently in use on the projector. Refer to the Status menu for versions of hardware (left side) and software (r ig ht side) inst al led, the num ber of lamp 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, switcher, slot and frequencies.

Use

ON, OFF

, or

to see additional Status information.

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3.10 3D Images

Description

How to Activate 3D

Figure 3.30. Status Menu

(SAMPLE)

A single projector can d isplay 3D imag es as described below. Such images require a specialized source as well as additional hardware and software in order to be displayed and interpreted correctly in a typical 3D active stereo viewing environment.

In simple terms, images generated from a 3D-video source consist of a series of

images (frames or fields) that alternate quick ly betw e en two slig htly di ff eren t viewpoints corresponding to the separa tio n of our left and right eyes. When these frames are displayed with enough speed and viewed with special glasses synchronized with the left/right frames, the resulting “single” perceived image appears with much the same depth and perspective we sense in the real world.

Once you have the necessary source and hardware/software setups described below,

you must select the correct “Minimum Delay” Processing Mode option (via Image Settings menu). The projector does not detect and process a 3D signal automatically.

For complete 3D processing information, see 3.10, 3D Images. Note that the “Minimum Delay” setting is applied only to the current source and must

be selected for each 3D source you have connected.

In addition, a Stereo3D

system requires the correct “Inv ert Stereo3D ” checkbox

setting in the Image Settings menu. See 3.10, 3D Images.

What 3D Sources Work?

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Mirage 22000/4000/6000User’s Manual

A 3D-video signal is sent to the projector via analog cables such as:

• 3-wire RGB sync-on-green

OPERATION

• 4-wire RGB with composite sync

• 5-wire RGB with separate H-sync and V-sync

NOTE: Refer to 2.4, Source Connections for full details and illustrations.

Most 3D signal formats currently available are optimized for display via CRT (cathode ray tube) technology, thus they have high pixel rates unsuitable for this projector. By reducing the blanking in these signals, however, you can lower their pixel rate enough to be compatible with the projector (under 160 MHz). Typically, a high-end graphics workstation that includes hardw a re and software tools for customizing video output timing parameters can produce the requisite 3D signals, as can a PC running Windows your 3D displays must originate from either of these sources. The Silicon Graphics ONYX

workstation is an example—it includes Video Format Compiler software

98/2000 (use the “PowerStrip” utility)—consequently

capable of properly modifying “timing” in the signal for use in the projector (it provides a .vfo file). Other similar workstations may also provide the special video driver needed.

NOTE: Not all systems include the hardware/ so ftwar e necessary for rec onf igur ing the 3D video output timing parameters—these sources cannot be used with the projector.

In addition, this projector requires the following condi tion s for 3D work at these higher frame rates:

3D Source Requirements and Conditions

• Use a progressive RGB source with native resolution of 1280 x 1024 (can be

cropped to 1024 x 1024 if desired). Higher resolution can be used, but edge pixels will be cropped rather than the image resized to fit.

NOTE: Total number of lines in the image, including blanking > 1036.

Total number of pixels-per-lin e, including blanking > 1424

• 96-108 Hz input frame rate

• Pixel rate must be less than 160 MHz

• Set Pixel Tracking to 1424 or higher.

• Use “Minimum Delay” Processing Mode. Note that this option produces only

a single frame delay, disables resizing and the “Freeze Image” option, and limits vertical and horizontal position ranges.

See Customizing the Input Signal later in this section.

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OPERATION

Hardware Requirements

Typical hardware configurations for active and passive 3D systems are shown in

Figure 3.31, Figure 3.32, Figure 3.33 and Figure 3.34. Hardware descriptions follow the illustrations.

Figure 3.31. Typical 3D Configuration with Active Glasses & TTL Inverter

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Mirage 22000/4000/6000User’s Manual

Figure 3.32. Typical 3D Configuration with Passive Glasses & TTL Inverter

OPERATION

Figure 3.33. Typical 3D Configuration: Active Glasses & Stereo3DTM Components

Figure 3.34. Typical 3D Configuration: Passive Glasses & Stereo3DTM Components

• APPROPRIATE 3D SOURCE: Signals from your 3D source (workstation or PC)

must be customized to precisely match the processing capabilities of the projector. In addition, the source must provide a separate synchronization signal that precisely cont rols w hen left /right fields are visible through the viewer’s glasses.

INVERTER: In this projector, 3D processing introduces a single frame delay.

•

Without correction (i.e., reversal), image data intended for one eye would be delayed and seen by the other—images would lose the ir 3D quality entirely. I f a 3D source cannot invert the signal, th ereby synchronizing the le ft/r ig ht shutters in your 3D glasses to match the images displayed by the projector, you must invert via a left/right TTL inverter or use the Stereo3D

Module and Stereo3D

checkbox in the Image Settings menu. Either

Interface

configuration ensures that shutter changes in the glasses allow each eye to receive the image data intended for it, regaining the 3D effect of the display.

NOTE: Depending on your workstation, it may be possible to implement the reversal of left/right frames through software only, eliminating the need for separate inverter hardware.

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OPERATION

Software Re

uirements

• IR EMITTER

: In response to an incoming sync signal, this small device emits left/right IR signals to a receiver in a ctiv e 3D g lasses, causi ng their left/right shutters to alternately open and close for ac tiv e 3D applica tion. Connecting an emitter to the emitter port on the Stereo3D

Interface Module also enables

you to switch back-and-forth between active and passive systems, if desired.

GLASSES: Active glasses differ in speed/performance—consult the

•

documentation for your glasses and keep their specifications in mind when reconfiguring your source signal. The input signal must be optimized for the available shutter speed in order to prevent obvious “ghosting” of image content (known as cross-talk in 3D applications) as well as other more subtle color artifacts. Such problems indicate that the eyes are detecting portions of the opposing frame due to an “out-of-sync” system, and can occur in either active or passive 3D configurations. See Customizing the Input Signal, below, for examples of well-synchronized systems.

NOTE: In a passive system, where glasses do not have shutters and instead depend on the speed and accuracy of the Pi Cell polarizer, the input signal must be synchronized with the polarizer.

•

MIRAGE PROJECTOR

To customize your 3D input signal for use with the projector, you will need access to

software that controls video output tim ing from the graphics source. For example, the Video Format Compiler (vfc) and ir combine are required when using the Silicon Graphics ONYX

workstation.

Customizing the

Input Signal

The display must be synchronized with shutter control—called gating—so that each

eye receives only the frames of data inten ded for it, otherwise you will detect opposing data frames (cross-talk) and see faulty images. This requ ir em ent m eans that timing parameters in your source should guarantee the following:

1) Each new frame begins after the opposing shutter mechanism is closed

2) Each frame completes its display before the opposing shutter mechanism

begins to open.

3) Each frame (mirror sequence) is displayed in its entirety to the correct eye.

What To Adjust

Since current 3D-video sources do not have the necessary c har ac ter is tics for use with this projector, you must synchronize the projector’s display with your gating mechanism by adjusting the vertical sync width and/or vertical back porch of the input signal and, in many cases, by a djustin g the p r oje c to r’s Dark Interval control. These two parameters—input timing and dark int erv al—are de scribed be low. Note that because they interact with each other, you may have to go back and forth between them when optimizing the 3D display. In general, vertical frequency + Dark Interval/10 = 110 Hz or less.

1) Vertical sync width and/or vertical back porch blanking of your input source.

Choose the vertical sync width and/or vertica l back porch tim ing to determine when the next field begins displaying relative to the vertical sync signal. The degree of timing adjustment needed depends on the specific signal at hand as well as the performance of your glasses. An example of improvements to poor synchronization is shown in Figure 3.35. After adjustment, shutter changes occur during the dark in te rv al betw een frames.

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NOTE: The example in Figure 3.35 assumes that the first active line of your signal is displayed on the first line of the Mirage display panel rather than being repositioned higher or lower using the projector’s V-Position control.

Figure 3.35. Customizing the Input Signal

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Figure 3.36. Examples of Poor and Ideal Synchronization

2) “Dark Interval” projector control (note: not always required). For slower

gating technologies, you may also need to artificially increase the amount of dark time between displayed frames so that shutters have even more time to open/close and each eye sees the full display intende d for it (Figure 3.36B). Symptoms are more subtle than cross-talk—if the dark interv al is too bri ef for proper gating, you may notice an apparent color temperature problem, with some whites or grays appearing with a slight red, green or blue tint. This color artifact is particularly easy to d iagnose in a gray sca le test pat tern displ ay ed in 3D mode (i.e., with Minimum Delay). In the Image Sett ings menu, increase the “Dark Interval” as necessary until the grayscale is correct—you may also have to increase the internal delay when using a longer Dark Interval. Note that the Dark Interval default is approximately 375 µs, but slidebar values range from 0-255 and do not indicate µs.

OPERATION

NOTES: 1) Increasing the Dark Interval decreases the peak brightness of the image. Use only if necessar y—you may prefer some color artifacts rather than reduced brightness, or vice versa. 2) Higher input frame rates limit the range of Dark Interval adjustment. 3) You may have to adjust Gamma (if available—it is set to “Default” if the Adjust Primary Colors function is also in use) to account for the longer dark interval. 4) Faster glasses enable use of a briefer dark interval.

V-Position and Synchronization

By default, the projector begins display on its first (to p ) lin e of pix el s. However, it is important to remember that a V-Position adj ustment (accessed in the Size and Position menu) determines the fi rs t activ e lin e in the source, moving your display accordingly. Such an adjustment, therefore, increases or decreases the delay in your display signal, in turn changing the required synchronization in your 3D appl ication.

IF V-POSITION IS HIGH ➙

•

IF V-POSITION IS LOW ➙ Less delay, so display starts earlier in the signal

More delay, so display starts later in the signal

Note that H-Position and Blanking controls do not affect timing parameters.

Com

atible 3D Sources

The following sources are opt imized for active 3D images using the pro jector and

active glasses. Clamp Tip is “off”. The first signal in the table is 1024 x 1024 and all others are 1280 x 1024.

Table 3.3. Compatible 3D Sources

Horizontal Timing Parameters (Pixels) Vertical Timing Parameters (Lines)

Glasses Speed Vert. Rate Pixel Rate Front Porch Sync Width Back Porch Front Porch Sync Width Back Porch closed <600 µs 96 Hz closed <600 µs 96 Hz 152.928 MHz 50 60 110 2 4 32 closed <600 µs 100 Hz 159.300 MHz 50 60 110 2 4 32 closed <600 µs 105 Hz 159.382 MHz 20 40 92 2 4 30 closed in 200 µs 108 Hz 159.329 MHz 20 40 84 2 4 6

3D Troubleshootin

146.127 MHz 144 80 188 2 4 30

✽

1024 x 1024. All others shown are 1280 x 1024.

✽

Refer to the following guide when 3D images displayed by your projector do not

appear as you expect:

FLICKERING IMAGE: Make sure your source signal is 96 Hz or higher. IMAGE IS COMPRESSED HORIZONTALLY: Increase pixel tracking to 1424 or hig her. I f

already maximiz ed, the pixel clock ra te of the source is too hig h for the projector.

CAN’T SELECT “MINIMUM DELAY”: If this option is disabled (gray), you likely do not

have an appropriate signal connected. Check your source—make sure it meets the criteria listed ear lie r in 3D Source Requirements and Conditions.

3D CROSS-TALK (GHOSTING): 1) Make sure the IR emitter is not blocked and that its

signals can reach glasses. 2) If using a Pi Cell polarizer and passive glasses, make sure you are u si ng a sc ree n t ha t m ai nt ain s p ol ar ity . 3 ) A re dep le ted ba tt eri es slo w ing down th e active glasses? 4) Fix timing parameters in your source. 5) Adjust Dark Interval setting.

NO IMAGE, JUMPY IMAGE, OR NOISE AT IMAGE TOP: Your video card’s minimum

timings for blanking and pulsed width are too slow for use with the projector.

WITHOUT GLASSES, I SEE ONLY A SINGLE IMAGE

sure “Minimum Delay” processing mode is selected in the Image Settings menu.

: You are not in 3D mode. Make

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OPERATION

WITH GLASSES, PERSPECTIVE APPEARS “REVERSED”: If vanishing points of objects

appear in the foreground rather than background, destroying perspective, the TTL inverter is likely m issing or not working (you can confirm this by turning the glasses upside-down—3D will return). Or, if you are usin g the Stereo3D

Interface Module,

the checkbox in the Image Settings needs to be toggled.

IMAGE IS BREAKING UP: The horizontal back porch may be too small or too large. If

you can lock to the signal by changing H- P ositi on but have a bl ac k left edge in the image, reduce the source’s horizontal back porch blanking. If the black edge is on the right, increase the source’s horizontal back porch blanking.

HORIZONTAL STREAKS IN THE IMAGE: You may need to enable the Clamp Tip

option in the Input Levels menu (accessed via Image Settings menu) with 4- or 5-wire signals.

3.11 Using Multiple Projectors

Assigning a

"Projector#"

COLORS ARE “OFF”

: If some grays in your grayscale appears tinted when viewed in 3D mode (i.e., Minimum Delay), your glasses may be slightly slow for the cu rren t signal setup. 1) If possible, adjust the projector’s Dark Interval control. 2) Doublecheck timing adjustments to the source. 3) Use faster glasses.

When working with multiple projectors, you may want to use the RS-232 or RS-422 serial ports to chain the projectors together in a network that you control from either a keypad or a computer/controller (see 2.9, Serial Port Connect ions). Or you may prefer that each projector stands alone, but is controll ed with a comm on I R remote key pad. You can also tile a single incoming image among multiple displays in a videowall, with each display making up a portion of the total image. In such cases, you can switch back and forth between broadcasting to all projectors or controlling each projector individually.

Make sure you have assigned a unique projector number to each projector present —

this number will be required in order get the exclusive attention of an individual projector. To assign a projector number:

Press

and select the Configuration menu, then the Communications submenu. Scroll down to "Projector#" and enter a valid three-digit number (000 to 999) for identifying the current pr oje ct or. Press

Enter

to accept the entry, or

Exit

to cancel.

Repeat for each projector, using a unique three-digit number for each. Once every projector has its own number, you can begin to control the network.

Controllin

One Projector

First make certa in that only one (any) networked projector has its "Broadcast Keys"

option selected (checked) and IR sensors enabled — the remaining projectors must have the “Broadcast Keys” option unchecked and their keypads disabled (do this in the Configuration / Communications menu). The "Broadcast Keys" projector will then relay keypad commands to the other projectors. If using a wired remote, make sure to select the “Broadcast Keys” option for the projector to which the wired remote is connected.

To work with a single projector, press projector. Enter the three-digit number you have assigned to the projector you wish to control. All keypad comm ands will then affect thi s projector exclus iv ely un til you press

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to display an editable window from each

again and enter a different number, or until you switch to broadcast mode (below).

OPERATION

NOTES: 1) If you are using a computer or contr ol ler to issue comman ds, use the correct RS-232 software command to gain control of a single projector.

Broadcasting to

All Projectors

Tiling An Image

Across Multiple Displays

First make certa in that only one (any) networked projector has its "Broadcast Keys"

option selected (checked) — the remaining projectors must have the option unchecked and their keypads disabled (do this in Configuration / Communication menu). The "Broadcast Keys" projector will then relay keypad commands to the others. If using a wired remote, make sure to select the “Broadcast Keys” option for the projector to which the wired remote is connected .

On either the IR remote or wired keypad, press Press

again without entering a number — the keypad commands will now affect

to display the projector box.

all projectors.

NOTE: 1) If you are using a computer or controller to issue commands, use the correct RS-232 software command to broadca st.

Tiling an image means that multiple adjacent

displays work togethe r to form a single image, like a tiles in a mosaic. This videowall concept contrasts with other multiple-projector applications in which each display is a complete and independent image. Use the Tiling Setup menu as described below (accessed via the Size and Posi tio n menu or Configuration/Geometry menu) to configure a maximum of 16 displays (4 x 4) into one single-image videowall or tiling array.

Defining the Videowall

NUMBER OF ROWS – Use the slidebar to def ine the number of rows (1-4) present in

your videowall. Each projector must have the same setting.

NUMBER OF COLUMNS –

Use the slidebar to define the number of columns (1-4)

present in your videowall. Each projector must have the same setting.

PROJECTOR ROW AND PROJECTOR COLUMN – For each projector, use these two

slidebars to define the projector’s unique row-and-column location within the videowall. Any videowall begins with the top left corner display as Row 1, Column

1. See Figure 3.37.

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OPERATION

Figure 3.37. Tiling Setup (Example of 4x4 Array)

Resizing the Videowall Image

RESIZE PRESETS –

When your multiple-projector tiled array has been defined as described above, select a desired tiled resizing method. Sections of incoming data will then automatically map to the appropriate “row,column” address in your videowall, filling the wall with a com plete image that is scaled as you have specified.

NOTES: 1) Tiled resizing options are enabled only if you have defined an array of two or more projectors as described above. 2) Use the same tiled resizing option for each projector in your array, regardless of the number of rows and columns in the array. 3) Whether the wall produces a black border or a cropped image depends on the aspect ratio and resolution of the incoming source.

• For each projector, select “Tiled Full Size” to

fully fill all screens in the wall. Each section of incoming data will be scaled horizontally and vertically to fill the screen to which it automatically maps. See right. Note this option does not necessarily maintain aspect ratio.

• For each projector, select “Tiled Full Width”

to fill the videowall from left-to-right while maintaining aspe ct ra tio. This ty pica l ly creates a top and bottom black border on the wall, and is best suited for HDTV signals. See right.

NOTE FOR LARGE ARRAYS: 1) In large arrays having 3 or 4 rows, the center row(s) will automatically fill. 2) Screens with very little or no image will be blanked (cropped).

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• For each projector, select “Tiled Full Height” to

fill the videowall from top-to-bottom while maintaining the incom ing aspec t rat io. This typically create s a black borde r on the left and right edges of the wall. See right.

NOTE FOR LARGE ARRAYS: 1) In large arrays having 3 or 4 columns/rows, the center screen(s) will automatically fill. 2) Screens having very little or no image will be blanked (cropped).

• For each projector, select “Tiled Anamorphic”

to fill the videowall from left-to-right while maintaining the incom ing “wides cr een” (anamorphic) aspect ratio of 16:9. This typically creates a black border at the top and bottom edges of the wall. See right.

NOTE FOR LARGE ARRAYS: 1) In large arrays having 3 or 4 columns/rows, the center screen(s) will automatically fill. 2) Screens having very little or no image will be blanked (cropped).

OPERATION

Matching Colors

In Multiple Screens

Large Displays and 10-bit Processing

When processing sources through the optional ADP module, you may have to crop the extreme top and bottom edges of the image OR map to fewer screens (see right).

In a multiple-projector wall, you will likely want to precisely match image color and

intensity from screen-to-screen so that the wall is as uniform as possible. The first step in achieving such consistency is to use the Adjust Primary Colors (CSC) menu to fine-tune each projector’s fundamental primary colors—red, green and blue—so that each color hue and intensity appears exactly the same from projector to projector. Once matched, these colors work together to essentially create a single new color temperature or “image cast” that all projectors can attain (range is 5250-6750K). This setup can be applied or disabled at any time throughout the wall, simplifying both the setup and maintenance of a “seamless” wall. Follow the step-by-step instructions below.

NOTES: 1) During this procedure, look at the center of each screen. 2) On-line hints and help can guide you through the procedure. 3) A color meter is helpful but not required. 4) Color matches are optimized for graphic sources. If using video sources

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OPERATION

with radically adjusted primary colors, you may notice a slight posterized or banded effect in images.—you may have to forfeit so me colo r matching to eliminate this. 5) Review primary colors upon installation of a new lamp.

Step 1: PRELIMINARY SETUP

1a) SET UP AND OPTIMIZE ALL PROJECTOR SETTINGS.

Note that you can ignore color temperature at this point, since it will be redefined when adjus ting primary colors, but do set up the projectors in every other aspect. Also make sure that edges of adjacent screens lie very close to one another.

In All Projectors:

1b) ASSIGN PROJECTOR NUMBERS

. Make sure each projector is assigned a unique 3-digit number (see Assigning a Projector #, previous page). You’ll then be able to switch between communicating with an individual p rojector (

###) and broadcasting ( ) at any time.

1c) DISPLAY 100% WHITE FIELD (INTERNAL). On each screen, display the internal

white field test pattern. Use of the internal white field is strongly recommended. If, however, you still

prefer to use an externally generated white field, set Contrast and Brightness to 50 for each projector. Then, in the Input Levels menu, set input levels correctly for each projector while displaying an external 256-step grayscale:

1. Enter a checkmark for the Auto Input Level option

2. Wait for the 6 values (blacklevels and drives) to stabi liz e.

3. Delete the checkmark and leave the Input Levels menu. Input

levels are now correct for this source. Swi tch to the external white field for the remainder of this procedure.

NOTE: Avoid using a digital source (particularly YUV ) for the white field.

1d) USE THE SAME LAMP POWER. Set all projectors to the same Lamp Mode

(Power or Intensity). Set all to the same desired setting (default = maximum).

NOTE: Do not try to match the perceived light output at this point.

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Step 2: ESTABLISH STARTING POINT FOR COLOR ADJUSTMENT

2a) ENABLE PRIMARY COLOR ADJUSTMENT: In the Adjust Primary Color (CSC)

Mirage 22000/4000/6000User’s Manual

menu (

), enter a checkmark in the “Use Primary Color Adjustment” checkbox so that primary color controls can be adjusted and applied to the image. See Figure 3.38.

Figure 3.38. Enabling Primary Color Adjustment

OPERATION

Note also that enabling Use Primary Co lor Adjustment also sets Gamm a to its default—no other setting of Gamma is possible with adjusted primary colors.

If at any time you decide not to use or apply the Adjust Primary Colors (CSC) feature, delete its checkmark—this disables Red Primary, Green Primary and Blue Primary controls. In addition, full normal adjustment of Gamma is regained.

2b) SELECT A “USER” COLOR

TEMPERATURE (“User 1” RECOMMENDED):

In the

Adjust Primary Color (CSC)

menu, select a “User” color temperature that you will be defining through your adjustment of primary colors on each projector. Choose any of the four User choices, but note that User 1 is the default color tempera tur e applied if you add a new source in the future while

Figure 3.39. Start With a “User”

Temperature and 90% White Levels

Primary Color Adjus tment is activated (instead of the usual default of 6500K applied when Primary Color Adjustment is not enabled). As in any color temperature menu, white levels for preset color temperatures ca nnot be chang ed. See Figure 3.39.

In Individual Projectors:

In All Projectors:

2c) SET 90% WHITE LEVELS STARTING POINTS: In the Adjust Primary Color

(CSC) menu, set all White Levels to 90% (note: appears as 90.2 in the menu).

See Figure 3.39.

NOTE: No starting point should be 100% because this color could not then be added to the mix for either of the two remaining primary colors, and would therefore limit your success in match ing all colo rs.

2d) MATCH ALL LIGHT OUTPUT: Compare all white fields and choose the dimmest.

Using the

### function to talk to the other projectors individually, reduce Lamp Power settings as necessary until each projector has approximately the same light output as the dimmest.

Step 3: PRIMARY COLOR ADJUSTMENT

3a) SELECT GREEN PRIMARY SUBMENU: In the Adjust Primary Color (CSC) menu

(

), select the Green Primary option. The Green Primary menu will appear and your screens will turn to a full green field. See Figure

3.40.

Figure 3.40. Go to the Green Primary Menu

with Green Field

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Specifications and Main Features

Frequently Asked Questions

User Manual