Roadster Mirage S+ User Guide

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Roadster / Mirage S+ User's Manual

Table of Contents

Section Contents Page

Installation &

Basic

Setup

Operation

Introduction

Maintenance

Troubleshooting

Specifications

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

1.2 List of Components...........................................................................................1-2

1.3 Purchase Record and Warranty Registration....................................................1-3

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

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

2.3 Projector Position and Mounting....................................................................2-14

2.4 Source Connections........................................................................................2-17

2.5 Connecting Communications..........................................................................2-20

2.6 Connecting Multiple Projectors......................................................................2-23

2.7 Power Connection...........................................................................................2-26

2.8 Operating Orientation.....................................................................................2-27

2.9 Leveling..........................................................................................................2-27

2.10 Zoom, Focus, and Lens Offset........................................................................2-27

2.11 Keypad Conversion.........................................................................................2-28

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

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

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

3.4 Navigating the Menus.....................................................................................3-11

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

3.6 Adjusting the Image........................................................................................3-20

3.7 Adjusting System Parameters and Advanced Controls...................................3-35

3.8 Working with PIP or Seamless Switching......................................................3-46

3.9 Working with the Lamp..................................................................................3-49

3.10 Status Menu....................................................................................................3-52

3.11 Using Multiple Projectors ...............................................................................3-53

3.12 Remote Control of the Projector.....................................................................3-64

3.13 Error Conditions .............................................................................................3-64

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

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

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

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

4.5 Replacing the Lens............................................................................................4-8

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

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

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

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

 Components/Features..............................................................................3-1

continued…

013-100189 (08/05) Software v1.1 Roadster / Mirage S+ User’s Manual i

REV.1

TABLE OF CONTENTS

Appendices

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

B Remote Keypad................................................................................................B-1

C Serial Communication Cables..........................................................................C-1

D Throw Distance................................................................................................D-1

E System Integration ...........................................................................................E-1

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

F Optional Input Modules................................................................................. F-14

Roadster / Mirage S+ User’s Manual

1.1 The Projectors

Section 1

Introduction

The Roadster S+12K/S+16K and Mirage S+14K proje ctors are innov at iv e, high brightness DMD™ projectors that use next generation Digital Light Processing™ (DLP™) technology from Texas Instruments. Both projector models feature compact size, rugged construction, and integral rigging hardware, with the Roadster S+ series ideal for difficult rental/staging installations of multiple projectors, and the Mirage S+ series featuring amazing 3D output. A quick-change lamp module, no-tool lens replacement, and intuitive user interface means the ultimate in versatility and ease-of-use. These projectors provide brilliant images with

Roadster S

1400 x 1050 clarity and perfect color saturation in a wide variety of applications.

12K / 16K

Main Features 

The Roadster S+ series and Mirage S+ series each have features for your distinct needs. The stereoscopic Mirage S+ projector provide 3D solutions for power walls, simulation, and entertainment venues. Both Roadster S+ models include an additional input module as well as integral hardware required for stacking and flying up to 3 projectors.

General

 DLP™ 3-chip electronics with true 1400 x 1050 (SXGA+) native resolution  10 bit digital video processing  Single-lens design with field-interchangeable, fast-change lens – no tools needed  Modular design for easy serv icing  Built-in handles and multiple rigging points  Lenses

 Choice of lenses (from 0.73:1 up to 7.3:1)  Motorized zoom, focus and H/V offsets

Lamps / Light Output

 Brightness (ANSI lumens)

 Roadster S+12K = 12000 +- 10%  Roadster S+16K = 16000 +- 10%  Mirage S+14K = 16000 +- 10%

 Contrast Ratio = 450-600:1 ANSI, 1500 – 1800:1 Full Field (adjustable)  LiteLOC™ for autom atic, consta nt-brightness control  Quick change Bubble lamp module

Roadster / Mirage S+ User’s Manual 1-1

INTRODUCTION

Inputs

 One analog RGBHV/YPbPr input with 5 BNCs  One DVI-I input for either digital RGB/YCrCb or analog RGB/YPbPr signals  One analog composite-video input  One analog S-video input  Built-in multi-standard video decoder (NTSC, NTSC 4.43, PAL, PAL-M, PAL-

N, PAL-60 AND SECAM)

 One Dual SD/HD-SDI input (Roadster S+ series only)  Compatible with all currently used HDTV formats

Special Display Functions

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

Communications and Diagnostics

 2 standard keypads: built-in and remote (for IR or wired control)  Front and rear IR sensors  Ethernet, RS232, RS422, and GPIO control ports  Easy-view LED for error codes and LCD for status and error messages  Voltmeter for monitoring AC

How The Pro

ectors Work 

Roadster S+ series and Mirage S+ series accept data/graphics and video inpu t signals for projection on to front or rear flat screens. High brightness light is generated by an internal Bubble lamp, then modulated by three DMD (digital micromirror device) panels that provide digitized red, green or blue color information. Light from the “on” pixels of each panel is reflected, converged and then projected to the screen through the front lens, where all pixels are superimposed as a sharp full-color image.

Make sure you have received the following standard components:

1.2 Components

 Projector  Infrared (IR) remote keypad and conversion cable  Power cord  Using 3D in Mirage Manual  Roadster S+ / Mirage S+ User’s Manual  3D Stereo Sync Cable (Mirage S+ only)

Differences Between Models

Model Name Lamp

Roadster S+12K Roadster S+16K

Type

2.0 kW

2.4 kW

Dual SD/HD-

SDI Module

Mirage S+14K 2.4 kW Optional

✔ ✔

3D Stacking

Not available Not Available

✔

Mounts

4 Top

Eyebolts

Integral Rigging

✔ ✔ ✔ ✔ ✔ ✔

Optional Optional

Hardware

✔

1-2

The 2 Roadster S+ m odels differ in lig ht o utpu t while the Mirage S+ series has 3D capability but optional stacking hardware. Refer to this manual for all three models.

Roadster / Mirage S+ User’s Manual

1.3 Purchase Record and Warranty Registration

INTRODUCTION

Whether the projector is under warranty or the warranty has expired, Christie’s highly trained and extensive factory and dealer service network is always available to quickly diagnose and correct projector malfunctions. Complete service manuals and updates are available to service technicians for all projectors.

Should you encounter a problem 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 Purchase Record below and keep with your records. In addition, make sure to complete the Product Registration at the Christie website—this will ensure that you receive all future product communications promptly.

Purchase Record

Dealer:

Dealer Phone Number:

Projector Serial Number ✽ :

Purchase Date:

Installation Date, if applicable:

✽

NOTE: The projector serial number is located on the projector’s rear identification label

and in the projector’s “Status” menu.

Roadster / Mirage S+ User’s Manual 1-3

Section 2

Installation & Setup

This section explains how to install and set up the projector. If you are familiar with the projector and want to quickly set it up for temporary use, follow the Quick Setup instructions below. For a more complete setup, follow the instructions and guides covered in the rem aining subse ctio ns.

NOTE: The lens is not installed for shipping. For instructions on how to install or replace a lens, refer to 4.5, Replacing the Lens.

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

2.1 Quick Setup

Use either the remote or built-in keypad to work with the projected image.

STEP 1 '

STEP 2 '

STEP 3 '

Position the Projector

Set the projector at the expected throw distance (projector-to-screen distance) and vertical position. See 2.3, Projector Position and Mounting and Appendix D. Make sure that the projector is level from side-to-side (see Section 2.9, Leveling).

Connect a Source

Locate the main input panel at the rear of the projector and connector your source to the appropriate input:

◊ INPUT 1 (upper right area) – RGB input via BNC connectors. ◊ INPUT 2 (left of BNCs) – digital or analog signals (DVI-I) from a computer. ◊ INPUT 3 (upper middle area) – composite video. ◊ INPUT 4 (upper middle area) – S-video. ◊ INPUT 5 (lower area of Roadster S

module which can accept serial digital.

◊ INPUT 6 (lower area ) – for optional input modules (see Appendix F).

Connect to Power

Connect the projector’s line cord to the AC receptacle at the lower rear corner on the rear the projector, and to proper AC. Use only the line cord provided with the projector. Power requirements are shown below. Complete information is in Section 6.

◊ The Roadster S ◊ The Roadster S

amps @ 200 VAC.

12K requires 200-240 VAC, 50-60 Hz, 13.5 amps @ 200 VAC.

16K and the Mirage S+14K require 200-240 VAC, 50-60 Hz, 17.7

panel) – a factory-installed Dual SD/HD-SDI

WARNING

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

within the specified voltage and power range. See Section 6.

Roadster / Mirage S+ User’s Manual 2-1

INSTALLATION & SETUP

STEP 4 '

STEP 5 '

Turn On the Projector and Lamp

1. On the projector, turn the power breaker/switch on. The LCD Status Display Window displays the initializing window for 15 seconds, then indicates

POWER OFF (see

right).

2. Using the keypad, do one of the following:

• Press and hold

briefly to

toggle the lamp on.

• Press and release immediately by

• Press

followed

to toggle from the

off state. The LCD Status Display Window

will display Powering Up and then, Power On (Figure 2.1) while the 2 Digit Status/Error Code

Figure 2.1. Turning on the projector

Window will display ON.

Select a Source

Using either keypad, press

Input 5

, or

Input 6

to select and display

Input 1

Input 2

Input 3

Input 4

the image for the source you connected in Step 2. The display will resize as needed, producing an image as large as possible for the type of source present.

STEP 6 '

Optimize the Display

Auto

Setup

Press

on the built-in keypad (or automated process in which the projector optimizes critical display parameters such as size, position, pixel tracking, etc., for the current source. Auto Setup can save time in perfecting a display, and you can modify the adjustments later as desired. See Section 3.

STEP

Lens Adjustments

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

•

ZOOM: With the input image displayed:

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

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

FOCUS: With the input image displayed:

•

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

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

on the remote keypad) to initiate an

or .

Figure

2.2

Figure

2.3

2-2

Roadster / Mirage S+ User’s Manual

• • LENS OFFSET: To move the image:

INSTALLATION & SETUP

Step 8 '

2.2 Installation Considerations

o If remote keypad: Press either Lens H

Lens V .

Lens

o If built-in keypad: Press

keys.

Shift

and use the arrow

Figure 2.4

Image Adjustments

Press

(remote) to access display parameters described in Section 3 . Although this projector delivers a high brightness, quality output, final display

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

Lifting, Hoisting, ' and Stacking

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

Lifting

All models include handles for convenient hand transport only

, such as when a

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

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

safety points, nor points from which to hoist or suspend

projector only.

time only.

the projector.

WARNINGS

• The handles can’t support more than 1 projector.

• Do not

• Do not from which to suspend or hoist the projector.

use handles for extended time periods.

use the handles as safety points, or as points

Hoisting

Four integral rigging points on the top of the projector (Figure 2.5) and eight on the bottom (Figure 2.6) enable either upright or inverted hoisting. For either orientation, hoist an individual projector, or up to 3 projectors in a stack.

Roadster / Mirage S+ User’s Manual 2-3

INSTALLATION & SETUP

Figure 2.5. Top Rigging Points

RULES FOR ALL HOISTING:

◊ Use at least 4 rigging points for hoisting up

projectors.

to 3

◊ Connect safety cables, and rigging

equipment to the designated locations on the projector.

◊ Use hoisting and rigging equipment suitable

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

◊ Never hoist a projector by its feet, handles,

or any other component (Figure 2.7).

WARNING

Use metric hardware only.

Never force incompatible threads.

Figure 2.6. Bottom Rigging

Points

2-4

RECOMMENDED

Remove the lens before hoisting a projector.

WARNING

Never hoist a projector by its feet,

handles, or any other component.

Roadster / Mirage S+ User’s Manual

Figure 2.7. NEVER

INSTALLATION & SETUP

Use Handles for Hoisting or as Safety Points

Hoisting Procedure '

STEP 1 '

STEP 2 '

STEP 3 '

This procedure applies to one or more projectors. To hoist a stack, first stack 2 or 3 projectors according to the stacking procedure included in this manual. Never stack or hoist more than 3 projectors together.

Remove lens (recommended)

To prevent possible lens damage during hoisting, remove the lens. See 4.4, Replacing the Lamp and Filter.

Retract feet

Retract the adjustable feet if the projector is inverted to prevent the hoisting hardware from becoming snagged.

Attach safety cables

Attach a safety cable to each of the (2) eyebolts mounted on the bottom of the projector (Figure

2.8).

WARNING

Always use at least 2 safety cables for any

hoisting.

WARNING

Attach safety cables

to the 2 eyebolts.

NOTE: When hoisting a non-inverted projector or stack, add 2 safety eyebolts in the front and rear threaded holes provided on the top of the projector. Make sure the eyebolts are rated adequately for the load. Secure safety cabling to both eyebolts.

Roadster / Mirage S+ User’s Manual 2-5

Figure 2.8. Attach Safety Cables

NOTE: ADD EYEBOLTS (2)

IF NON-INVERTED

INSTALLATION & SETUP

STEP 4 '

Attach rigging hardware

Secure your rigging components to the appropriate rigging points—8 sliding points are provided on the bottom. Tighten the nut at each required location (Figure

2.9) to prevent sliding.

NOTE: 1) Use at least 4 rigging

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

Figure 2.9. Using the Rigging Hardware

Stacking Procedure '

2-6

Roadster / Mirage S+ User’s Manual

WARNINGS

• Maximum stack = 3 projectors.

• Stack first, then hoist.

NOTES: 1) Requires stacking hardware provided standard with Roadster S+ only. Available separately for M irage S

Roadster S

and Mirage S+ projectors can be stacked in either the upright or inverted

. 2) Requires at least 2 people.

position. Do not mix orientations—i.e., inverted with upright—in a stack. Secure a maximum of 3 projectors with the stacking mounts as described below.

WARNING

Do not stack more than 3 projectors.

WARNING

Christie stacking hardware required. The top

projector could slide off and cause injury or death.

WARNING

Never carry a stack.

INSTALLATION & SETUP

STEP 1 '

STEP 2 '

Position the projectors

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

• Place one projector on its side to access its adjustable feet and stacking legs (Figure

2.10).

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

Figure 2.10.

Fully retract the (4) adjustable feet

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

• If upright – retract the feet on top projector.

• If inverted – retract the feet on bottom projector.

STEP 3 '

STEP 4 '

Extend the (3) stacking legs

Extend the stacking legs by turning them so that at least 1 inch of thread is visible on each. This clearance accommodates the up-or-dow n movement for aligning the images from stacked projectors. Extend all 3 legs equally (Figure 2.11).

• If upright – extend legs on top projector (shown).

• If inverted – extend legs on bottom projector.

IMPORTANT

Extend the stacking legs

equally by at least 1 inch.

Figure 2.11. Extend 3 Stacking Legs

(UPRIGHT STACK SHOWN)

Loosen the rear stacking leg nuts

On the rear stacking legs, loosen the nuts so the legs have some lateral movement for easier alignment with the stacking mounts on the other projector.

Roadster / Mirage S+ User’s Manual 2-7

INSTALLATION & SETUP

Figure 2.12. Loosen 2 Nuts

• If upright – release on top projector.

• If inverted – release on bottom projector.

STEP 5 '

STEP 6 '

Release and remove (3) safety pins

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

• If upright – remove the pins from the mounts on the bottom projector.

• If inverted – remove the pins from the mounts on the top projector.

Place top projector on bottom projector

WARNING

Minimum of 2 people required.

Figure 2.13. Remove Safety Pins

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

STEP

Align holes in (3) stacking mounts and (3) stacking legs.

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

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

2-8

Roadster / Mirage S+ User’s Manual

INSTALLATION & SETUP

Alig

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

STEP 8 '

STEP 9 '

STEP 10 '

Insert (3) safety pins and LOCK all

WARNING

Critical Safety Procedure.

At each of the (3) stacking points, insert the safety pin fully through the holes in the stacking mounts and stacking legs (Figure 2.14). Ensure that each pin is fully inserted to engage the safety lock and secure the projectors together. Failure to engage the safety lock could cause the projectors to separate and result in injury or death.

WARNING

Failure to engage the safety lock could cause the

projectors to separate and result in injury or death.

Leg Nuts

Before hoisting, firmly tighten the nuts on the (2) rear stacking legs (Figure 2.14). Or, if you are ready to align the projectors to one another, leave these nuts slightly loose until after the alignment.

Repeat STEPS 1–9 for a third projector.

WARNING

Never stack more than 3 projectors.

nment Procedure '

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

IMPORTANT

Make sure the stacking legs have been extended

by at least 1 inch, and are slightly loosened.

Refer back to

Roadster / Mirage S+ User’s Manual 2-9

Figure 2.11.

INSTALLATION & SETUP

Before You Begin

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

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

 Leg nuts must be loosened before alignment, otherwise the stacking mounts will

not turn and allow movement of the projector.

STEP 1 '

STEP 2 '

STEP 3 '

STEP 4 '

STEP 5 '

Position the first image (fixed projector)

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

Display the grid test pattern

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

Adjust zoom and focus

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

Try aligning the two grid patterns

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

• If all lines are well-aligned, skip to STEP 7 to lock all stacking mounts.

• If alignment needs improvement, proceed with the next step.

Align the center lines of the grid

Turn the (2) rear stacking mount wheels to move the top projector as necessary for well-aligned center lines. Use a screwdriver in the holes around the rim of each adjusting wheel for better leverage and control.

2-10

HOW TO MOVE THE IMAGE:

Turned independently, each stacking mount acts as a pivot point for the opposite edge of the display (see right). For example, turn the right mount to tilt the left portion of the image up or down, and turn the left mount to tilt the right portion of the image up or down. Turn together to raise or lower the top image like an offset adjustment, or turn the front stacker.

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

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

Roadster / Mirage S+ User’s Manual

Figure 2.15. Adjustment Directions (Tilt)

IF THE CENTER LINES ARE PARALLEL BUT MISALIGNED:

• If centerlines are out by the same amount from top and bottom – use offsets (on top projector) to bring the centerlines into alignment.

INSTALLATION & SETUP

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

STEP 6 '

Align the edges of the grid

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

STEP

Secure all stacking wheels and leg nuts

WARNING

Critical Safety Procedure.

STEP 8 ' Installation T

e '

 Turn all (3) stacking wheels until they are firmly

secure against the rest of the stacking mount.

 Secure both (2) rear leg nuts against the bottom of

the projector.

Repeat steps 1 to 7 for a third projector

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

• Can be moved or changed quickly

• Easy to access

Front Screen, Inverted Mount (ceiling) Installation

ADVANTAGES CONSIDERATIONS

• Does not take up audience space

• Projector is unobtrusive

• Projector cannot be accidentally moved

• Shares floor space with audience

• Installation is more permanent

• It is more difficult to access the projector

Figure 2.16. Secure All

Hardware

Roadster / Mirage S+ User’s Manual 2-11

INSTALLATION & SETUP

Rear Screen, Floor Mount Installation

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Projector is easily accessed

• Usually good ambient light rejection

Rear Screen, Inverted Mount (ceiling) Installation

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Usually good ambient light rejection

Rear Screen, Floor Mount with Mirror

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Usually good ambient light rejection

• Requires less space behind screen than

other rear screen installations

• Requires separate room

• Requires rear projection screen

• Requires separate room

• Installation cost is usually higher

• Requires separate room

• Installation cost is usually higher

Screen T

e '

Front Screen Installations

While there are two basic screen types, flat and curved, generally flat screens are recommended for this projector (Figure 2.17)X. 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. Because of the low gain, flat screens are most effective when ambient lighting is reduced, although this difference may be negligible given the high brightness output from this projector.

Figure 2.17. Audience Coverage with Flat Screen Figure 2.17

NOTE: Lenses for this projector are designed primaril y for use with flat scr eens, 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.

2-12

Rear Screen Installations

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

Roadster / Mirage S+ User’s Manual

INSTALLATION & SETUP

Ambi

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 '

Screen As

ect Ratio '

Screen size may vary from 4 feet (122 cm) to 45 feet (1372cm) diagonal, depending on the lens you are using. For instance, a 0.73:1 lens can produce a 5 foot (150 cm) to a 14 foot (548 cm) image size depending on the location of the projector, whereas a

4.5-7.3:1 zoom lens produces an 8 foot(160 cm) to 40 foot (438 cm) image size.

Choose a screen size appropriate for your lens and application. Keep in mind that if the projector will be used to display text information, the image size must allow the audience to recognize all text clearly. The eye usually sees a letter clearly if eye-totext 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.

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

Aspect ratio (Figure 2.18) describes the proportion of the screen and is expressed as the ratio of width to height, such as “4:3” or “5:4”. Although image size and image aspect ratio can both be adjusted quickly through projector software, it is still a good idea to choose a screen aspect ratio 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 ra ti o of the image, which depends on the source in use. For example, standard video from a VCR has a 4:3 ratio (approximately), whereas a high resolution graphics signal typically has a 5:4 aspect ratio. By default, images from your projector will be as large as possible and will maintain their aspect ratio.

Figure 2.18. Aspect

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

Ratio

and Mirage models is 4:3.

ent Lighting '

Other Considerations '

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

In general, avoid or eliminate light sources directed at the screen. Other considerations and tips which can help improve your installation:

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

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

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INSTALLATION & SETUP

2.3 Projector Position and Mounting

Throw Distance '

• Keep the projector away from devices which radiate electromagnetic energy such as motors and transformers. Common sources of these include slide projectors, speakers, power amplifiers, elevators, etc.

• Choose the best screen size for the application. Since m ore mag n ifica tion reduce s brightness, use a screen size appropriate for the venue but not larger than required. Installing a large screen in a small room is similar to watching television at a close range; too large a screen can overpower a room and interfere with the overall effect. A good rule of thumb is to be no closer than 1.5 times the width of the screen.

Installation type, screen type, and lighting all affect where the projector is positioned. In addition, both throw distance (the distance between the pro jector and scre en) an d vertical position (the height of the projector in relation 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.

2-14

Figure 2.19. Estimating Throw Distance

(SEE APPENDIX D)

For any installation, an accurate throw distance (TD) must be determined in order for the image to be of the right size for your screen–the farther the projector is from the screen, the larger the image. Throw distance is the distance between the projector’s front feet axes and the screen (Figure 2.19), and is roughly equal to the horizontal width of the screen multiplied by the throw ratio of the installed lens. Once you know your screen size and lens, you can estimate throw distance needed. For example:

• Screen Width = 10 feet

• Lens Type is 0.7:1

• Throw Distance (TD) = 10 feet x 0.7 = 7 feet

NOTES: 1) If your projector is slightly tilted in relation to the screen, typical for large venues or flown installations, throw distance still represents the smallest measurement between the screen and front feet. 2) For proper placement in an installation, always refer to the throw distance formula and/or chart for your lens as listed in Appendix D. Keep in mind that due to lens manufacturing tolerances for

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INSTALLATION & SETUP

lens focal length, actual throw distance can vary ±5% between lenses described as having the same throw ratio

Vertical & Horizontal '

Position

Lens Type Offset Movement

 or   or 

All motorized

lenses

THE VERTICAL POSITION of the projector in relation to the scre en also depen ds on the

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

If necessary, vertical position of the image can be offset—that is, moved up or down in relation to lens center—by using the motorized offset function. Starting with no offset, the 1400 x 1050 image from this projector can be moved up or down by a maximum distance of 525 pixels, resulting in all of the image displayed above or below lens center. See Table 2.1 and Figure 2.20. NOTE: Not applicable to the fixed

0.73:1 lens.

THE HORIZONTAL POSITION of the image can be offset—that is, shift ed lef t or right

of lens center—by using the motorized offset function. Starting with no offset, the 1400 x 1050 image from this projector can be moved left or right by a maximum distance of 350 pixels, resulting in 75% of the image displayed to one side of lens center. See Table 2.1 and Figure 2.21.

Table 2.1. Maximum Amount of Image Offset from Lens Center

Max. Amount of Display

Above or Below Lens Center

100%

(525 pix)

NOTES: 1) Offsets are not available with 0.73:1 fixed lens. 2) When offset movement is stated as a percentage (see left columns), this represents the percentage of ½ image height or½ image width 3) All offset values are ±7%.

50%

(350 pix)

1050 pixels  or  100% 1050 pixels  or  75%

Max. Amount of Display

Right or Left of Lens Center

Figure 2.20. Maximum Vertical Offset

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INSTALLATION & SETUP

NOTES: 1) If the image becomes keystoned or exhibits uneven brightness, the projector may simply be too high or low in relation to the screen. 2) Recommended offset ranges can be exceeded, however this may affect image quality. 3) Simultaneous horizontal and vertical offset limits the adjustment range of each. 4) Offset can vary by ±7% and may be affected by the degree of zoom currently in use.

Tilting the Projector '

Figure 2.21. Maximum Horizontal

Offsets

The projector can be rotated and mounted at any vertical angle—i.e., you can tilt the face of the projector up or down as much as desired for your installation. Side-to-side tilt, however, must not exceed 15°. This limit ensures that the lamp in the projector operates properly and safely. Always vent exhaust air away from the lens.

Figure 2. 22. Vertical and Horizontal Tilt Ranges

For permanent ceiling mount installations, use the Christie ceiling mount fixture designed for your projector. For more information, contact your dealer.

Folded Optics '

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In rear screen applications (Figure 2.23)where space behind the projector is limited, a mirror may be used to fold the optical path. The position of the projector and mirror must be accurately set. Consult your dealer or Christie for details.

Figure 2.23. Rear Screen

2.4 Source Connections

INSTALLATION & SETUP

Sources connect to the Input Panel located on the rear of the projector. As shown in Figure 2.24, the upper right corner (

INPUT 1) typically accepts an RGB signal from

an external analog RGB source, or it can also be used for YPbPr signals or additional video sources. Just to the left of the BNCs, the DVI-I connector (

INPUT 2) accepts

digital or analog display signals from a computer. Connect analog composite video at

INPUT 3, or S-video at INPUT 4 from devices such as VCRs, laser disk players, or

DVD players. At compatible SMPTE signals (note this module can be moved to

INPUT 5 (below INPUT 1), connect serial digital YCbCr (4:2:2) or

INPUT 6 if desired)..

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

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

RGB Signals '

Figure 2.24. Input Panel

INPUT 1consists of 5 BNCs (connectors) for linking to a variety of RGB sources such

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

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

Connect the outputs to the

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

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

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

SYNC input labeled HOR/COMP. If

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

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

VERT. See Figure 2.25, below.

INSTALLATION & SETUP

YPbPr ' (COMPONENT VIDEO)

Figure 2.25. Connecting RGB Input

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

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

Connect a YPbPr signal (a.k.a. component video) to

INPUT 1 or INPUT 2 as shown in.

Figure 2.26.

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

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

component signals (known as YCbCr) to INPUT

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Figure 2.26. Connecting YPbPr

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INSTALLATION & SETUP

Com

osite Video '

Dual SD/HD-SDI '

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

source (

INPUT 3) and an S-Video source (INPUT 4). See Figure 2.27 below.

Figure 2.27. Connecting Composite Video

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

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

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

Other Optional Inputs '

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

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

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

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

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

• RGB 500 Input Module

• RGB 400BA Input Module

• RGB 400 Active Loop Thru Input Module

• Composite/S-Video Input Module

(note: not currently supported)

• PC250 Analog Input Module

• Serial Digital Input Module

• DVI Input Module

• Dual SD/HD-SDI Module

( standard on the Roadster S+ series)

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INSTALLATION & SETUP

For even more sources, connect a 3rd-party switcher to the RS232 IN port, or, if RS422-compatible, connect to the RS422 port.

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

2.5 Connecting Communications

Remote Keypads '

Other Controllers '

The most common method of controlling the projector is via one of its keypads. As an alternative, you may wish to communicate using a PC or similar controller. Such a device sends commands and receives feedback via serial links (2 types), Ethernet or GPIO communications to the projector, all described below.

As desired, direct the projector’s IR remote keypad towards the display screen or the projector’s IR sensors. Alternatively, connect the remote keypad by cable to the remote phono jack input at the back of the projector.

RS232 Serial Communications

From most computers, connect a standard RS232 serial communication cable between the computer and the projector serial port labeled

RS232 IN—this 9-pin

connector is located on the input panel at the rear of the projector (Figure 2.28). In the Communications menu, set the projector’s baud rate (default = 115200) to match that of the computer.

2-20

Figure 2.28. RS232 Serial Communications

Changing the baud rate is done in the projector’s Communications submenu. See 3.7, Adjusting System Parameters and Advanced Controls.

RS422 Serial Communications

Some computers can provide RS422 serial communications (often through a plug-in adapter or external converter) rather than the more common RS232 standard. RS422 communication has differential “transmits-and-receives” and is generally better suited for long distances than is RS232 communication. Note that RS422 is not compatible with RS232—connecting a RS232-compatible PC to RS422 can damage the equipment at either end. Consult the documentation provided with your PC if you are unsure.

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INSTALLATION & SETUP

Figure 2.29. RS422 Connection to a Computer

The nine-pin RS422 connector is located at the rear of the projector (Figure 2.29). Use this port for communications to and from an RS422-compatible controller. In the Communications menu, set the baud rate to match that of your RS422 controlling device.

WARNING

Do not use an RS422 port unless you are using

equipment with RS422 capability. The voltage levels of

this signal can damage incompatible equipment.

Ethernet Communications

To add the projector to an existing Ethernet network with other equipment such as controllers and other projectors, connect standard CAT5 Ethernet cable between your Ethernet controller (or hub) and the Ethernet port at the rear of the projector as shown in Figure 2.30.

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

(rather than a network or hub), make sure to use a crossover Ethernet cable. Keep in mind that an Ethernet link cannot be used for downloading a software upgrade to the projector—use RS232.

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INSTALLATION & SETUP

Figure 2.30. Connecting Ethernet

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

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

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

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

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

The GPIO Port

The General Purpose In-Out (GPIO) port enables integration of the projector within an established control system (Figure 2.31). ASCII commands sent via the GPIO link are stored in projector memory, where they can be triggered as a sequence of events in the future. See Appendix E.

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INSTALLATION & SETUP

Figure 2.31. GPIO Port

2.6 Connecting Multiple Projectors

Serial Links '

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

RS232 NETWORK: To control multiple projectors with a computer/controller having

an RS232 interface, first set all projectors to the same baud rate as the controller, then chain the projectors together by connecting the projector (already connected to the computer/controller) to the

RS232 OUT connector of the first

RS232 IN connector of

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

RS232 OUT port. See Figure 2.32.

Figure 2.32. RS232 Serial Link Loop-Through at First Projector

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

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

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INSTALLATION & SETUP

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

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

RS232 port of the first projec tor

RS422 port) to an RS232

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

RS232 port. See Figure 2.33.

Figure 2.33. Mixed Serial Network

Note that communication parameters such as baud rate must be set to match the particular controlling device before connecting as a network—refer to the documentation that came with your controlling device in order to determine the proper baud rate. See 3.7, Adjusting System Parameters and Advanced Controls if you need help changing the projector baud rate. In addition, set the Network Routing to “RS232 and RS422 Joined” if you want to reach all projectors.

Ethernet Networks '

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

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

use standard CAT5 cable to connect each projector’s Ethernet port to a hub on to the network. A controller or PC must also be connected to the hub. See Figure 2. 34.

Figure 2. 34. Typical Ethernet Network

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INSTALLATION & SETUP

SETTING THE PROJECTOR’S IP ADDRESS: Upon connection to most Ethernet

networks, each projector’s factory default IP address of 0.0.0.0 triggers the network’s DHCP (Dynamic Host Configuration Protocol) server function to automatically assign an IP address that is valid and unique for use on that network. Depending on the network, this DHCP-assigned IP address usually remains stable for a single session, but may change with subsequent power-ups and logins. On some networks, the address will remain stable from session to session. In all cases, the projector’s IP address and port appear in the Status menu as well as the Ethernet Settings submenu. See Figure 2.35

Figure 2.35. Setting the Projector’s IP Address

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

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

arating Networks '

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

CHANGING THE PORT#: On some Ethernet networks, firewall restrictions may

require that the port number of the projector be changed from its default of 3002. If so, enter a new port number in the Ethernet Settings menu or include the new port# in an XIP serial command sent to the projector.

By default, communications originating from one type of serial controller—RS232 vs. RS422 vs. Ethernet—stay on the corresponding network path. This separation is indicated by a “Separate” setting for “Network Routing” in the Communications menu. If you are using an RS422 controller, for example, it will communicate only with the projector to which it is connected unless you change this setting to either “RS232 and RS422 Joined” or “All Joined”(Figure 2.36).

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INSTALLATION & SETUP

To relay all messages to all ports—RS232, RS422, and Ethernet—set the “Network

Communicating to

ll Ports

Routing” option in the Communications menu for each projector to “All Join ed”. This configuration is useful if you are using a non-RS232 controller with the RS232 linking available between these projectors. For example, you may want to use both an RS422-compatible controller and an Ethernet-connected PC for working with a network of projectors linked via their RS232 in/out ports (Figure 2.37).

Figure 2.36. Keeping Communications Separate (default)

2.7 Power Connection

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Figure 2.37. Joining All Networks

To isolate just RS422 communications, select “RS232 and Ethernet Joined”. In Figure 2.37, only projector #3 will respond to the RS422 controller. To isolate just Ethernet communications, select “RS232 and RS422 Joined”—only projector #1 will respond via Ethernet.

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 all Roadster S+ and Mirage

S+ models must be capable of 200 –240 VAC. Use the proper power source and the high-current rated line cord provided. See Section 6, Specification s for all power

requirements.

WARNING

Do not attempt operation if the AC supply and cord are

not within the specified voltage and power range.

Caution for Shutdowns: Once the projector is turned off ( ), the lamp

cooling fans will continue to run for approximately five minutes to ensure that the projector and lamp have sufficiently cooled, at which point the fans will

INSTALLATION & SETUP

automatically shut off. To avoid thermal stress that can lead to premature lamp failure, never unplug the line cord while the lamp cooling fans are running, and never unplug to power down.

2.8 Operating Orientation

2.9 Leveling

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

Figure 2.38. Image Orientation

In the Configuration Menu highlight and select the “Image Orientation” pull-down list. See Figure 2.38 Select from Rear, Inverted Rear, Front or Inverted Front according to your intended installation. See Section 3, Operation for fu rthe r information.

For most installations, the lens surface of the projector is parallel to the screen—this prevents major keystoning of the image (i.e., an image with non-parallel sides). In addition, the projector must be kept level from side-to-side in order for the lamp to function safely. To make small corrections to the projector’s level, rotate each leg as necessary to raise or lower. See Figure 2.39. For angled installations, see “Special Mounting” under 2.3, Projector Position and Mounting earlier in this section.

2.10 Zoom, Focus & Lens Offset

Figure 2.39. Adjusting the Feet Height

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 Keypads and 3.4, Navigating the Menus if you are unfamiliar with using the keypad and menu system.

Lens Adjustments

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

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INSTALLATION & SETUP

With the input image displayed:

Zoom

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

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

Focus

With the input image displayed:

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

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

• LENS OFFSET: To move the image:

•

o If remote keypad: Press either Lens H

Lens V .

o If built-in keypad: Press

keys.

Using the built-in keypad, display the on-screen menu and choose the wired keypad

2.11 Keypad Conversion

option. Then, connect the remote keypad to the remote phono jack input at the rear of the projector.

or .

Lens Shift

and use the arrow

Figure

2.40

2.41

Figure 2.42

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3.1 Overview

3.2 Projector Basics

Section 3

Operation

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

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

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 the projector’s internal memory as a custom channel, with up to 50 different channels possible.

Projector components and functions are illustrated below (Figure 3.1). Refer back to the chart on page 1-2 for additional differences between models.

Components / Features '

Figure 3.1. Basic Projector Components

Zoom

Operated with the keypad, the internal optics of a motorized zoom lens rotates to adjust the size of the image without moving the projector. Minimum and maximum image sizes depend on which zoom lens is installed. See Section 5, Specifications.

Lens Release

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

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OPERATION

Focus

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

Lens Offset

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

Shutter and Iris

Operated with the keypad, closing the intern al shu tte r block s the lens int ern al ly and turns the image to off (black). Enlarge the diameter of the iris—a.k.a. optical aperture—for optimized brightness; reduce the diameter to optimize contrast ratio.

Eyebolts

 2 eyebolts on bottom (factory-installed)—for attaching safety cables when hoisting

inverted projectors.

 4 eyebolts for top (separate)—for non-inverted hoisting. NOTE: 2 additional

safety eyebolts required.

Handles

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

Stacking Mounts / Stacking Legs

NOTE: Optional on Mirage S

For stacking up to 3 projectors. See Section 2 for details.

WARNING

Use Christie stacking mounts only.

Adjustable Feet

Turn the 4 adjustable feet to increase or decrease height and/or tilt as needed. For most installations the projector will likely be slightly inclined to match the screen tilt – this reduces the amount of vertical offset required. See 2.3, Projector Position and

Mounting

Filter Door

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

Lamp Door

Louvered/grille for accessing and replacing the lamp module. NOTE: Lamp replacement requires a qualified service technician.

3-2

Input Panel

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

Roadster / Mirage S+ User’s Manual

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

signal from devices such as VCRs.

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

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

OPERATION

 RS232 SERIAL INTERFACE (WITH LOOP THROUGH) - Allows one or more

projectors to be remotely controlled by a computer or controller,

 RS422 INTERFACE - Allows one or more projectors to be remotely controlled by

an RS422 compatible computer or controller (such as the Two-Way Controller accessory).

AC Power Input and Monitoring



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

line cord provided with the projector. See Section 5. Before unplugging, wait until

the main blower turns off or the LCD status reads Power Off.

Model AC Power Specifications

Roadster S+12K 200-240 VAC, 50-60 Hz, max. 15 amps @ 200VAC Roadster S+16K 200-240 VAC, 50-60 Hz, max. 20 amps @ 200VAC

MirageS+14K 200-240 VAC, 50-60 Hz, max. 20 amps @ 200VAC

WARNING

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

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

 VOLTMETER - Displays incoming voltage level reaching the projector.  SWITCH/BREAKER - The breaker on the rear panel serves two purposes: 1) It is

a power switch for the ballast 2) It protects against excessive AC conditions (15A or more for Roadster S+12K, and 20A or more for RoadsterS+16K/Mirage S+14K). If the projector is faulty or excessive AC is detected, the breaker will “trip” to OFF in order to prevent damage. Try moving the breaker ON again - if the breaker continues to trip OFF, this indicates a major fault and the AC problem must be resolved. Possible causes might include shorts, damage to lamp cables, or excessive AC.

Note: This switch does not power up the projector or start the lamp. You must press

on the keypad.

Two Status Displays:

 2-DIGIT STATUS/ERROR CODE WINDOW - This LED (light emitting diode)

display is adjacent to the built-in keypad. During normal operation, the “Power” light is steady yellow and indicates “on”. When the status of the projector changes, the LED displays a 2-digit code number representing the projector’s new status. In addition to the numeric readout, there are two decimal points in the display: the right decimal point flashes when the projector receives a command, and the left point flashes when the projector sends a command.

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

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

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OPERATION

3.3 Using the Keypads

Keypads / Sensors

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

the projector.

 BUILT-IN KEYPAD - Alternative location for working with the projector.  INFRARED SENSORS - The infrared (IR) sensors on the front and rear of the

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

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

• Built-in Keypad at the rear of the projection head

• Remote Keypad for tethered or tetherless control (includes cable for

connecting as a wired remote)

While each of the keypads provides complete control of the projector, they differ slightly in their arrangement of keys and in which functions can be accessed directly with a key press rather than requiring use of the menu system. You may find one keypad more convenient than another for your specific installation and application.

Built-in '

To control the projector when signals from a remote keypad cannot reach the projector, use the projector’s built-in keypad (Figure 3.2). Two nearby status windows

Figure 3.2. Built-in Keypad at Projector Rear

provide feedback indicating current status and activities of the projector. Because the built-in keypad has fewer keys than the remote keypad, certain projector functions are accessible only through the menu system rather than via a direct key.

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OPERATION

IR Remote

Figure 3.3. Remote Keypad

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

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

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OPERATION

Wired Remote

With the addition of a cable (supplied), the IR remote converts into a wired remote

keypad. Simply connect to the remote is recommended when the rear built-in keypad is inaccessible or if lighting conditions are interfering with IR transmission.

NOTE: Batteries must remain in the remote to use the laser feature.

Guide to Keypads '

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

2) Note that three keys—Power, Shutter and OSD—are “press-and-hold” keys that

do not function with a typical quick press-and-release keypress (see Figure 3.3).

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

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

4) If you press a key while the projector is still responding to the previous action,

such as during power-up, the second key press may not take effect.

ad Commands '

Specific keypad commands are explained below:

Power ON/OFF

Press and hold Or press and release guarantee the correct toggle (useful if you are unsure of the present state).

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

REMOTE input at the rear of the projector. The wired

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

followed immediately by

(on) or

(off) to

Tes t

Auto

Setup

Test

Press

Tes t

is up, use

Auto

Setup

Press

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

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

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

Table 3.1. Auto Setup

What an “Auto Setup” Does

OPTIMIZES: SETS TO DEFAULT:

Pixel Tracking Contrast

Pixel Phase Brightness

Size and Blanking Auto Input Level (off)

Vertical Stretch Detail (if video source)

Position Filter

Input Levels Luma Delay

Chan nel

Channel

Chan nel

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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Roadster / Mirage S+ User’s Manual

OPERATION

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

NOTE: Channel (

Chan nel

) key behavior during a presentation depends on whether or

not the Display Channel List option is enabled in the Menu Preferences menu. You can choose to use a scrollable list of channels when you press

Chan nel

, or you may prefer

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

Input 1

Press

to display from the data input source connected to BNCs labeled

INPUT 1.

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

Input 2

Press

to display from the DVI source connected to INPUT 2. If PIP is enabled, pressing this key will change the PIP source.

Input 3

Input 4

Input 5

Input 3

Press enabled,

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

pressing this key will change the PIP source.

Input 4

Press enabled,

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

pressing this key will change the PIP source.

Input 5

Press PIP

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

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

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

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

• While displaying from

INPUT 5, press

Input 5

again. This switches to INPUT 7.

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

Input 5

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

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

Input 5

again

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

Input 6

Press

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

INPUT 6 to access INPUT 8as follows:

• While displaying from

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

INPUT 6, press

Input 6

again. This switches to INPUT 8.

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

Input 6

press

Roadster / Mirage S+ User’s Manual 3-7

. This switches to either INPUT 6 or INPUT 8, depending on which of

OPERATION

the Dual SD/HD-SDI Module inputs (A or B) was last used. Press to display from the other Dual SD/HD-SDI Module input.

Bright

Brightness

Bright

Press

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

Adjusting the Image (Image Settings subsection). NOTE: Always adjust brightness before contrast.

Contrast

Press

to change the amount of white in your images. Use keys until you reach the desired level of contrast—for best results, start low and increase so that whites remain bright but are not distorted or tinted, and that light areas do not become white (i.e., “crushed”). Conversely, low contrast causes dim images. See 3.6, Adjusting the Image (Image Settings subsection).

Gamma

NOTE: This is the same as “Gamma” in the Image Settings Menu. “Gamma” determines what gray shades are displayed between minimum input (black) and maximum input (white) for a given amount of signal. The proper setting helps maintain optimized blacks and whites while ensuring a smooth transition for the “inbetween” values utilized in colors and grays. Thus, unlike brightness and contrast settings controls, the overall tone of an image can be lightened or darkened without changing the two extremes, and your images will be more vibrant yet with good detail in dark areas.

Input 6

again

The normal gamma setting of 2.5 is correct for most signals and conditions. If excess ambient light washes out the image and it becomes difficult or impossible to see details in dark areas, lower the gamma setting to compensate. This will improve contrast ratio while maintaining good details for blacks.

Press

OSD

OSD (On-screen display)

Press

to enter or exit the projector’s menu system.

OSD

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

again, do one of the following:

• Press and hold

• Press and release followed immediately by

• Press

OSD OSD

OSD

briefly

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

NOTES: 1) With OSD “on”, you can still hide error messages and slidebars by disabling these options in the Menu Preferences menu. 2) The state of the on-screen display appears in the LCD window at the rear of the projector.

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OPERATION

PIP

Press

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

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

Shutter

Press and hold

Shutter

briefly to toggle the internal mechanical shutter blade closed or

open with a single keystroke. Or press and release

(shutter on; closed) or (useful if you are unsure of the present state). Alternatively, press from the present on/off state. A closed shutter blanks the display (turns it to black). Close the shutter to mute all display while maintaining access to projector functions. Opening the shutter restores the image.

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

Func

Function Key

IF WITHIN A MENU: Using the

with the appropriate topic elsewhe re in Section 3. For example, press Channel Setup menu to enable deletion or copying of a channel.

Shutter

followed immediately by

(shutter off; open) to guarantee the correct toggle

Shutter Shutter

Func

for special tasks within the menu system is noted

Func

to toggle

in the

IF WITHIN A PRESENTATION: Press

Func

followed by a 2-

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

Func

will

will display

Func

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

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

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

Func

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

Proj

Projector

Press

Proj

to access a specific projector within a group of projectors or to confirm if the local projector is listening. The number in the “Enter Number” window indicates which projector is currently listening to commands, and will match the projector number that has been defined in the Menu Preferences menu.

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

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OPERATION

To control a specific projector with the keypad, enter the 3-digit number assigned to the projector you want to use. If you switch to a projector other than the one you are currently using, the checkmark will disappear.

To broadcast to multiple linked projectors, press

Proj

and then

Proj

again without

entering a projector number. Keypad commands will then affect all projectors in the chain.

NOTES: 1) The “Broadcast Keys” option in the Communications menu must be selected for only one (any) projector in a serial network. The keypad in use must be OFF (disabled) for the remaining projectors. See also 2.14 Remote Keypad

Protocols and Conversion, and 3.7, Adjusting System Parameters and Advanced Controls.

Enter

Press

to select a highlighted item, to toggle a checkbox, or to accept a parameter adjustment and return to the previous menu or image.

Exit

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

Arrow Keys

Use the

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

Focus,Zoom,Lens H,Lens V

Use the

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

Lens Focus, Zoom and Lens H, Lens V

Focus, Zoom, Lens H, Lens V

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

Lens Shift

NOTE: The

key, when combined with

keypad is the same as using the

and

Lens Shift

with their corresponding arrow keys to adjust

Zoom

requires a zoom lens.

keys on the built-in

Lens V

and

Lens H

keys on the remote.

Laser

Press

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

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3.4 Navigating the Menus

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

at right. Press

at any time to display

this Main menu.

OPERATION

On-line Help '

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

the Image Settings menu. Or use the desired option, then press

. The corresponding function menu or pull-down list

Figure 3. 4. Entering the Menu System

for

keys on any keypad to highlight the

of further options will then appear. With a function menu displayed, navigate in a similar manner—enter a menu option

number for any numbered option, or use the option, then press

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

keys to highlight the desired

the arrow keys to access the remainder of the menu. Locked items or items that do not pertain to the current action or condition appear dimmed and cannot be selected.

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

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

• Press

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

Exit

to return to the previous screen

to leave the menu system and return to the presentation

Help

to display summary

Help

again to exit. In

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

Figure 3.5. Context-sensitive Help

Help

From presentation level, press necessary within a topic. Press

Roadster / Mirage S+ User’s Manual 3-11

to access general Help Topics. Scroll as

Exit

to return to your presentation.

Help

OPERATION

If a slidebar, menu, or message is displayed, you have limited time in which to make

Time-outs

a keypad entry before the projector returns to presentation level disappears. These time-outs may vary depending on what is displayed.

Figure 3.6. Accessing General Help Topics

Help

and the graphic

The Global Icon '

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

The PIP Icon '

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

Using Slidebars

nd Other Controls

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

checkboxes, and pull-down lists. To select a slidebar, toggle a checkbox status, or view a pull-down list, do one of the following within the function menu:

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

change (for example, press

1 3

from the main menu

to select Vertical

Stretch in the Size & Position menu).

 Or move the highlight to the option desired and press (Enter).  Or move the highlight to the option desired and press to adjust

immediately.

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

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

 For “blind” access, hide the entire menu system (see OSD key, above)

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

 When using PIP images, use key to adjust the image.

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

Slidebars in menus – The current value for a given parameter,

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

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

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Roadster / Mirage S+ User’s Manual

to activate a slidebar text box for specific number entry via

to save (or press

Exit

to cancel).

OPERATION

“Direct” slidebars - For quick access, you access Gamma, Brightness, and Contrast

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

Contrast option in

Cont

the Image Settings menu. Use the arrow keys to adjust a direct slidebar, or press

number from the keypad, then

Exit

you are done, press

to return to your presentation.

or or to save (or

and enter a specific

Exit

to cancel). When

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

OSD

(see

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

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

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

To toggle the checkbox, simply highlight and press check and

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

, or highlight and use to

immediately toggle the checkbox.

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

labeled with a

▼, you can:

• Highlight it and press

(Enter)

• Or enter the menu option number.

Use noted with a small

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

'). Press to choose an option from the list, if desired.

Editin

Text '

Figure 3.7. Example of Pull-Down List

NOTES: 1) Press

Exit

2) Press

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

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

(such as a channel name) and press

to jump between pages in an extra long pull down list.

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

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

to move the cursor backwards as desired.

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OPERATION

EDIT A CHARACTER: To edit a highlighted character, use

and

to scroll

through the alphabet, numbers, spaces and punctuation available. When the charac ter 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 keypad—it will be accepted and the cursor

Figure 3.8. Entering Text

To insert a space at the cursor location, press character (or space), press

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

press

(Enter).

Func

will move on.

ADD OR DELETE A CHARACTER OR SPACE:

Func

. To delete a highlighted

Editing Numerical Values '

3.5 Using Inputs and Channels

Exit

NOTE: Press

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

Enter numbers directly from the keypad in order to specify numbers representing projectors, channels (source setups), or slots. As each digit is entered, it is displayed and the cursor moves on. Note that channel numbers are defined with 2 digits—for example, if you enter only a single digit (such as “7”) for a channel number, the channel will automatically be defined as “07”. Enter “07” to utilize this channel.

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

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 sources to the projector.

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

Do I Select an Input ' Or a Channel?

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Roadster / Mirage S+ User’s Manual

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

Input 4, Input 5

Input 6

describes the source signal according to which input slot it is

connected.

Input 1, Input 2

Input 3

OPERATION

SWITCH TO AN INPUT IN EITHER ONE OF TWO WAYS – Pressing the appropriate direct

key —

Input 1, Input 2

Input 3, Input 4, Input 5

Input 6

— is a quick and seamless way to display from one of the six inputs connected to the projector. Or, if the “Numbers Select Main Image” option, found in the PIP menu, is to enable, press number keypad

. With either method, the image will be displayed according to the

numbers 1-6 on the

following:

If it is the first time you have used the source/input (or if you used the input but did not define a channel by adjusting anything), the projector will recognize the new input signal based on its frequencies and polarities, and will automatically display an image according to default settings for such a signal. In general, the default fills the screen as fully as possible. This and other default image settings depend on the incoming source.

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

If more than one channel exists for the input, the im ag e will be displ ay ed according to the setup parameters for the first channel with matching characteristics.

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

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

CHANNEL - A channel is a collection of measurements, locations and settings that

tailor the display of a signal to your specific needs. Since source types and applications can vary greatly, you will likely want to adjust and define a wide variety of parameters, such as brightness, contrast, size, etc., in order to customize and optimize the display from or for a particular source. For example, the display settings you choose for a VCR source may be very different from those you choose for a high resolution computer source, or one signal may simply vary from another signal used previously through the same input location. Once you have adjusted a display parameter, such as pixel tracking or contrast, all current settings are collectively stored in the projector’s memory as a unique 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

Chan

key on the keypad followed by the 2-digit channel number.

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OPERATION

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

Chan

. This is typically

called the channel list.

Chan

NOTE: The

key may display a channel list

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

Chan

In order to access channels by using

on the keypad, you must first create the channels. See below.

Channel List

Creating a New ' Channel

– AUTOMATIC –

To use a new source with the projector, a new channel must be added to projector memory so that the projector will respond properly to an input signal from that source in the future. A new channel can be created automatically, as described here, or it can be copied from an existing channel and then edited as necessary (see Copying or Deleting Channels later in this sect ion ).

When you select a direct input ( existing channels are searched for matching input and signal parameters. If no match to the incoming input signal is found, a new channel is temporarily created based on factory-defined defaults for this type of signal. The channel number assigned is the lowest available number from 1-50.

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

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

USING A CHANNEL: You

can normally select a channel at any time by pressing

Chan

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.

(see right). If

Input 1, Input 2

Input 3, Input 4, Input 5

Input 6

), the projector’s

3-16

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

Roadster / Mirage S+ User’s Manual

All available channels are listed in the Channel Setup menu, which describes how

What Channels

re Defined So Far?

each channel can be accessed and which serves as the gateway for editing, copying and deleting channels.

From the presentation level press display the Main menu. To display the Channel Setup menu, press , or move the highlight to the Channel Setup option and press Setup menu will appear (see sample at right), with the active channel highlighted.

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

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

08), a variety of icons indicating access to each channel, and an abbreviated description of each signal type. See Editing a Channel Setup for details.

Enter

. The Channel

OPERATION

Figure 3.9. All Channels Appear in the

Channel Setup Menu

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

and to see the

remaining channels not visible in the initia l disp lay of channe ls.

SIGNAL TYPE — Either channel list, whether the

Chan

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

Table 3.2. Abbreviations for Signal Type

Abbrev. Signal Type

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

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

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

• Press

Func

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

channels. See Copying or Deleting a Channel below.

Roadster / Mirage S+ User’s Manual 3-17

OPERATION

• Press

Copying or Deleting Channels

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

Func

press

Enter

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

Enter

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

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

Exit

to cancel and return to

Figure 3.10. Copying A Channel

Editin

a Channel Setup '

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

then press press

Func

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

Enter

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

delete this channel.

Figure 3.11. Deleting a Channel

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

and press Only” and press

Func

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

Enter

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

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

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Roadster / Mirage S+ User’s Manual

OPERATION

CHANNEL EDIT — STEP 1

CHANNEL EDIT — STEP 2

CHANNEL EDIT — STEP 3

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

Enter

. 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 3.12.

Figure 3.12. Channel Edit Menu (SAMPLE)

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

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

•

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

CHANNEL NUMBER: A 2-digit channel number can be changed here.

•

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

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

•

source is connected.

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

•

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

Chan

list available when accessed via

the channel setup menu

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.

• 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.

•

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

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

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

•

settings for the previous channel in the Channel Setup list.

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

•

for the next channel in the Channel Setup list.

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3.6 Adjusting the Image

Before You Begin '

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

) and Image Settings (

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

Exit

slidebars, checkboxes and pull- down lists.

will return to the previous menu (or to the presentation, if from the Main menu) and accept any changes you may have entered. Settings are saved with the current channel.

From your presentation, you can access any of the individual options in these menus

by pressing location in the menu system. For example, press

followed by the appropriate two-digit number representing their

to quickly access the

“Gamma” option in the Image Settings menu. Note that for certain options, you may prefer to use a “direct key” from presentation

level to go directly to a particular option without traveling through the menu system (note: available for certain display parameters only). For example, press access the “contrast” slidebar immediately. Press

Exit

to return to your presentation.

Cont

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

OSD

view, turn off the on-screen display by pressing

Auto

Use Auto Setup (

Setup

)

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

Auto Setup

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

Size and Position Menu '

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

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

Exit

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Resize Presets

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

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

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

WHEN “CUSTOM” APPEARS: The “Custom” re-size descriptor automatically appears

in the Size and Position menu when any of the values for Size, Vertical Stretch, H- Position, V-Position or Blanking do not correspond to those for a preset. It is not a choice in the Resize Presets pull-down list.

• Select

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

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

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

centered between narrow black side bars.

 A video image or 4:3 graphic image will enlarge to fill the screen width.

 An HDTV (16:9) image will fill the width and be centered between

black bars on top and bottom.

• Select

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

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

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OPERATION

• Select “FULL SCREEN” to use all

pixels (1400 x 1050) for

displaying the image, regardless of source or original aspect ratio. Incoming source material having a different aspect ratio than the projector will be stretched for display.

• Select

“FULL WIDTH” to fill the

projector’s display from left-toright without changing the original aspect ratio of the image. Depending on the source, data at the top and bottom may be discarded (cropped), or the display may have black borders at the top and bottom (called “letterboxed”).

• Select

“FULL HEIGHT”

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

• Select

“ANAMORPHIC” to display an anamorphic image

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

Size

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

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Vertical Stretch

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

Pixel Track

Steady flickering or several soft vertical stripes or bands across the entire image indicates poor pixel tracking. Proper pixel tracking helps ensure that the image quality is consistent across the screen, that aspect ratio is maintained, and that pixel phase can be optimized (described below). Tracking determines the frequency of the pixel sampling clock, indicated by the number of incoming pixels per line, so that all pixels generated by a particular source are sampled.

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

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For best results, use a good test pattern such as a smooth gray consisting of a clear pattern of black and white pixels, or a similar “half on, half off” graphic image, such as the Windows 2000 shutdown screen. Adjust the slidebar until the vertical stripes broaden to the point where one large stripe fills the image. If the image still exhibits some shimmer or noise, adjust Pixel Phase (below).

Pixel Phase

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

Adjust pixel phase when the image (usually from an RGB source) still shows shimmer or “noise” after pixel tracking is optimized. Pixel phase adjusts the phase of the pixel sampling clock relative to the incoming signal.

For best results, use a good test pattern such as a smooth gray consisting of a clear pattern of black and white pixels, or a similar “half on, half off” graphic image, such as the Windows 2000 shutdown screen. Adjust the slidebar until the image stabilizes and each pixel is clearly defined. You may notice that you can stabilize the image at more than one point—i.e., you may find that the image appearance at “11” is identical to the image appearance at “38”, thus you can use either setting.

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

H-Position

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

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

V-Position

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

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

Advanced Size and Position

— SUBMENU

This submenu consists of the following options:

ACTIVE INPUT WINDOW: This

read-only value indicates the current size (i.e., area) of your displayed data or “region of interest” as defined by the blanking controls. By default, the projector automatically determines what portion of its full resolution to use, and pixels in the surrounding borders are turned off. You can also specify a specific active input window size by adjusting one or more “Blank” settings. For example, if you have blanked (cropped) 100 pixels from both the left and right edges of an incoming source of 1400 x 1050, the remaining active input window will be reduced

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OPERATION

to 1200 x 1050. When using SD or HD or a decoded video source at INPUT 3 or

INPUT 4, the default blanking of “0” defines an active input window of 720 x 483.

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

Crop the image as desired so that unwanted edges are removed from the display (changed to black—see right). Blanking defines the size of the Active Input Window , or area of interest. Range of adjustment depends on the source resolution and other factors. After adjustment of blanking it may be necessary to perform a source switch.

NOTE: Blanking a PIP image resembles zoom (Figure 3.14). For example, left Blanking zooms the right side of the PIP image; Right Blanking zooms the left side. There are no black bars.

Figure 3.13. Blanking of a Primary

Image

3-24

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

(EDID) source outputs a signal according to the EDID

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

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

EDID = Extended Display Identification Data standard.

Roadster / Mirage S+ User’s Manual

Figure 3.14. Blanking of a PIP Image

OPERATION

Ima

e Settings Menu '

Use options in the Image Settings menu to alter your

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

Exit

). Options not available for the projector model or source are disabled and appear dim (gray).

Contrast

(

SHORT CUT: Press

Contrast

and adjust the slidebar.)

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

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

Brightness

(

SHORT CUT: Press

Bright

and adjust the slidebar.)

“Brightness” increases or decreases the amount of black in the image (0-100). For best results, keep close to 50. Start with a high value and decrease so that dark areas do not become black (i.e., are “crushed”). Conversely , hig h brightness changes black to dark gray, causing washed-out images.

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

Gamma

(

SHORT CUT: Press

Gamma

and adjust the slidebar.)

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

Gamma is used to fine tune the gamma table currently in use, ranging from 1 – 3 (2.5 = default). If excess ambient light washes out the image and it becomes difficult or

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OPERATION

impossible to see details in dark areas, lower the gamma setting to compensate. This will improve contrast while maintaining good details for blacks. Conversely, if the image is washed out and unnatural, with excessive detail in black areas, increase the setting. In high ambient light conditions, lower gamma may produce better results than higher gamma. Gamma of 2.5 (default) indicates the gamma table has not been adjusted. For more information, refer to Advanced Image Settings, Gamma Table submenu. Again, good gamma improves contrast while maintaining good details for blacks.

Filter

The proper filter setting is automatically set for virtually all signals, and rarely needs to be changed. It applies a low pass filter for noise reduction in the incoming input signal, particularly for HDTV or SDTV. Applied in the analog domain before sampling, this filtering removes high frequencies and thus reduces pixel phase noise (note this also reduces signal bandwidth). Override only if standard pixel tracking and phase adjustments do not adequately clear up a “noisy” video signal, or if a graphics signal appears overly “soft”. Both instances indicate that “Filter” may be set to the wrong option.

Detail

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

Noise Reduction

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

Color Space

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

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

INPUT 1, INPUT 2, INPUT

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

NOTE: For many digital signals or for signals connected to

INPUT 3 or INPUT 4, the

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

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

to select a

different option:

• Select

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

• Select YPbPr (HDTV) with a high definition televised signal (HDTV).

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NOTE: When certain RGB signals are first connected, the projector may not initially recognize them as RGB and will incorrectly decode their color information as YPbPr (video). These signals can include:

• RGB signals in NTSC, PAL, SECAM frequency ranges

• Scan-doubled sync-on-green.

• Scan-quadrupled sync-on-green.

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

Video Options

— SUBMENU

This submenu is used with video sources only (

ENABLE DECODER AGC: Automatic

INPUTS 3 or 4).

Gain Control (AGC) affects decoded video images only. Enter a checkmark (default) in most instances— th is activates the decoder’s AGC circuit to ensure properly bright images. Delete the checkmark if a decoded video image exhibits strange color artifacts such as stripes in highly saturated colors, indicating an incompatibility between this source and the AGC.

VIDEO STANDARD: For all but the more unusual video standards

available in the world, the projector automatically detects the incoming horizontal and vertical frequencies and sets the projector’s processing of this signal to the corresponding standard. The current video standard name appears in the V ideo Option s submenu, and includes an “A” if it has been auto-detected. Press

to view or select a different video standard from those available to the projector—any that are disabled have frequency characteristics that differ from those of the incoming signal. Selecting a specific standar d forces the pro jector to process the signal according to this standard.

NOTE: Best results are obtained with defined channels. Otherwise, switching from one video source to another can sometimes cause slight disturbances in the display, indicating that the Auto function is struggling. Recover by briefly selecting a different video standard, then going back.

Table 3.3. Regions and Video Standards: Summary

Standard Where Used (SUBJECT-TO-CHANGE)

NTSC N. America and Japan

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

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

PAL-M Brazil

PAL-NC Argentina, Chile, other Latin American countries

PAL 60

SECAM France, Eastern Europe, most of Africa

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OPERATION

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

INPUT VIDEO BLACK: This control

compensates for incoming elevated black levels present in certain video signals, and ensures that blacks in the display are neither crushed (i.e., where dark grays appear black) nor excessiv ely elev ated (i.e., where blacks appear dark gray). By default, the pro jecto r automatically determines the best setting according to the type of incoming video signal:

0 IRE – Used for DVD output with “enhanced black”, SECAM, most

•

PAL standards, and Japanese NTSC.

7.5 IRE – Used for most NTSC video signals.

•

For some types of video, you can override the setting. The control is disab led for ot her types of video (and all graphics sources). Generally, if black appears crushed when brightness = 50, choose “0 IRE”. If black appears excessively elev ated, use “7.5 IRE”.

COLOR: This slidebar adjusts the colo r satu rat ion lev el, i.e. the amount of color in a

video image. Lower settings produce less saturated colors — for example a setting of “0” produces a black and white image. If the color level is too high, colors will be overpowering and unrealistic.

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

video and HDTV signals connected to Input 3 or 4. For best results, adjust tint while displaying an external test pattern—otherwise, it is recom m ended that tin t rem a in at its default setting.

DECODER LUMA DELAY: This control affects any incoming composite or S-video

signal, delaying the luma signal (intensity) in relation to the chroma (color). In the image, increasing the luma delay will move luma (seen as a shadow where colors overlap) to the right slightly, with colors remaining in place. Decreasing this delay will move the shadow slightly to the left. If necessary for your current source, adjust so that no shadows occur with adjacent colors.

Input Levels

— SUBMENU

NOTES: 1) Because the projector automatically optimizes input levels for all but the most unusual of sources, it is recommended that only experienced users use the Input Levels submenu. 2) Before beginning, check that overall contrast and brightness settings are near 50 and that color temperature is properly set up on an internal grayscale test pattern. 3) There must be at least 2 consecutive white pixels present in the image for proper “Auto Input Level” function. Leave this control off after use.

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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”), the projector automatically determines the best input levels by monitoring image content and adjusting the controls appropriately—further adjustment is typically not required to obtain proper blacks or whites. NOTE: This

automatic adjustment requires at least 6-12 consecutive white pixels in the image. Without these pixels, input levels may produce skewed colors, particularly in nonvideo images.

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

NOTES: 1) Input levels apply for the current source only, but for any color temperature used. 2) Assuming that color temperature has been set up based on the internal test patterns, you can then set up input levels for a given source so that it matches the color temperature of the internal test patterns.

AUTO INPUT LEVEL – Temporarily enter a checkmark only if you are an experienced

user and you have an unusual source that you feel needs further color temperature and/or input level adjustment. This compensates for incoming out-of-range drives (white) and blacklevels (black) that would cause “crushing” of light and dark colors in the image. After entering a checkmark, wait for the six slidebar values to stabilize, then delete the checkmark and exit. The Auto Input Level is automatically turned off upon exit from the Input levels Menu.

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

1. Make sure overall “Contrast” and “Brightness” settings are both set to near 50. NOTE: Not required for “Auto” adjustment.

Contrast

•

= 50 (approx.)

Bright

= 50 (approx.)

2. Check the color temperature setup using an internal grayscale test pattern, making sure to obtain a neutral grayscale. NOTE: Not required for “Auto” adjustment.

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OPERATION

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

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

going through the decoder. A grayscale is recommended.

4. If the blacks and/or whites appear OK, input levels do not need adjustment. If black levels are too high (and/or whi tes 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 only a certain color while adjusting—use the “Color Enable” option (described below).

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

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

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

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

CLAMP LOCATION – This option (formerly known as sync tip

clamping) can brighten the image produced from certain hig h-

resolution high-frequency graphic sources. For almo st all source s, the best clamp location is automatically selected by the projector. Use the normal Back Porch location if the im ag e is eithe r suffic iently brig ht or overly bright. Select Sync Tip if the image appears unusually dim , if there are ho riz ontal streaks across the image, or if there is sig nifi cant colo r d rift. This moves the clamping pulse from the normal backporch location (which is likely too short) to the tip of the horizontal sync pulse. Tri Level is typical ly needed for an HD TV source.

COLOR ENABLE – Select which color or colors you want to see in the display, useful

while working with color temperature white levels or input levels.

PEAK DETECTOR – The Peak Detector is a tool to assist with defining individual input

levels, enabling you to accurately set the Input Levels for any particular source with the appropriate image. Enabling the Peak Detector activates a special operating mode for detecting only pixels that are considered black or white—all other levels are displayed as a mid-level gray. When used with a smooth grayscale pattern in which black and white are known to be at opposite edges of the image, you can watch these isolated areas while adjusting individual blacklevels and input drives until both black and white edges are just visible and distinguished from neighboring pixels. Images from this source will then display correct blacks and whites without crushing.

See Figure 3.15. Adjusting Input Levels Using the Peak Detector

3-30

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

Detector” will initially render the grayscale as a uniform gray field before adjustment or extreme crushing.

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OPERATION

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

3. For the current color, adjust its corresponding “Blacklevel” slidebar just until a single band of black appears at one edge of the screen. This band represents the first band of the grayscale pattern, which should be 100% black. Do not adjust too far.

4. With the same color still active, adjust its corresponding “Input Drive” slidebar just until a single band of color appea rs at the oppos ite edg e of the screen. This band represents the last band of the grayscale pattern, which should be 100% white (or the current color, if a certain color is enabled). Do not adjust too far.

5. It may be advantageous to go back and check the black band—adjust the blacklevel slidebar if nece s sary . NOTE: Readjusting blacklevels at this point

affects the gain; only readjust when absolutely necessary.

6. Repeat Steps 3-5 with the other two remaining primary colors. When each primary color shows one optimized black band and white (or colored) band, the input levels for this source are correctly set. Upon exiting the Input Levels menu, the Peak Detector checkbox will clear.

Figure 3.15. Adjusting Input Levels Using the Peak Detector

Advanced Image Settings

— SUBMENU

Use the Advanced Image Settings submenu to make the

adjustments necessary for lesser used but more specialized applications on your projector.

(RED EXAMPLE SHOWN)

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OPERATION

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

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

KoRE Librarian

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

and

installed, their names will appear in the Gamma Table pull-down list. Keep in mind that any Gamma Table choice sets the related Gamma value (shown in

the Image Settings menu) to a 2.5 default, where it can be fine-tuned as desired. Different values (1-3) here indicate that the original gamma table has been adjusted with either the Gamma slidebar or direct key.

SELECT COLOR ADJUSTMENT: In “Select Color

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

To configure a “User” color adjustment (gamut), use either the Color Adjustment by

X/Y or Color Saturation submenu. NOTES: 1) “Color Temperature” defaults to 6500K until changed. All four “User”

options default to SD Video unless they have been redefined by the user. 2) Factorydefined color primaries, which ensure consistent color gamut from projector-toprojector, can be calibrated in the Service menu only. If you suspect alteration, the factory settings can be recovered with selection of Reset to Factory Defaults? in the Color Primary Settings submenu within the Service menu (password-protected).

3-32

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

to all displays. Color temperatures are expressed in degrees Kelvin (3200-9300K),

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OPERATION

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

OPTICAL APERTURE - The optical aperture inside the pro jecto r cont rol s the diameter

of the light beam passing through the system. With a fully open aperture (slidebar default of “0”), the maximum amount of light passes through for maximum brightness in your images. Increase the sl ideb ar set ti ng to reduce the apert ure diameter and maximize contrast ratio instead. Performance of aperture depends on the lens in use.

NOTE: Optical Aperture also appears in the lamp menu.

RESERVED - No function.

Simulation 3D —

SUBMENU OF ADVANCED IMAGE SETTINGS

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

NOTES: 1) Available in Mirage projectors only. 2) For complete 3D application notes, refer to the separate Using 3D in Mirage

manual

provided with the Mirage projector.

Figure 3.16

FRAME DELAY MONITOR — This

slidebar monitors the latency between input and output. For best results, the bar width and value should remain fairly constant, indicating that timing of input and output frames is locked; the Frame Delay Monitor value should stay within 5-10 lines or so of the Frame Delay setting. If a frame is lost or “dropped”, the bar will move suddenly and the values will change, indicating that the frame input is no longer equal to the output.

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

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

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

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

NOTE: See separate Using 3D in Mirage

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

manual provided for more information.

time between displayed frames for stereographic 3D images. Higher settings provide

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OPERATION

more time for shutters in 3D glasses to open/close, ensuring that each eye sees the full display intended for it. Symptoms of cross-talk and/or color artifacts can indicate need for adjustment. The Dark Interval range of adjustment depends on the vertical frequency of your source—the higher the frequency, the smaller the range.

NOTE: See separate Using 3D in Mirage

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

manual provided for more information.

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

With your sync cable, Z-screen and, if desired, emitter connected as described in the

Using 3D in Mirage

manual, select the option suited to your 3D configuration (see

above). If Frame Delay is 2 (or 0), do not invert; if frame delay is 1 or 3, invert. Generally, an “Unlocked” setting is synchronized with the incoming L/R signal rather than the vertical sync output, and may be needed only with multi-projector installations in which the vertical sync outputs vary.

NOTE: See separate Using 3D in Mirage

3D STEREO SYNC

SELECT — Define which

manual provided for more information.

of the Mirage 3D Stereo Sync Cable’s input

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

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

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

FRAME LOCK ENABLE — When checked, the output image frame rate is locked to the

input signal frame rate when possible. When the images are not locked, the input and the output will run as close to the same rate as possible, but frames may occasionally be duplicated or dropped.

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NOTES: 1) When enabled, the output is always locked to the primary source. 2) See separate Using 3D in Mirage

WARP LATENCY — Requires optional ChristieTWIST module. See ChristieTWIST

manual provided for a full explanation.

User’s Manual provided with the module.

Advanced Image Settings continued

MOTION FILTER —

This control is most useful for smoothing out moving images from

— SUBMENU

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

AUTO: The projector will automatically use the correct motion filter

1. according to the incoming signal.

STILL: For static images with no motion, such as graphics from a CD. MOTION: For video images that did not originate from film, or for moving

3. computer-generated images.

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

quality and stability.

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

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

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

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

3.7 Adjusting System Parameters and Advanced Controls

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

Use the Configuration

diagnostics, calibration tools and the Service submenu (password-protected).

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Keep in mind that settings in the Configuration menu (and its submenus) are typically “global” settings applied regardless of the type of source your are using. This characteristic is ide n tif ied with the

(globe) icon alongside the option.

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

System Configuration

— GENERAL —

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

Language

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

Image Orientation

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

Reserved

No function.

Auto Power-up

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

Set Date & Time

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

Menu Preferences

— SUBMENU

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

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LARGE MENU FONT — Enter a

checkmark to enlarge menus and their text. You may have to adjust “Menu Location” to accommodate the increased menu area.

MENU LOCATION — Use the pull-down list to choose a pre-defined default or

customized location for the display of all on-screen menus. To create a custom menu location quickly, choose a preset that is closest to the

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

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

customized menu location.

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

list whenever you press icon

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

option also enables on-screen feedback when using the

Chan

from your presentation. Channels marked with a list

Input

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

NOTE: The Channel List and input dialog box cannot be hidden during use of the menus.

DISPLAY SLIDEBARS — Enter a checkmark to superimpose a small slidebar over the

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

Contrast

Bright

If “Display Slidebars” is unchecked, these slidebars can still be

accessed, but will be hidden during adjustment. This option does not affect slidebars in menus.

DISPLAY ERROR MESSAGES — Choose how you want to be notified of errors

detected in either the incoming signal or projector. Select “Screen” or “All” (default) to see brief on-screen messages. This is particularly recommended during setup or testing of the projector. Or select “RS232” to receiv e messages via RS232 (or RS422) serial communication only. To hide error message displays, such as during shows and presentations, select “Off” or “RS232”.

System Configuration

— COMMUNICATIONS —

SPLASH SCREEN SETUP — Use the Splash Screen to choose when you would like to

display a special introductory splash screen image, such as your company logo, graphic or message.

• Always Off = A splash screen never appears

• Always On = A splash screen is always on behind the current display

image, similar to wallpaper.

• Startup Only – The splash screen logo appears at projector startup only.

• Startup And No Signal – A splash screen appears at startup only if there is

no source signal.

To replace the default “Christie logo” splash screen (or other) with one of your own, use KoRE Librarian to download the desired .bmp to the projector. This will overwrite the current splash screen content in projector memory.

Settings in the Communications submenu define and control how single or multiple projectors are linked with each other and with a controlling device.

Baud Rates

The baud rate setting determines the speed of communication to and from the projector on the RS232 or RS422 links. The maximum rate for the RS232 is 115200; for RS422 it is

Figure 3.17

19200. Set the baud rate to match that of your controlling device, such as your PC. If you are unsure about what baud rate to choose, refer to the documentation for the controlling device. In an existing

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OPERATION

network of projectors, if you discover that a projector has a different baud rate, make sure to use the pull-down list and select the correct baud rate using the not just scroll this control with

keys. Serial communication is always 8

key—do

data bits, no parity.

Projector

Enter a three-digit number (such as “001”) to assign or change a number to the projector currently in use. If the current projector already has a number assigned, that number will appear here (for example, “004” in Figure 3.17, above). Numerical identity for projectors enables you to communicate with a single projector within a multiple-projector application (see also make a mistake in assigning or changing the projector number, press

Proj

key in 3.3 Using the Keypads). If you

Exit

to cancel.

Network Routing

NOTE: Not applicable for stand-alone projectors or simple serial networks with only one type of controller and linking.

SEPARATE: Select “Separate” (factory default) to keep RS232, RS422 and Ethernet

messages on their respective paths instead of being broadcast to the other types of ports. In Figure 3.18A, RS422 controls only the projector to which it is connected. In Figure 3.18B, either RS232 or RS422 will control the network.

Figure 3.18. Using the “Network Routing” Option

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

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

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

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

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

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OPERATION

Ethernet Settings (SUBMENU)

NOTES: 1) Recommended for network administrators only.

DHCP: Enable this checkbox if you want a DHCP server to automatically change the

projector’s default IP address (0.0.0.0) to one that is valid and unique for use on the current Ethernet network. On networks without a DHCP server, or to simply override the automatic DHCP server function, delete the checkmark and enter the new “IP Address” settings desired. Remember that only a 0.0.0.0 address will trigger the DHCP addressing service, and only when the DHCP checkbox is enabled.

IP ADDRESS: Enter a valid and unique IP address for use on the network to which the

projector is currently connected. This address will overwrite any previous IP address such as the projector’s factory-defined default (0.0.0.0), or one that has been assigned by a DHCP server or other user. It takes approximately 10 seconds for the projector to respond at its new address.

PORT: On some Ethernet networks, firewall restrictions may require that the port

number of the projector be changed from its default of 3002. If so, enter a new valid port number here.

Broadcast Key

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

Proj

key will temporarily “override” the effect of a broadcast setting and allow you to control a specific projector when necessary. Disable the setting for all but one (any) projector in a network.

Backlight

Toggle to turn the built-in keypad backlighting on and off.

Front IR / Back IR

As needed for your application, set to “on” so that the front and/or rear IR sensor locations on the projector respond to the IR keypad. Set to “off” to disable.

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

OFF setting. This safeguard prevents accidentally disabling an IR keypad while you

are using it. Instead, use either the built-in keypad or a wired remote (optional) to set the remaining active sensor to

OFF. The projector will no longer respond to an IR

remote keypad.

Wired Keypad

The wired keypad is ON by default to when connected to the rear of the projector. The projector will then respond to incoming commands from this port. To disable the wired keypad, you must use a different keypad—the built-in or an IR remote keypad—to select “off”. This safeguard prevents you from accidentally disabling the wired keypad during use.

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System Configuration — GEOMETRY & COLOR —

In the Configuration menu, select

the Geometry and Color submenu when you need to modify overall color performance and/or image geometry for all sources.

Test Pattern

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

Tes t

key for cycling through test patterns.

Keystone

NOTE: If the optional ChristieTWIST module is installed, this option is Keystone and Warping, and activates a submenu for defining custom image shapes. Please

refer to documentation included with your Christie TWIST module.

Use to correct a keystoned image shape in which both sides of your image are inclined toward the top or bottom edge. Keystone is typically caused by tilting the projector in relation to the screen, so that the lens surface and screen are no longer parallel to each other.

Figure 3.19. Keystone Adjustment

Brightness Uniformity — SUBMENU

Brightness Uniformity provides further refinement of displays already matched for their primary colors and overall light output. Use Brightness Uniformity to create an exceptionally smooth image in which no area appears brighter and/or more red, green or blue than another. In the Brightness Uniformity menu, enable the “Uniformity Enable” checkbox to access a multitude of adjustments for critical color light output control in specific areas throughout the image. Your settings apply as long as the “Uniformity Enable” checkbox is enabled and you are using a “User” color temperature defined by the Brightness Uniformity controls. To disable the Brightness Uniformity function, delete the “Uniformity Enable” checkmark.

NOTE: See also 3.11, Using Multiple Projectors for the complete step-by-step procedure for achieving uniform brightness in adjacent displays.

Edge Blending

— SUBMENU

The Edge Blending submenu provides a range of controls for smoothing together the overlapping bright edges of multiple adjacent projected images to create a single larger “seamless” image. These controls, which primarily affect whitelevels, are typically used in conjunction with mechanical lens blinders (optional), which are installed on the front of the projector and which primarily affect blacklevels. NOTE:

There is a center line (both horizontal and vertical) in the Edge Blending test pattern. The intersection of these lines is the true center of the projector’s display area.

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NOTE: See also 3.11, Using Multiple Projectors.

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OPERATION

Color Adjustments by X/Y, and Color Saturation — SUBMENUS

NOTES: 1) For defining or changing a User 1, 2, 3, or 4 color performance or “gamut”. Sometimes known as Comprehensive Color Adjustment™. 2) Factorydefined primary color levels, which ensure a specific color performance from projector-to-projector, can be calibrated in the Service menu only. If you suspect alteration of these defaults, the factory settings can be recovered with selection of “Reset to Factory Defaults?” in the Color Primary Settings submenu accessed via the Service menu (password-protected).

From the factory, the projector can utilize any of the 3 pre-defined color performance settings identified at right (default=Max Drives), or colors can be driven on the basis of color temperature. For most applications, one of these gamuts will produce accurate and realistic colors from a variety of sources. They can be applied at any time in the Advanced

Figure 3.20. Color Gamut Choices

Image Settings menu (“Select Color Adjustment”), and are not adjustable.

DEFINING “USER” COLOR GAMUTS: In some cases, you may find that none of the pre-

defined “Select Color Adjustment” options exactly suit your needs. For example, you may require a unique color gamut (range) for a single projector or application, or you may need to precisely match colors across multiple adjacent displays. In such cases, use the Color Adjustments by X,Y or Color Saturation submenu to define the precise hue of each primary color component (red, green, blue, and white) used to generate the millions of colors produced in displays. You can create up to four custom color gamuts (User 1, 2, 3, or 4) with these adjustments.

Note that the two menus differ only in their user interface, so use whichever menu best suits your needs and application. A color meter can help with adjustments.

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

• Color Saturation

— Adjust color slidebars and judge image color by eye or

meter.

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

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OPERATION

COLOR ADJUSTMENT BY X,Y: Use

this submenu if you want to create, alter or copy a color gamut (i.e., “color adjustment”). Controls in this menu define the precise hue of each primary color component (red, green, blue, and white) used to generate the millions of colors produced in displays. The x/y coordinates for each color define its location on the standard CIE chromaticity graph (see Figure

3.22)—changing either or both of these numbers will change the hue of the color, and relocate the “triangle” for possible colors. For

Figure 3.21. Customize Color

example, changing the x/y coordinates for red may move the color closer to orange or closer to violet, which will in turn affect all displayed colors having a red component. Adjust the slidebars or enter new specific coordinates as desired to define or change up to four “User” color gamuts needed for your environment and applications. Apply at any time in the Advanced Image Settings menu.

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Figure 3.22. CIE 1931 Chromaticity Diagram

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

PROCEDURE FOR X,Y ADJUSTMENTS: See 3.11, Using Multiple Projectors.

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COLOR SATURATION: Use this

submenu if you do not have specific color coordinates in mind and will simply judge color performance by eye or meter. Like the Color Adjustment by X,Y submenu, each color control actually defines new x/y coordinates for that color and changes its hue—it is just a different interface.

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

Figure 3.23. Customize Color

relation to the other colors.

NOTE: A Color Saturation adjustment defines the corresponding x/y coordinates shown in the Color Adjustment by X,Y submenu. These x/y coordinates will remain stable for this User gamut until they are changed again via either menu. Values displayed in the Color Saturation menu, however, will likely fluctuate as you use the projector, and will be different when you return to this menu at some point in the future. These floating changes do not affect the x/y coordinates or gamut.

System Configuration '

DIAGNOSTICS / CALIBRATION

Test Pattern

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

Tes t

Alternatively, use the

key

for cycling through test patterns.

NOTE: There is a center line (both horizontal and vertical) in the Edge Blending test pattern. The intersection of these lines is the true center of the projector’s display area.

Test Pattern Grey Level

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

Freeze Image

Enter a check mark to freeze (stop) an image on a single frame. This diagnostic tool is useful if you need to examine in detail a still version of an incoming image that cannot be “frozen” at the source. For example, in moving images it is sometimes difficult to observe artifacts such as external deinterlacing/resizing and signal noise. Remove the checkmark to return back to normal.

Color Enable

Select which color or colors you want to see. This is useful while working with color temperature, input levels or other special setup parameters. Colors can also be

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OPERATION

enabled/disabled by entering the corresponding function code listed on the back of the standard remote keypad.

Odd Pixel Adjustment

NOTES: 1) Factory-set and rarely required by user. 2) Source must be >90 MHz.

When using certain RGB sources, you may need to adjust the normal gain or offset of odd pixels in relation to even pixels. This will smooth out very narrow (1-pixel wide) “checks” or vertical stripes that indicate adjacent “on” and “off” pixels. Using the Level Detector simplifies this process (see Figure 3.24):

1. Use an external analog native-sized continuous grayscale test pattern with at least 256-levels.

2. Turn “Level Detector” on.

3. Set “Level Value” to ~200. The image should now be black-and-white (or black-and-one color, if you use “Color Enable” function).

4. Adjust offset. Half of the pixels will move, the other half will not.

5. Adjust until the two transition regions overlap. The stripe of noise will be minimized, defined by the value in the slidebar.

6. Set “Level Value” to ~800. The image should now be black-and-white.

7. Repeat Steps 4 and 5, but adjusting gain.

8. Repeat Steps 3-7 for all remaining colors. Your RGB source should now be OK.

Two sets of values are automatically saved with these controls—one value for Input #1, and one for Input #2 (analog). The current set of values depends on which source is in use. This enables a source to be processed correctly via 2 different inputs.

Figure 3.24. Using “Odd Pixel Adjustment”

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” artifact only, not any type of larger artifacts.

Reserved

No function.

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OPERATION

Peak Detector

The “Peak Detector” is a fast method for defining individual input levels, and can improve the accuracy of input levels set by the Auto Input Level function. Enabling the “Peak Detector” activates a special operating mode for detecting only pixels that are considered black or white—all other levels are displayed as a mid-level gray. When used with a 16-step grayscale pattern in which the two black and white bands are known to be at opposite edges of the image, you can watch these isolated areas while adjusting individual black lev els and inpu t driv e s until both band s are just visible. Images from this source will then display correct blacks and whites without crushing or washing out.

NOTE: If using Peak Detector with PIP, both images must have the same color space.

Level Detector

The “Level Detector” checkbox enables specific thresholds for blacks and whites— input levels that fall below a specified Level Value (see below) are displayed as black, and all others are displayed as white. It aids in Odd Pixel Adjustment. To use:

1. Enable “Level Detector” and display a continuous grayscale.

2. Set “Level Value” to near black (such as 200).

3. Adjust Offsets to minimize area of black stripe.

4. Set “Level Value” to near white (such as 800).

5. Adjust Gains to minimize area of white stripe.

System Configuration '

OPTIONAL INPUT MODULES

Level Value

Level Value defines the value to be used by the Level Detector in recognizing blacks and whites. See Level Detector, above.

LiteLOC™ Calibration

NOTES: 1) LiteLOC™ Calibration takes up to two minutes. 2) For best results, allow the projector to warm up for 15 minutes prior to calibration.

LiteLOC™ Calibration defines the range of power needed to maintain lamp brightness. Select Calibrate LiteLOC for calibration using your projecto r’s unique specifications (recommended) rather than standard specifications. The projector will revert to the default back-up in the event of a power failure.

The two “Option Card” entries In the Configuration menu identify which optional input modules (a.k.a. cards) are present at (Option 1) and

INPUT 6 (Option 2).

INPUT 5

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

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OPERATION

3.8 Working with PIP or Seamless Switching

For example, on Roadster m odels the Dual SD/HD-SDI module is factory-installed at

INPUT 5 (Option 1). The Option 1 Card submenu provides controls for configuring

the various connections on this multi-input, multi-output module. As desired for your application, you can define 1) which physical input loops through to which output, and 2) which functional input (main or PIP signal) loops through to which output.

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

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

Working with PIP '

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

Signal Type Description (Input Location)

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

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

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

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

• When using 2 digital signals or 1 analog and 1digital, each must be ≤ 165 megapixels.

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

• Avoid using an interlaced source in the PIP window

• Seamless switching may affect image quality in some cases

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

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

OPERATION

Swap Main and PIP Image

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

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

PIP Enable

(Short cut: Press

on the Remote) if menu not present.

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

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

PIP Size and Position –

SUBMENU

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

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

POSITION PRESETS –Set the

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

ASPECT RATIO PRESETS – Choose the desired aspect ratio for your PIP window. A

“Default” aspect ratio matches that of the projector, whereas “Anamorphic” will be a widescreen window. Choose according to your incoming source material.

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OPERATION

Working with Seamless Switching

PIP Image Settings — SUBMENU

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

PIP Border Width

Set the desired line thickness for your PIP window border.

PIP Border Color

Select the desired color for the PIP window border. NOTES: 1) Numbers 7 and 8 on the Picture-in-Picture and Switching submenu

control switching parameters. 2) Disable PIP in order to work with Seamless Switching. 3) Disable PIP and Best Switching for Interlaced sources > 35kHz.

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

Switching, PIP must be disabled.

Tips for best source switching:

• Make sure a channel has been configured for each source.

• Progressive digital and analog sources are recommended

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

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

NOTE: Avoid using two Interlaced sources.

Image Optimization

Choose whether to use Best Switching or whether you prefer to optimize image quality, whichever best suits your needs. When Best Switching is selected, sources are switched almost instantaneously without a dark state in between images. Eight-bit processing is used to maximize the opportunity for a seamless transition. Best Switching is recommended when only when seamless switching is necessary. Best Quality maximizes allocated resources to maintain image quality by using 10-bit processing and a single source only. If selected, there may be a brief dark state between images.

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

Fade Time

Set how long (in seconds) it takes to gradually dissolve one image into another for a source switch. Fading is available for single-image “best” source switching only— PIP cannot be in use, and Image Optimization must be set to Best Switching.

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Numbers Select Main Image

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

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

OPERATION

3.9 Working with the Lamp

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

LAMP HOURS shows the number of hours

logged on the current lamp. Whenever you record a new lamp serial number this value automatically resets to “0”, where it begins to log time for the new lamp. NOTE: Read-only. This information also appears 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. Enter a checkmark for

LAMP MESSAGE to enable a warning message that will appear

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

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

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

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

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

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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 repeatedly reduces lamp life significantly, as do other factors, such as hot re-striking. 3) It is recommended that Lamp Limit not exceed the warranted lamp life, otherwise a lamp could become dangerously fragile with overuse.

Set which

LAMP MODE you want to use in order to control

the light output. You can choose to run the lamp as bright as possible (i.e., always using maximum power—this is the default). Alternatively, power the lamp with a specific

Figure 3.25.

wattage appropriate for the installed lamp, or set a desired intensity (brightness) to maintain. Although there are exceptions, generally higher light output or higher power settings can shorten lamp life.

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

Lamp Power setting as necessary. Or

Max Brightness.

Keep in mind that higher lamp power settings can shorten lamp life. Lamp modes are described below:

•

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

100% of the power level rating for the installed lamp (see Section 6, Specifications). Keep in mind that the “maximum brightness” for any lamp gradually diminishes with age—images will become dimmer over time. Its current output level appears in the “

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

•

Intensity” option (note: not in lumens).

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

Intensity” below.

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

•

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

POWER - This slidebar and number indicates how

Power” below.

many watts are applied to the lamp. You can apply anywhere from approximately 60% to 100% of the lamp power rating. Set for the number of watts as desired, keeping in mind that lower power levels produce dimmer images. When in either constant. Specifying a maximum power level here is the same as operating in

Brightness mode.

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

INTENSITY – This value and slidebar represents the current brightness of your lamp,

decreasing over time when you are operating in

Power level. When you are operating in “Intensity” mode, this value remains at the

original “

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Intensity” setting chosen and cannot be adjusted.

Power or Max Brightness modes, the power level remains

Max

ower mode.

Max Brightness mode or at a specific

OPERATION

NOTE: The number shown for “intens ity” is not the actual lumen outp u t, but rath er a correlated value only—1246 may represent 3500 lumens, for example.

To use “ set the level as desired for your application. Over

Intensity” mode, judge by eye or meter and

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

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

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

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

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

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

the intensity setting so that the resulting “

Power” value is less than its maximum—the

lower the intensity, the longer it can be maintained. For example, a 1000 watt lamp can be driven at no more than 1000 watts. To produce

desired brightness at the screen, a new lamp would likely need less than this maximum rating—perhaps 812 watts (example only). Over time, however, the lamp will require more and more current in order to generate the desired light, until eventually the lamp wattage reaches its 1000-watt maximum and the lamp power automatically levels off. At this point, the tracking function terminates (i.e., the power level stabilizes) and the lamp will begin to dim normally. Either reduce your “

Intensity” setting or replace the lamp.

Do not lower the “

Intensity” so much that the corresponding Power value reaches its

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

Intensity

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

Power”, above.

NOTES: 1) Lamps become more stable over time, thus a specific intensity is more easily maintained as the lamp ages. 2) Intensity can be set only if the lamp is in “Intensity” mode 3) Intensity cannot exceed the output of Max Brightness mode.

LAMP HISTORY -

This read-only option lists the lamps most recently installed and recorded in the projector. Lamp History automatically updates whenever you record a new lamp serial number—the new lamp is added to the bottom of the list.

Use

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

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

again to accept the change. See Using 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

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will reset to “0”. Lamp Mode and Lamp Limit remain as they were for the previous lamp and can be changed at any time.

Figure 3.26. Recording the New Lamp Serial Number

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.

How Old is the Lam

? '

When to Replace ' the Lamp

IMPORTANT

ALWAYS record the serial number of a NEW lamp.

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

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

If the “Lamp Message” checkbox has been enabled in the Lamp menu (recommended), an expiry message will appear upon power-up when the lamp has reached its defined “Lamp Limit”. The lamp should be replaced.

The “Lamp Limit” setting should not exceed the warrantied lamp lifetime, as an old lamp becomes increasingly fragile and more prone to sudden failure.

See also 4.4, Replacing the Lamp & Filter and Section 6, Specif ications.

3. 10 Status Menu

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

Scroll the full Status menu using

. Use for page up/down.

OPERATION

3.11 Using Multiple Projectors

Matching Colors ' In Multiple Screens

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

Proj

key as desired to

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

2.6, Connecting Multiple Projectors for full routing details. NOTE: Refer back to 3.7, Adjusting System Parameters and Advanced Controls for

complete information about communicating with multiple projectors.

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

Preliminary Calibration

As a final part of the manufacturing process, all primary colors in the projector are precisely set to pre-established values to ensure that overall color performance is optimized and is as accurate as possible (refer back to Figure 3.22). Upon installation at a site, however, lighting and other environmental factors may slightly change how these colors appear on your screen. While the change is negligible in most cases, you may prefer to recover the originally intended color performance before trying to match colors from several projectors. Or you may be renting a projector in which the colors were corrected for use at its previous site, but are not ideal for yours.

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

To return to the factory-set color primaries, such as when a projector is moved to different site, you must access the Service menu (password-protected). Select the Reset to Factory Defaults? option in the Color Primaries submenu. Then repeat the calibration process describe above, if desired, and continue with matching of colors.

Color Adjustment Procedure

Once the Color Primary Settings are calibra ted for the sit e (see abov e), use the Color Adjustments by X,Y or Color Saturation menu to further refine each projector’s

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

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

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

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

 Set Select Color Adjustment to “Max Drives”  Display a full white test pattern  Adjust lamp power and Optical Aperture until adjacent white fields appear

the same brightness.

4. Display the Color Adjustments by X,Y menus for all projectors. Each menu shows the x/y coordinates defining the “Max Drives” color gamut for this projector. Jot down the values shown in one (any) of the displays. See Figure 3.27. Or use the “Copy From” function to copy them into a “User” gamut in one projector.

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Figure 3.27. Jot Down a Set of ”Max Drives” X/Y Values

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

(Figure 3.28).

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Figure 3.28. Copy X/Y Values into All Projectors

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

 To match reds, decrease

“Red X” until full field red screens match.

 To match greens, decrease

“Green Y” until full field green screens match.

 To match blues, increase

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

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

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

to the chromaticity chart shown in Figure 3.22) to establish a “shared” gamut attainable by all projectors in your group. Adjust only as necessary to ensure that the resulting color palette is as large as possible. When done, you may need to adjust lamp power slightly.

7. All screens should now be color-matched and the will remain matched upon exit from the menus. Apply this new “User” gamut to a source at any time by selecting it in the “Select Color Adjustment” list accessed in the Advanced Image Settings menu.

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Using the Color Saturation Menu for Color Matching

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

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

Figure 3.29. Color Matching Using

Color Saturation Menu

chieving Brightness '

Uniformity

WHAT IS BRIGHTNESS UNIFORMITY? When used to refine screens alre ady m atched

for their primary colors (see Matching Colors in Multiple Screens, above) and overall light output, proper adjustment of Brightness Uniformity can crea te an excep tio nally smooth screen in which:

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

• no area of the screen appears brighter than another

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

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

Before You Begin

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

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

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

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

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

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

 SET LAMP POWER—Make sure each “Lamp Power” setting is as high as

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

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

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

 WHITE UNIFORMITY SLIDEBARS—White Uniformity slidebar values may not

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

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

achieved with either.

Step 1: General Setup

1a) Adjust primary colors (see Matching Colors in Multip l e Screens) to ensure

matched overall color temperatures and light output between screens.

IMPORTANT

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

Enable the

1b)

Brightness Uniformity

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

1c) Select the 13 Point test pattern for display.

This pattern provides 9 screen “zones” with 13 targets.

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

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

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

continue to Step

• If you prefer maximum brightness rather than a particular color temperature, select

“Max Drives”.

1e.

IMPORTANT

Do not change User 1 Color Adjustment

in color-matched applications!

1e) In the White Uniformity

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

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

Step 2: Adjust Color (level of red/green/blue) in 8 Zones

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

2a) On each screen, compare the color temperatures in the 8 target zones (4 edges

and 4 corners) to that of the color temperature of the center. Compare using a white field only, and take note of any areas that do not match the center. Also decide if any screen exhibits a more obvious color shift than other screens— begin with this screen in Step

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

2b.

the most obvious color shift(s), for each edge that exhibits a noticeably different color temperature from the center, select the corresponding Uniformity adjustment menu—Left, Right, Top or Bottom. For example, if any part of the left side is too blue, too red or too green, go to the Left Uniformity menu and adjust the colors (i.e., change their light output) until all portions of the left side closely match the center color temperature. Adjust an edge first (focusing on its center), then adjust its corners. See Figure 3.30.

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Figure 3.30. Match Zones to Center Color Temperature

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

2a & 2b for all remaining screens.

Step 3: Adjust Light Output in 8 Zones

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

the center. If any of the areas differ, use the White Uniformity menu to match edges and corners to the center as described below (see Figure 3.31). Begin with the screen exhibiting the most obvious variations in light output.

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

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

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

quadrant.

• Repeat for each screen.

Figure 3.31. Match Zones to Center Light Output

Step 4: Readjust Color Temperature (level of red/green/blue) in 8 Zones

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

still exhibit a single color temperature.

Canceling Brightness Uniformity

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

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e Blending '

Christie Edge Blending is an innovative set of software functions that can quickly and easily blend the edges of multiple adjacent full screen images to create a single seamless larger imag e.

What is a Blend?

In simple terms, a blend appears as a gradient strip along an edge of a projected image. It is darkest along the extreme edge of the image, and lightens nearer to the rest of the image (see right). This area runs along the edge of the projector’s internal DMDs (display area); it cannot be located on interior pixels.

How Are Blends Used?

Figure 3.32

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

Figure 3.33. Edge Blending Concept

(NOTE: TILING DONE AT SOURCE)

images. Visible overlaps will disappear as illustrated in Figure 3.33.

For best results, use the same projector model and type throughout your display wall. In addition, avoid high-gain screens whenever possible—the optical performance of such screens demands minimal image offset, thus projectors must be located very close to one another. Note too that the requisite tiling of the image—with data repeated along internal edges that will overlap—must be correctly done by your source.

Flat Blends vs. Warped Blends

FLAT BLENDS: It is important to

remember that the projector’s standard edge blending controls affect the outer edges of the projector’s display panel, and that each blend is consistent along its length (refer back to Figure 3.32). The standard Edge Blending menu controls can blend multiple flat fullpanel displays if they have no warping or keystoning applied.

WARPED BLENDS: When using the optional ChristieTWIST module for warping

images on to curved screens, work with its separate ChristieTWIST PC application to create more specialized blends required. Such a blend can vary along its length to compensate for curves. Once downloaded to the projector, simply apply the desired custom “user” blend by selecting it in the Blending Enable pull-down list.

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Optional Blinders

If desired, you may wish to install the optional mechanical blinders at the projector lens. These adjustable blades help to blend blacklevels along edges of the image, and are available in a separate kit.

Since the blinders and Edge Blending menu controls are intended to complement each other, with blinders primarily affecting blacklevels and software primarily affecting whitelevels, together these components produce the best blends possible for any type of flat image. Or, depending on your projector model and your application needs, you may prefer to utilize only the standard software controls—for example, you may find that the edges of white or very light images can be well-blended without blinders. In other more unusual applications with only a very small area of overlap, you may need only the blinders.

Standard edge blending software controls are located in the 2-page Edge Blending submenu access via Configuration menu, then Geometry and Color submenu, then Edge Blending. The More option opens the second page of the Edge Blending submenu.

Main Functions

Use standard edge blending controls to set the precise width, shape and midpoint you need to blend overlapping edges together smoothly.

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

overlapping edge. Slidebar values represent the number of 8-pixel steps used for the blend. For example, a setting of “3” creates a blended edge 24 pixels wide. A setting of “0” signifies no blending. For best results in most applications, use a blend width of 16-48 steps (128-384 pixels).

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

 Blend Shape determines the rate

of roll-off across the blend width, i.e. how quickly the white levels across the blend change from light and dark. Increasing the Blend Shape setting accelerates the rate of change at both extremes so that less of the region appears mid-gray (see Figure 3.

34). Decreasing the Blend Shape setting slows the rate of change

Figure 3. 34. “Shape” Examples

so that more of the region appears mid-gray. For most applications, this subtle control is best left close to 50.

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 Blend Midpoint determines the white

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

 Show Blending Overlap turns your

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

Overlap appears as Reserved when ChristieTWIST is installed.

Figure 3. 35. “Midpoint” Examples

Other Functions

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

Edge Blending Procedure

BEFORE YOU BEGIN: Make sure your source hardware

and/or software can supply a tiled image for the number of projector in use, and that the tiling includes overlapping data of approximately 12.5-25% along shared edges (see

Figure 3.36). Tiling not a projector

feature. Physically align the projectors and images from your

intended external source, then match co lors and Brightness Uniformity.

IMPORTANT

For a shared edge, the following Blend procedures and

settings should be identical on BOTH projectors.

Figure 3.36. Tiling Example

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1. Start with 2 full-screen projector images overlapped by approximately 12/5%-25% each. Display full white field test pattern from both.

2. In the Edge Blending submenu, enable the top checkbox to activate all controls.

NOTE: If the optional ChristieTWIST module is installed, a pulldown list replaces this checkbox (see right). Select the desired user-defined blend created for your current warp; no further blending at the projector is required. Or, to simply edge blending a non-warped flat image, select “Standard” and continue with Step 3.

SET STARTING POINTS FOR ADJUSTMENT:

 Set all blend widths to 0.  Go to “More” and set everything in the Edge Blending (2) menu to 50.

Figure 3.37. Set Starting Points for Each Projector

4. SET BLEND WIDTH: On one projector, increase the Blend Width for an overlapping edge (for example, if the projector’s image is on left, its right edge overlaps the adjacent image—adjust Right Blend Width). Use the same setting on the second projector for this shared edg e.

5. Re-adjust width (both projectors) until the overly brigh t band at the midpo int of the overlapping blends disappears or just changes to very light gray. For the shared edge, use the same Blend Width setting on each projector. If the best effect appears to be between two settings, choose the wider setting for both projectors.

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

rest of the image:

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

decrease to “darken” the overall blend.

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

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

7. Repeat with remaining projectors / overlaps.

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

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

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In applications where you are projecting only white or light images, the Blend Width may be slightly higher—set according to how much overlap you have between images.

3.12 Remote Control of the Projector

As an alternative to using a keypad, most projector functions can be controlled remotely, typically at a controller such as a PC, via 1) simple bi-directional ASCII messaging on an Ethernet or serial communication link or 2) a web interface or “ChristieNET” on an Ethernet network.

VIA ASCII MESSAGING — Connect a serial link between your controller and the

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

VIA WEB INTERFACE — Connect your PC to the projector’s Ethernet port. In your

web browser (Internet Explorer, for example), enter the IP address of the projector you wish to control. This will start a password-protected ChristieNET application— enter the factory default “

ccm7” login and password to open the program. If the

projector is powered up, you can access assorted menu options and slidebars. Repeat for remaining networked projectors as desired. Keep in mind that multiple

units can be controlled from one PC, but each unit will be in its own ChristieNET interface (web browser) at the PC. Likewise, you can make up to five separate web locations to a single projector.

The default login provides access to security settings, where you can define other users with the same or fewer rights. Use “unlimited” rights for most applications. For all logins, the Service menu is still protected with its own password.

3.13 Error

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Conditions

NOTES: 1) Any proxy server settings that interfere with this type of link should be disabled for using ChristieNET. Disable through Internet Explorer’s < Tools> <Internet Options> <Connections> <LAN Settings>. 2) Your PC must be Javaenabled to v1.4.2 or higher to run ChristieNET. 3) Depending on your projector model, certain controls provided through ChristieNET are non-functional.

Occasionally the projector will encounter an error condition that can interrupt normal operation. Such a condition can be caused by a simple invalid keypad entry, an input signal error (most common) or a system error. The manner in which users are to be notified of error conditions is set in the Menu Preferences menu:

• To see error messages displayed on-screen, select the “

• To be notified via a serial communication only, select the “

• To receive both types of notifications, select “

All”.

Screen” option

RS232” option.

• To disable error messages (except for “invalid user key entry”, which can’t be hidden), select “

Off”.

Note that status/error messages also appear in the LCD Status Display window near the keypad at the rea r of the projector. They are accompanied by their corresponding 2-digit error code next to the keypad, evident at a greater distance. Normal operation is indicated by the “00”status code.

OPERATION

User Errors '

Input Signal Errors '

Invalid User Entry

A keypad entry not recognized by the projector triggers a short on-screen error message identifying the problem. For example, if you specify a channel number that is not available, the message “Invalid Channel will appear. Or if you try to enter the wrong password, you’ll see “Invalid Password”. Press

Exit

to clear the

message and try again.

NOTE: On-screen display of “Invalid User Entry” messages cannot be disabled, even if Display Error Messages has been set to “Off”.

An input signal error message occurs if you are in presentation level (i.e., there are no menus present) and have selected an input on which the projector detects a problem. While menus remain operational and any key press will temporarily remove any displayed error message, you must resolve the signal problem in order to permanently eliminate the message.

No Signal

The message “No signal” occurs when there is no source signal detected at the selected input—both HSYNC and VSYNC are inactive and the screen background is black. Connect or correct the signal, or try another input.

Bad Sync

The message “Bad Sync” occurs when HSYNC or VSYNC are active but the signal cannot be displayed. Such a condition occurs when only one of the two sync signals is present, or when either sync signal is unstable or of the wrong frequency. Correct the signal or select another input.

System Warnings / Errors '

Other Signal Error Messages

In addition to the common “Bad Sync” and “No Signal” errors, you may encounter a signal error message indicating that HSYNC and/or VSYNC are either too fast or too slow. When such a message appears, check the frequencies shown in the Status menu. If they are correct, then the signal is not recognized by the projector. On some PCs you may be able to change the settings to generate a compatible signal. If the frequencies shown in the Status menu are incorrect, check the cabling to see where the problem might originate.

When the projector encounters a system malfunction, either a System Warning message or a System Error message may appear. Both types of messages are accompanied by a numerical error code on the “Status” LED, and a related text message appears in the LCD Status Display window. A system malfunction can be cleared with

Exit Exit

from presentation level, but may indicate the need for service

by a qualified service technician.

NOTE: System messages appear on-screen only if Display Error Messages has been set to “Screen” or “All”.

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OPERATION

System Warnings

A system warning indicates that a system malfunction has been detected (see Status LED Codes, below). A system warning message replaces any input signal message

and disappears when the input signal status changes. While the projector will remain operational, the message indicates the presence of a potentially serious problem that should be reported to the manufacturer. You can press

Exit Exit

to remove the message, but for best results you should reset the projector—power the projector down and up again with the

(power) key.

System Errors

A system error message indicates that a serious malfunction has been detected and must be reported to the manufacturer as soon as possible (see Status LED Codes, below). The projector will no longer operate and must be reset—power the projector

down and up again with the

(power) key.

The Status LED Codes

If the status code display on the back of the projector shows one of the following values, you have encountered a likely system error requiring the attention of a qualified service technician (see System Warnings and System Errors, above). Acknowledge and clear the error with

Exit Exit

from presentation level, or try resetting the projector by powering it off and on again, cooling when necessary. Consult Table 3.1 and contact your dealer if the problem persists.

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Roadster / Mirage S+ User’s Manual

Roadster Mirage S+ User Guide

Specifications and Main Features

Frequently Asked Questions

User Manual