Texas Instruments MATRIX 3000, DW30 User Manual

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D S + 6 0 / D W 3 0 / M a t r i x 3 0 0 0

U s e r ’ s M a n u a l

013-100149-02

1 INTRODUCTION

2 INSTALLATION &

SETUP

3 OPERATION

4 MAINTENANCE

5 TROUBLESHOOTING

6 SPECIFICATIONS

APPENDICES

DS+60 / DW30 / Matrix 3000

User’s Manual

Table of Contents

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

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

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

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

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

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

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

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

2.6 Power Connection ..................................................................................................... 2-20

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

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

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

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

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

3.6 Adjusting System Parameters and Advanced Controls ............................................. 3-34

3.7 Working with PIP and Seamless Switching .............................................................. 3-48

3.8 The Lamp Menu ........................................................................................................ 3-51

3.9 Status Menu ............................................................................................................. 3-55

3.10 Using Multiple Projectors.......................................................................................... 3-55

3.11 Remote Control of the Projector ............................................................................... 3-65

3.12 Error Conditions ........................................................................................................ 3-66

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

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

4.3 Replacing Remote Batteries ........................................................................................ 4-5

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

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

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

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

5.3 Ethernet ....................................................................................................................... 5-3

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

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

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

Appendix C: Serial Communication....................................................................................... C-1

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

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

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

Appendix G: 300W P-VIP Lamps Product Safety Data Sheet................................................ G-1

013-100149-02 Rev. 1 (01/07) Software v1.2 and later Christie DS+60/DW30/Matrix 3000 User’s Manual

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

1.1 Projector Overview

Section 1

Introduction

Christie DS+60/DW30/Matrix 3000 projectors are professional quality single-chip

projectors that use Digital Light Processing™ (DLP™) technology from Texas Instruments to achieve bright, crisp images. With a range of available lenses, input modules and built-in ChristieNET™ these projectors are flexible and customizable.

The compact size and native SXGA+ (1400x1050) resolution of the DS+60, and the native 720P (1280X720) resolution of the DW30 make them ideally suited for

boardrooms, conference rooms and the like.

Also a reliable and compact SXGA+ projector, the

Matrix 3000 with its purpose built simulation

features such as RGB color matching, and gamma controls can be used in Simulation and Visualization applications.

Key features:

• 1-chip DLP

• Native SXGA+ resolution (1400 x 1050) for DS+60/Matrix 3000,

• 720P resolution for DW30 (1280 x 720)

• Variable brightness due to use of dual lamp illumination system

• Exceptional contrast ratio range

• Two user replaceable lamps - 300W P-VIP

• Auto-switching or user selectable lamp operation mode (Single or Dual lamp)

• 10-bit image processing

• 24-bit RGB display

• Display of NTSC, PAL, and SECAM video inputs and HDTV/DTV formats

• Memory for up to 50 custom channels (source setups)

• Intuitive on-screen menu system

• Picture-in-Picture and Seamless switching

• Optional ChristieTWIST

• Status LED display for projector monitoring

• Multiple control options including ChristieNET

• Remote controlled shutter

• Motorized lens mount for smooth lens control

• Field interchangeable projection lenses

See Section 6 for a complete list of product specifications.

™

technology

™

image warping module (standard in Matrix 3000)

™

, RS-232 and RS-422

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Section 1: Introduction

1 Powering ON

(a) Be patient when powering the projector ON or switching lamp operation

modes. As the lamps warm up, brightness will gradually increase. (No light appears on the wall during the first 25 seconds.) On the rare occurrence a lamp does not ignite, the projector will try again several

times. For more information see 3.7 - The Lamp Menu.

(b) Wait for the projector to complete initialization before sending keypad

commands (“On” will appear on the LED display), otherwise it will be ignored.

powered down and powered back up again. This gives the lamps enough time to cool down to a point where they can be turned on again.

(d) Use the windows located on the lamp doors as indicators when trying to

determine whether a lamp is on or off without accessing software menus.

2 Lamp Operation Modes – Auto Switching

(a) The projector will automatically switch from one single lamp operation

mode to another to maintain light on the wall.

(b) Check the status of a lamp in the Status menu, Lamp menu or by looking

at the windows on the lamp doors.

(For more information see 3.7 - The Lamp Menu)

3 Lamp Operation Modes – Manual Switching

(a) One lamp will turn off only after the other lamp has successfully been

turned on. This allows you to view content without interruption when switching between lamp operation modes. It takes 25 seconds for a lamp that was just turned on to warm up and reach full brightness. When the original lamp turns off you will notice a slight dimming, which indicates the lamp switching operation is complete. At this point, you can perform

any adjustment, such as Color Wheel Delay. For more information see 3.7

- The Lamp Menu.

4 Flexible Light Output Control

(a) Switching from Dual to Single Lamp operation modes can reduce light

output by approximately 50%.

(b) Adjusting lamp power in the range of 300W to 250W can provide

approximately 17% dimming capability.

(approximately 78%) while increasing contrast from 1100-5000:1 increase contrast.

(d) Always check the optical aperture and lamp power levels before

troubleshooting brightness related problems.

5 White Boost

(a) White Boost automatically turns off when Edge Blending, adjusting

Brightness Uniformity or making Color Adjustments. A noticeable dimming of the display occurs. For best results, set White Boost to 10 for data content and 2 for video.

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How the

proj

ector works f

Section 1: Introduction

The light generated by the lamp(s) is then sequentially filtered into the RGB color primaries by the spinning color wheel(s) and presented to the single chip DMD, located in the light engine, in sequence. The reflected light from the DMD chip then passes through the projection lens to the screen.

1.2 Components

Figure 1.1 How the Projector Works

Ensure you have received all the following components before using your projector.

• Wireless IR Remote (with batteries)

• Wired Remote Cable (10 ft.)

• Line Cord (North American and European)

• Computer Cable (Dsub 15 to DVI-I)

• DVI-I Cable

• S-Video Cable

• User’s Manual

NOTE: For a complete list of optional components that can be used with your projector, refer to Section 6 – Specifications. Call Christie or your dealer, if required.

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Section 1: Introduction

1.3 Purchase Record and Servicing

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. Service manuals and updates are available to service technicians for all projectors.

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

Purchase Record

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

NOTE: The serial number can be found on the license label located on the bottom and side of the projector.

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

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

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

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2.1 Quick Setup

Section 2

Installation & Setup

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

this manual for a more complete setup.

Step 1 f

Ste

2 f

Install a Projection Lens

The projection lens is shipped separately from the projector and must be installed

prior to setting up the projector. Install the projection lens as described in 4.5 Replacing the Projection Lens.

Remove the lens “plug” from the projector before installing a lens.

When shipping the projector, always remove the lens and reuse the lens plug.

This will prevent dust and debris from entering and settling on critical optical components.

Position the Projector

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

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

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

Ste

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3 f

Connect a Source

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

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

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

to connector at video to

NOTE: One of the available optional input modules can be installed at additional connections. Refer to 2.3 - Connecting Sources for more details on connecting a specific source.

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

INPUT 3 and S-video to INPUT 4.

INPUT 5 for

Section 2: Installation and Setup

Ste

4 f

5 f

6 f

Connect the Line Cord

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

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

Connect the appropriately rated line cord (supplied with the projector) to the AC receptacle located on the lower right side of the projector and the other end to an AC outlet (100-240V). Do not use a line cord or AC supply not in the specified voltage

and power range. See Section 6 – Specifications for projector power requirements.

Turn the Projector ON

Press

for two seconds to turn the projector on. As the projector begins initialization an active pattern of segments appear in the two-digit display located on the built-in keypad. Wait for “ON” to appear in the display before sending any keypad commands otherwise the command will be ignored.

By default, the projector powers up in dual lamp mode. Refer to Section 3 – The Lamp

Menu for more information on lamp operation modes and lamp auto-switching.

Select a Source

Press one of the input keys (remote or built-in keypad) to select and display the image

from that source.

Ste

7 f

Perform Auto Setup on the current source

Auto

Press

to automatically initiate the optimization of critical display parameters for the selected source, which includes but is not limited to size, position and pixel tracking. After this process is complete, additional modifications can be made to image settings as required.

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2.2 Installation

Considerations

Section 2: Installation and Setup

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

Installation type f

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

Front Screen, Floor Mount Installation

ADVANTAGES CONSIDERATIONS

• Easy to set up

• Shares floor space with audience

• 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

• Installation is more permanent

• It is more difficult to access the projector

Rear Screen, Floor Mount Installation

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Projector is easily accessed

• Usually good ambient light rejection

• Requires additional space (separate room)

• Installation cost is usually higher

Rear Screen, Inverted Mount (ceiling) Installation

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Usually good ambient light rejection

• Requires separate room

• Installation cost is usually higher

Rear Screen, Floor Mount with Mirror

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Usually good ambient light rejection

• Requires separate room

• Installation cost is usually higher

• Requires less space behind screen than

other rear screen installations

Screen T

e f

Front Screen Installations

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

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

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

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Section 2: Installation and Setup

Rear screen installations

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

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

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

Screen size

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

To fill a screen with an image, the aspect ratio of the screen should be equal to the aspect ratio of the image (expressed as the ratio of its width to its height). Standard video from a VCR has a 4:3 or 1.33:1 aspect ratio. For example, to display a VCR output with a 4:3 aspect ratio onto a 10-foot (3m) high screen, the width of the screen must be at least 13.3 feet (4m).

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Ambient Li

hting f

Section 2: Installation and Setup

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

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

Other Considerat

Projector Position and Mountin

ons f

Other considerations and tips that can help improve your installation:

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

projector away from heating and/or air conditioning vents.

• Keep the projector away from devices that radiate electromagnetic energy such as

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

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

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

Throw distance

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

You can quickly estimate the throw distance by taking the horizontal width of the screen and multiplying it by the lens throw ratio. The result of this calculation tells you roughly how far back the projector should be positioned from the screen in order to project a focused image large enough to fill the screen. For example, if you are going to use a 0.8:1 lens, throw distance would roughly be 0.8 X screen width.

IMPORTANT: Always calculate the precise throw distance for the lens type and screen size you’re going to use. Refer to Appendix D for actual throw distance formulas and quick reference charts.

NOTE: An online lens calculator is also available at www.christiedigital.com > service and support > product downloads.

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Section 2: Installation and Setup

Figure 2.1. Estimating Throw Distance

Vertical and horizontal position

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

The vertical position of the image can be offset – that is moved above or below the

optical axis (lens center) by adjusting the fully motorized lens mount using the keypad. The amount of vertical offset available depends directly on the lens installed

in the projector and can be slightly limited if horizontal offset has been applied.

Vertical offset can also be expressed as the percent of half the image height OR the number of pixels of shift from lens center. Refer to Figure 2.2 for some illustrated examples of vertical offset.

Table 2.1 along with Figure 2.3 show the maximum vertical offset of a lens or alternatively, how much of your projected image will appear above or below lens center if the maximum vertical offset is applied using that lens.

Table 2.1. Lens Offsets for DS+60 and Matrix 3000 (SXGA+)

Lens Type

0.8:1 fixed 12% +

1.2:1 fixed 120% +

1.3-1.7:1 120% +

1.7-2.5:1 120% +

2.5-4.0:1 120% +

4.0-7.0:1 120% +

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

ertical Offset

(% of half height)

%Pixels%Pixels%Pixels%Pixels

-63 56% +/-588 7% +/-48 53% +/-748

-630 110% +/-1155 78% +/-546 89% +/-1246

Maximum amount of

projected image above or

below lens center

Horizontal Offset

(% of half width)

Maximum amount of

projected image to one

side of lens center

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Section 2: Installation and Setup

Table 2. 2 Lens Offsets for DW30 (720P)

Lens Type

0.8:1 fixed 81% +

1.2:1 fixed 231% +

1.3-1.7:1 231% +

1.7-2.5:1 231% +

2.5-4.0:1 231% +

4.0-7.0:1 231% +

ertical Offset

(% of half height)

%Pixels%Pixels%Pixels%Pixels

-292 90% +/-652 31% +/-200 66% +/-840

-832 110% +/-1192 104% +/-664 102% +/-1304

-832 165% +/-1192 104% +/-664 102% +/-1304

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

Maximum amount of

projected image above or

below lens center

Horizontal Offset

(% of half width)

Maximum amount of

projected image to one

side of lens center

Figure 2.2. Examples of Vertical Offset

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Section 2: Installation and Setup

Figure 2.3. Lens Vertical Offsets

The horizontal position of the image can be offset – that is moved to the left or right

of lens center, by adjusting the fully motorized lens mount through software. The amount of horizontal offset available depends on the lens installed and if the image has already been vertically offset. Horizontal offset can also be expressed as the percentage of half the image width – the number of pixels of shift to one side of lens center. Refer to Figure 2.4 for some illustrated examples of horizontal offset.

See also Table 2.1 along with Figure 2.5 which shows the maximum horizontal offset of a lens or alternatively, how much of your projected image will appear to one side of lens center if the maximum horizontal offset is applied using that lens.

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Section 2: Installation and Setup

Figure 2.4. Examples of Horizontal Offset

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Section 2: Installation and Setup

Figure 2.5. Lens Horizontal Offsets

Lifting and transporting the projector – The projector is light enough to lift and

transport a short distance. Use the indentations on the bottom of the projector as a guide for hand placement, which makes carrying the projector easier.

When transporting the projector a long distance, use a stable cart or ask someone for help.

Mounting

There are several methods for mounting the projector. Depending on your chosen installation, one method may be more suitable than another. In typical front and rear screen installations the projector can be mounted to a secure and level surface, such as a table or cart. Carts are useful when moving a projector during a presentation or from site to site. If possible, lock the wheels when it’s in position to prevent it from being moved during a presentation.

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

using a specially designed ceiling mount fixture. This type of mounting is recommended for fixed installations and for those that want the projector out of sight or have a limited space for projector and audience.

Use only the CHRISTIE approved ceiling mount kit designed for

your projector. Ceiling Mount Kit # 38-804951-01

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

and mounted without it affecting performance. However, the side-to-side tilt limit of the projector must not exceed +/-20 degrees. This limit is required to ensure optimal performance of the projector and its lamps. (Figure 2.6)

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Figure 2.6.

Adjusting projector height

You can modify the height of the projector to remedy a slightly uneven mounting surface by adjusting the three feet threaded into the bottom chassis. Turn each foot clockwise or counterclockwise until the project is level on all sides. (Figure 2.7)

NOTE: The front of the projector can be raised up to 10 degrees. (Figure 2.8)

Section 2: Installation and Setup

Figure 2.7. Adjust Projector Height

Figure 2.8. Raised Front

Folded Optics

In rear screen applications where space behind the projector is limited, a mirror may be used to fold the optical path. See Figure 2.9. The position of the projector and mirror must be accurately set – if considering this type of installation call your dealer for assistance.

Figure 2.9. Folded Optics

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Section 2: Installation and Setup

2.3 Connecting Sources

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

2.10.

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. The DVI-I connector at

a computer. Connect analog composite video at

INPUT 2 accepts digital or analog display signals from

INPUT 3 or S-video at INPUT 4 from

devices such as VCRs, laser disk players or DVD players.

Christie offers optional input modules that can be installed into the projector at

to connect other sources.

INPUT

RGB signals (5 BNCs) f

Figure 2.10. Input Panel

NOTES: 1) See Section 6, Specifications for details regarding compatible inputs. 2) Use only high quality shielded cables only for all connections.

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

typical connection would be to an RGB source such as a PC, Mac, Sun, SGI and others. This projector supports multiple sync types with RGB signals: sync-on-green, composite sync, and separate H & V syncs.

Connect the outputs to the

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

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

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

SYNC input labeled HOR/COMP. If

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

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

VERT. See Figure 2.11.

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.

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YPbPr si

nals f

Section 2: Installation and Setup

Figure 2.11. Connecting RGB and Sync

NOTES: 1) If for some reason the projector fails to recognize a signal as an RGB signal, specify the Color Space option within the Image Settings menu. See 3.7, 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). 3) Use the computer cable provided, to connect some devices to the DVI-I connector at Input 2.

Connect a YPbPr signal (component video) to

INPUT 1 or INPUT 2 as shown in Figure

2.12.

NOTES: 1) If, for some reason, the projector fails to recognize a YPbPr signal, specify the Color Space option within the Image Settings menu. See 3.7, Adjusting the Image. 2) Do not connect digital

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

Figure 2.12. Connecting YPbPr sources

component signals (known as YCbCr) to INPUT

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Section 2: Installation and Setup

Com

osite and S-Video f

DVI Di

ital Video f

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 2.13.

Figure 2.13.Connecting Composite or S-Video sources

Use the DVI-I connector at

INPUT 2 to connect either analog or digital video devices

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

tional Inputs f

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

NOTES: 1) To ensure true digital output from devices that transmit digital signals, connect to the DVI-I connector. 2) The DVI connector is HDCP compliant. 3) DVI loop through is not available unless you have the optional DVI Input Module installed at

INPUT 5.

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

INPUT 5. Options include:

• RGB 500 Input Module

• RGB 400 Active Loop Thru Input Module

• RGB 400 Buffered Amplifier Input Module

• PC250 Analog Input Module

• Serial Digital Input Module

• DVI Input Module

• Dual SD/HD-SDI Module

NOTES: See Appendix F, Optional Input Modules for a brief description of each interface.

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2.4 Connecting Communications

Section 2: Installation and Setup

As an alternative to the projector’s keypad or remote, you may wish to communicate with the projector using a PC or other controller. Such a device sends commands and receives feedback via serial links (RS232 and RS422), Ethernet or GPIO communications to the projector, all described below.

IR Remote f

Serial Port Connections

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

REMOTE on the projector’s input panel. Note that response to

a wired keypad must also be enabled in the Communications menu—see 3.6 - Adjusting System Parameters and Advanced Controls for more information.

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

Connecting RS-232

The two nine-pin DIN connectors labeled RS232 IN and RS232 OUT on the input panel are dedicated to serial communication. Using the appropriate serial

communication cables (see Appendix C) connect the controlling source, such as a

personal computer to the RS232 IN connector. Then set the baud rate to match that of

the computer. Refer to Section 3 for details on changing the projector’s baud rate.

Figure 2.14. Connecting RS232

Connecting RS-422

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

Use the RS-422 port only if your device had RS-422 capability – always consult the literature provided with your equipment before connecting. Connecting to the RS422 port with incompatible equipment could damage your projector.

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Section 2: Installation and Setup

Figure 2.15. Connecting RS422

Ethernet Communications

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

CONNECTING 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 software upgrades to the projector—use RS232.

Figure 2.16. Ethernet Connection

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

0.0.0.0.0 will automatically enable the DHCP function (if available on the network) to assign a new IP address that is valid and unique for that network. Or, if there is no DHCP function available on the network (or if a specific static IP address for the

projector is preferred or required), you can set the address in the Ethernet Settings

menu or via an ASCII serial command.

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Section 2: Installation and Setup

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

address, consult the Status or Communications menus. Refer to Section 3 for further information about setting up and using a projector

connected via Ethernet.

Connecting Multiple f Pro

ectors

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

communication, connect the controlling source to the RS232 IN connector of the first projector in the network. Then take another serial communication cable and connect one end to the RS232 OUT connector and the other end to the RS232 IN connector of the next projector. Continue this pattern of connection with all projectors in the network. The last projector in the network will only have a connection to the RS232 IN connector. See Figure 2.17.

Figure 2.17. RS232 Network

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

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

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

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

RS232 port of the first projector

RS422 port) to an RS232

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

RS232 port. See Figure 2.18.

Figure 2.18. Mixed Network

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Section 2: Installation and Setup

Note that communication parameters such as baud rate must be set to match the

particular controlling device before connecting as a network—refer to the

documentation that came with your controlling device in order to determine the proper

baud rate. See 3.6 - Adjusting System Parameters and Advanced Controls if you need

help changing the projector baud rate. In addition, set the Network Routing to “RS232 and RS422 Joined” if you want to reach all projectors.

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

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

use standard CAT5 cable to connect each projector’s Ethernet port to a hub belonging to the network. A controller or PC must also be connected to the hub. See Figure 2.19.

Figure 2.19. Ethernet Network

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

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

address and port appear in the Status menu as well as the Ethernet Settings submenu.

See Figure 2.20

Figure 2.20. Setting the Projector’s IP Address

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

000.000.000.000 in the Ethernet Settings menu) upon connection to an Ethernet

network, or if DHCP is not available on the network, the automatic DHCP server function for supplying a valid and unique IP address to the projector is disabled. Instead, a specific and static IP address must be defined in projector memory—enter

the new address in the Ethernet Settings submenu, or send to the projector via a serial

command. The IP address will be in effect until it is changed again, or until the DHCP checkbox is re-enabled for use with a DHCP server on the network.

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Section 2: Installation and Setup

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.

Communicating to All Ports

arating Networks f

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”.

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

Routing” option in the Communications menu for each projector to “All Joined”. This

configuration is useful if you are using a non-RS232 controller with the RS232 linking available between these projectors. For example, you may want to use both an RS422compatible controller and an Ethernet-connected PC for working with a network of projectors linked via their RS232 in/out ports (Figure 2.20).

Figure 2.21. All Networks

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

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

The GPIO (General Purpose Input Output) connector on the input panel can be used

2.5 System Integration -

to provide a method of interfacing a wide range of external I/O devices to the projector.

GPIO Connector

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Refer to Appendix E: System Integration for complete details on pin configuration

and how to program the various pins on the connector.

Section 2: Installation and Setup

2.6 Power Connection

Plug the line cord to the AC receptacle located on the right hand side of the projector and the three-pronged end into a grounded AC outlet (Figure 2.22). The input voltage

to the projector must be capable of 100 – 240 VAC. See also Section 6 – Specifications for complete details on all power requirements.

The North American-rated line cord is provided with each projector. Ensure that you are using a line cord, socket and power plug that meets the appropriate local rating standards.

Always power down the projector before unplugging the AC line cord – Once you

power down, wait two minutes to allow the main exhaust fan to turn off and for the

lamps to cool before unplugging the projector.

WARNINGS

Do not attempt operation if the AC supply and cord are

not within the specified voltage and power range.

Wait for the cooling fans to turn off before unplugging the

projector.

Figure 2.22. AC Line Cord Connection

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3.1 About the

Projector

Section 3

Operation

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

for the first time.

Exterior f

Built-in Ke

ad f

1 Top cover 9 Air vents 2 Built-in keypad 10 Rear input panel

3 AC receptacle 11 Rear IR sensor 4 Adjustable feet (3) 12 Rear exhaust 5 Projection lens 13 Lamp 1 Access (Door) 6 Front IR sensor 14 Lamp 2 Access (Door) 7 Bottom chassis 15 Slot for Kensington Security Lock 8 Lens release button

Figure 3.1. Projector Basics

(1) & (7) The projector’s top cover and bottom chassis form the shell of the projector. All optical, electrical, and other miscellaneous components are housed between these two parts.

(2) The built-in keypad is located on the top, right side of the projector. It’s an alternate method to using the IR remote for projector control. It has a few less direct keys than the IR remote, but includes an LED display, which continually displays the projector’s status.

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Section 3: Operation

AC rece

ustable Feet f

Lens Mount & Pro

ection Lenses f

tacle f

(3) The AC receptacle is located on the right side of the projector (opposite side of

lamp doors). Use this outlet to plug in an appropriately rated line cord. See 2.6 Power Connection for details.

The input voltage to the projector must be capable of 100 – 240 VAC. See also Section 6 – Specifications for complete details on all power requirements.

(4) Located on the bottom of the projector are 3 adjustable feet. You can raise or lower these feet to ensure the projector is level on all sides and the image displays

rectangular without any keystone. See Projector Position and Mounting (Section 2)

for instructions on adjusting these feet.

(5) The projector is built with a motorized lens mount that allows for easy lens control and adjustment. This includes such functions as adjusting vertical and horizontal offsets, zoom and focus. The lens mount can be fitted with any one of the available

optional lenses – see Section 6 - Specifications.

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

motorized adjustment of zoom and focus. Adjust zoom to fit the displayed image

on the screen and adjust focus to improve the clarity of the image. NOTE: You can

manually override zoom and focus adjustments set with the remote. Turn the outer ring on the projection lens to adjust focus and the inner ring to adjust zoom.

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

through the use of DC motors.

Lens Release Button f

Rear In

Coolin

ut Panel f

and Air Vents f

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

absolutely black when in the “on” state.

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

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

(8) The

LENS RELEASE button, located just below the projection lens, allows for a

quick “tool-free” lens changeover. For instructions on how to use this button during

lens replacement refer to Section 4 – 4.5 Replacing the Projection Lens.

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

INPUT 2, composite video to INPUT 3, and S-video to INPUT 4. INPUT 5 is where you

INPUT 1, analog or digital display signals

would install any of the available optional input modules.

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

(9) There are numerous air vents located around the projector. It is important these vents remain unobstructed. Allowing adequate airflow through the projector will prevent it from overheating.

NOTE:

Stand clear of the rear exhaust air path during operation. In the unlikely

event of a lamp explosion, glass particles can be blown out of these vents.

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Front & Rear IR Sensors

Section 3: Operation

(6) & (11) The two IR sensors located on the projector receive transmissions from the

IR remote from up to 100 feet away. It is important to keep the transmission path to these sensors unobstructed for uninterrupted communications with the projector. The front IR sensor is located next to the projector’s nameplate and the rear IR sensor is located just below the input panel.

Lam

Kensin

Access Doors f

ton Security Slot f

3.2 Using the Remote or Built-In Keypad

Keypad Commands f

(13) & (14) Located on the right hand side of the projector are two lamp doors that are labeled as Lamp #1 or Lamp #2. Each door is fitted with an amber window that makes

it easy to identify which lamp because it will glow. NOTE: It is important to always

check the status of the lamp before opening the lamp door. Opening a lamp door while the lamp is still on will cause power to be cut to that lamp.

(15) Use the following slot to install a standard Kensington lock to keep your projector secure in some installations.

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

directly into the beam of the remote.

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

• Built-in Keypad located on the top, right edge of the projector

• IR Remote for wired or wireless control up to 100 feet away (includes cable for

use as a wired remote)

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

NOTE: The IR remote has a single IR protocol. It can be converted to a wired IR remote by connecting the cable provided with the projector to the mini stereo

Built-in Ke

ad f

connector labeled

To control the projector when

REMOTE on the input panel.

signals from an IR remote cannot reach the projector, use the projector’s built-in keypad. Two nearby status

Figure 3.2. Built-in Keypad

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

Refer to the key descriptions provided for the IR remote.

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Section 3: Operation

IR Remote f

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

NOTE: To turn the OSD off you must press

Figure 3.3. IR Remote

OSD

and .

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Wired IR Remote

Guide to Ke

ads f

Section 3: Operation

You can convert the IR remote into a wired IR remote using the cable provided with

the projector. Connect one end into the remote and the other to the mini stereo connector on the input panel labeled

REMOTE. The wired remote is recommended

when:

• the built-in keypad is inaccessible

• the lighting conditions are unsuitable for proper IR transmission

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

) to work.

Keep in mind the following guidelines when using the keypad:

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

• Note that three keys— Power Shutter

Shutter

and OSD

OSD

—are “press-and-

hold” keys that do not function with a typical quick press-and-release key press.

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

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

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

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

ad Commands f

Tes t

Auto

Specific keypad commands are explained below:

Power ON/OFF

Press Or press and release

for two seconds to toggle the projector on or off with a single keystroke.

followed immediately by

(on) or

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

to toggle from the present on/off state.

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

3) The projector enforces a 90 second wait between powering off and on again to allow the lamp to cool down. You will notice vertical scrolling bars across the status display during this wait period.

Test

Tes t

Press input. If you press

to step forward through all internal test patterns and eventually the current

Tes t

and then cycle by using the

and arrow keys, you’ll

be cycling in either direction through the test patterns only, no input.

Auto

Press

to initiate an automated process in which the projector optimizes critical

display parameters such as size, position, pixel tracking, etc., for the current source.

These parameters are listed in Table 3.1. An Auto Setup can save time in perfecting a

display, and you can modify the adjustments as desired.

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Section 3: Operation

Table 3.1. Auto Setup

What an “Auto Setup” Does

OPTIMIZES: SETS TO DEFAULT:

Pixel Tracking Contrast

Pixel Phase Brightness

Size and Blanking Auto Input Level (off)

Vertical Stretch Detail (if video source)

Position Filter

Input Levels Luma Delay

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

Channel

Press

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

memory. Once you enter a two-digit channel number (or, if there is a list displayed, highlight it and press

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

Channel

)

NOTE: Channel (

key behavior during a presentation depends on whether or not

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

Channel

choose to use a scrollable list of channels when you press

, or you may prefer to

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

Input 1

Input 2

Input 3

Input 1

Press

INPUT 1.

Input 2

Press

Input 3

Press

to display from the data or video input source connected to BNCs labeled

to display from the DVI source connected to INPUT 2.

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

Input 4

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

Input 5

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

Input 5

Press

Input 5

Press

NOTE: If you have the new optional Dual SD/HD-SDI Module installed at

you can connect two inputs – A and B. Whether you are displaying from

Input 5

from another input, press

to display the input last used. Press

INPUT 5

INPUT 5 or

Input 5

again to toggle

to the other input.

Input 6

No function.

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Section 3: Operation

Contrast

Press

to change the amount of white in your images. Use keys until you reach the desired level of contrast—for best results, start low and increase so that whites remain bright but are not distorted or tinted, and that light areas do not become

white (i.e., “crushed”). Conversely, low contrast causes dim images. See 3.5, Adjusting the Image (Image Settings subsection).

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 3.5, Adjusting the Image (Image Settings subsection).

Gamma

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

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

Press

OSD

OSD (On-screen display)

Press

to enter or exit the projector’s menu system.

OSD

followed by

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

the menus again, do one of the following:

OSD

• Press and hold

• Press and release

• Press

OSD OS D

for a second

OSD

followed immediately by

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

NOTES: 1) With OSD “on”, you can still hide error messages and slidebars by disabling these options in the Menu Preferences menu.

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Section 3: Operation

Shutter

Press and hold

Shutter

closed or open with a single keystroke, or press and release immediately by you are unsure of the present state). Alternatively, press present on/off state. A closed shutter blanks the display (turns it to black). Close the shutter to mute the display while maintaining access to projector functions. Opening the shutter restores the image.

NOTES: 1) By default, the shutter is open upon powering up. 2) The LED status displays “5H” when the shutter is closed. 3) Response time after pressing the

key is 1-2 seconds.

Func

Function Key

IF WITHIN A MENU: Using the

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

for two seconds to toggle the internal mechanical shutter blade

Shutter

followed

(closed) or

Func

(open) to guarantee the correct toggle (useful if

Shutter Shutter

to toggle from the

Shutter

for special tasks within the menu system is noted

Func

in the

IF WITHIN A PRESENTATION: Press

Func

followed by a

two-digit number to enable a specific color or colors in the

display (see right). For example,

Func

only red and green data,

will display all

will display

Func

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

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

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.

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

To broadcast to multiple projectors, press

Proj

and then

Proj

again without entering a

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

there is no method of controlling a group of projectors within the same wired

configuration using the wired IR remote exclusively, since there is only one wired protocol available.

3-8 Christie DS+60/DW30/Matrix 3000 User’s Manual 013-100149-02 Rev. 1 (01/07)

Section 3: Operation

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 3.6, Adjusting System

Parameters and Advanced Controls.

Exit

Focus,Zoom,Lens H,Lens V

Enter

Press

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

Exit

Press

NOTE:

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 Section 3.

Use the

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

combination with power, shutter and OSD keys to force the corresponding state. See

details provided on the back of the IR remote.

Lens Focus, Zoom and Lens H, Lens V

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

/ or / ) related to each function. A small

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

• Use the “Focus”

• Use the “Zoom” ”

or keys to improve image clarity as desired.

or keys to achieve a desired image size.

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

keeping it rectangular.

• Use the “Lens V”

or keys to position the image vertically while still

keeping it rectangular.

Press

NOTE: Use the

Exit

to return to presentation level.

Lens Shift

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

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Section 3: Operation

3.3 Navigating the Menus

Laser

Press

to activate the laser pointer on the remote. This feature is useful when

making presentations - just point the remote at the screen to highlight an area of your

presentation. Keep the

key depressed while you are pointing. Release it to turn it off. The laser pointer works best in an environment where ambient lighting can be controlled.

NOTE: The batteries must be in the wired IR remote for the

key to work.

CAUTION

LASER RADIATION DO NOT STARE INTO BEAM

LASER DIODE

Wavelength 670nm Max Output 1mW

CLASS II LASER PRODUCT

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

at any time to display this Main menu.

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

Settings menu, or use the

for the Image

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

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

Figure 3.4. Entering the Menu System

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

keys to highlight the desired option, then press (Enter). Extra long menus have a scroll bar on the right—use the arrow keys to access the remainder of the menu. Locked items or items that do not pertain to the current action or condition appear dimmed and cannot be selected.

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

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

Exit

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

On-line Help f

• Press

If at any time you are uncertain what to do next, press information about the current menu or highlighted option. Press addition, a line of “hint” text is included at the bottom of some menus.

3-10 Christie DS+60/DW30/Matrix 3000 User’s Manual 013-100149-02 Rev. 1 (01/07)

Figure 3.5. Context-sensitive Help

From presentation level, press within a topic. Press

Help

Section 3: Operation

Help

to access general Help Topics. Scroll as necessary

Exit

to return to your presentation.

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

Time-outs

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

The Global Icon

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

Using Slidebars and 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 menu).

• Or move the highlight to the option desired and press

immediately.

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

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

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

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

Figure 3.6. Accessing General Help Topics

1 3

to select Vertical Stretch in the Size & Position

(Enter).

to adjust

• When using PIP images, use

key to adjust the other image.

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Section 3: Operation

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

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 then press

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

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

to activate a slidebar text box for specific number entry via the keypad,

to save (or press

Exit

to cancel).

Cont

to immediately display the same contrast slidebar accessed with the Contrast option in

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 save and return to your presentation.

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 to check and

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

, or highlight and use

immediately toggle the checkbox.

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

labeled with a

• Highlight it and press

W, you can:

(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.

Figure 3.7. Example of Pull-Down List

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Section 3: Operation

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

. Press

when the desired choice appears.

Editin

Text f

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.

EDIT A CHARACTER: To edit a highlighted

character, use

and

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

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

Figure 3.8. Entering Text

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

Editing Numerical Values f

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

press

PRESS

press

NOTE: Press

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

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

(Enter).

Exit

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

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

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Section 3: Operation

3.4 Using Inputs and Channels

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

Exit

to cancel editing of numerical values.

NOTE: See Section 2, Installation and Setup, for details on connecting 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 f Or a Channel?

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

Input

describes the

source signal according to which input slot it is connected.

SWITCHING INPUTS – Press the appropriate “direct” key —

Input 5

to quickly display from one of the five inputs connected. The image will be

Input 1, Input 2

Input 3, Input 4

displayed according to the following:

If it is the first time you have used the source/input (or if you used the input but

did not define a channel by adjusting anything), the projector will recognize the new input signal based on its frequencies and polarities, and will automatically display an image according to default settings for such a signal. In general, the image from the new source will be as large as possible without losing its aspect ratio. This and other default image settings depend on the incoming source.

If you used the source once before and changed a display parameter such as

contrast, V-Position, etc., then a channel was automatically created and still exists in projector memory (see below). Using one of the

Input

keys will automatically recall this channel—and all its setup parameters—and update the display accordingly.

If more than one channel exists for the input, the image will be displayed

according to the setup parameters for the first channel with matching characteristics.

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

Channel

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

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Shown at right is a sample channel list as would

Channel

be available from

. This is typically called

the channel list.

Channel

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).

Section 3: Operation

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

Creating a New f Channel

– AUTOMATIC –

To use a new source with the projector, a new channel must be added to projector memory so that the projector will respond properly to an input signal from that source in the future. A new channel can be created automatically, as described here, or it can

be copied from an existing channel and then edited as necessary (see Copying or Deleting Channels later in this section).

When you select a direct input ( the projector are searched for matching input and signal parameters – this only occurs if Auto Source is enabled on these channels. If no match to the incoming input signal is found in currently-defined channels, a new channel is temporarily created based on

factory-defined defaults for this type of signal. The channel number assigned is the

lowest available number from 01-50.

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

Input 1, Input 2

Input 3, Input 4, Input 5

Channel List

), any existing channels in

If the incoming signal does match an existing channel, the image will be set up and

displayed as usual according to the parameters currently defined for that channel.

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

Channel

(see right). If you want to prevent a channel from appearing in this list, you must edit the channel as

described in Channel Edit

later in this section.

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

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Section 3: Operation

What Channels f Are Defined So Far?

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

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

From the presentation level press

to display

the Main menu. To display the Channel Setup

menu, press

move the highlight to the

Channel Setup option and

press

Setup menu will appear

, or

. The Channel

Figure 3.9. All Channels Appear in the

Channel Setup Menu

(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 are connected on the input panel. The far left column lists

channel numbers currently defined. The values in the far right columns indicate horizontal and vertical frequencies—if someone has defined a name for this channel, it appears here instead. Remaining columns contain details pertaining to each channel setup, such as its switcher number (always 0 = projector), slot location, a variety of icons indicating access to each channel, and an abbreviated description of

each signal type. See Editing a Channel Setup for details.

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

and to see the

remaining channels not visible in the initial display of channels.

SIGNAL TYPE — Either channel list, whether the

Channel

key list or the Channel Setup

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

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

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Section 3: Operation

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:

Func

• Press

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

channels. See Copying or Deleting a Channel below.

• Press

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

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

Copying or f Deletin

Channels

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

Func

press

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

—a new channel will be created. It is identical to original, which still remains, but it is identified with the next available number from 01-50. If you change your mind and do

not want to copy the current channel, press

Exit

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

Figure 3.10. Copying A Channel

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

Func

then press press

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

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

delete this channel.

Figure 3.11. Deleting a Channel

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Section 3: Operation

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

Func

and press Only” and press

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

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” (default) if you don’t want to delete after all.

Editin

a Channel Setup f

CHANNEL EDIT — STEP 1

CHANNEL EDIT — STEP 2

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

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

From the presentation level press

Channel Setup menu, press

and press

. The Channel Setup menu will appear.

to display the main menu. To display the

, or move the highlight to the Channel Setup option

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

. The Channel Edit menu will appear similar to the sample shown in Figure 3.12.

Figure 3.12. Channel Edit Menu (SAMPLE)

CHANNEL EDIT — STEP 3

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

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

•

Channel names can be up to 12 characters in length.

CHANNEL NUMBER: A two-digit channel number can be changed here. NOTES: 1)

•

If you enter a channel number that already exists, a dialog message appears indicating that this number is already in use–assign a different channel number.

2) You can define up to 50 channels.

INPUT: 1-5, corresponding to where on the projector’s input panel the source is

•

connected.

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

•

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

when

Channel

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

Channel

the keypad or via the “Auto Source” function. NOTE: On-screen display of the channel list is an option that must be set in the Menu Preferences menu.

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3.5 Adjusting the Image

Section 3: Operation

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

channel when an incoming input signal matches. If not checked, the projector can

Channel

locate the selected channel only when it is directly selected via

on the

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

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

•

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

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

•

the previous channel in the Channel Setup list.

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

•

next channel in the Channel Setup list.

The most commonly used options for image adjustments are accessed through two

menus: Size and Position (

) and Image Settings (

), both of which

appear in the Main menu. From either of these two menus, you can change settings

affecting the image from the current channel by working with the appropriate slidebars, checkboxes and pull-down lists.

Exit

will return to the previous menu (or to

the presentation, if from the Main menu) and accept any changes you may have

entered. Settings are saved with the current channel.

Before You Begin f

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

Contrast

(note: available for certain display parameters only). For example, press

access the “contrast” slidebar immediately. Press

Exit

to return to your presentation.

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

view, turn off the on-screen display by pressing

Auto

Use Auto Setup (

)

OSD

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

Auto

. This initiates an automated process in which the projector quickly optimizes critical display parameters such as size, position, pixel tracking, etc., based on the type of incoming source data

detected. An Auto Setup can save considerable setup time, and you can still modify

the adjustments as desired using menu options described below.

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Section 3: Operation

Size a

d Position Menu f

In the Size and Position menu, you

can increase or decrease the size of your image, change its proportion (aspect ratio), move the image to a specific area of the screen, and refine other related parameters. Use

Size and Position controls to match

the image precisely to the screen used at the site.

Refer to "Using 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

Resize Presets

NOTE: The same resize presets are available to the widescreen format DW30. Please note however, the graphics used to describe each preset are of the SXGA+ models only.

Select a Resize Presets option

to quickly display an image in its native resolution or to automatically resize an image to closely fill the projector’s native resolution or to

optimize the width or height of your display. Size, Position and Blanking parameters

will automatically adjust accordingly or, if Blanking is set first, which defines an

Active Input Area, Resize Preset scaling will occur in this region of interest only.

Resizing options are explained in detail below.

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

image will utilize as much of the projector’s display area as possible for the type of

incoming source data, but with minimal or no changes to aspect ratio. See Select “Default” below.

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

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

• Select

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

and displayed as large as possible depending on the type of source.

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Section 3: Operation

• Select

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

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

• Select “FULL SIZE” to use all

pixels for displaying the image,

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

• Select

“FULL WIDTH” to fill

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

• Select

“FULL HEIGHT” to

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

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Section 3: Operation

• 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 black bars at top and bottom.

Size

“Size” controls both the image width and height in tandem, maintaining the current

aspect ratio (proportion) of the displayed signal data.

Vertical Stretch

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

Pixel Track

Steady flickering or several soft vertical stripes or bands across the entire image indicates poor pixel tracking. Proper pixel tracking helps ensure that the image quality is consistent across the screen, 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 freque ncy for m ost sources.

For best results, use a good test pattern such as a smooth gray consisting of a clear pattern of black and white pixels, or a similar “half on, half off” graphic image, such

as the Windows shutdown screen. Adjust the 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 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.

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Section 3: Operation

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

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

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

INPUT

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. 13). For example, left Blanking zooms the right side of the PIP image; Right Blanking zooms the left side. There are no black bars.

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Section 3: Operation

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.

Image Settings Menu f

Any daisy-chained projectors will also display according

to the chosen Plug & Play (EDID) format.

EDID = Extended Display Identification Data standard.

Figure 3. 13 Blanking of a PIP Image

Use options in the Image Settings menu to alter your

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

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

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Section 3: Operation

Brightness

(

SHORT CUT: Press

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, high brightness changes black to dark gray, causing washed-out images.

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

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Section 3: Operation

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 connected to

INPUT 1, INPUT 2, or INPUT 5. Although color space

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

NOTE: For 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, or 5.

YPbPr (Video) with a standard definition televised signal (SDTV) YPbPr (HDTV) with a high definition televised signal (HDTV).

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

This submenu is used with video sources only (

— SUBMENU

INPUTS 3 or 4).

ENABLE DECODER AGC: Automatic

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

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VIDEO STANDARD: For all but the more unusual video standards

available in the world, the projector automatically detects the incoming horizontal and vertical frequencies and sets the projector’s processing of this signal to the corresponding standard. The current

video standard name appears in the Video Options submenu, and

includes an “A” if it has been auto-detected. Press

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

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

Table 3.3. Regions and Video Standards: Summary

Standard Where Used (SUBJECT-TO-CHANGE)

NTSC N. America and Japan

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

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

PAL-M Brazil

PAL-NC Argentina, Chile, other Latin American countries

PAL 60

SECAM France, Eastern Europe, most of Africa

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

INPUT VIDEO BLACK — This control

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

•

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

standards, and Japanese NTSC.

•

7.5 IRE – Used for most NTSC video signals.

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

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

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

overpowering and unrealistic.

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

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

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Section 3: Operation

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

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

Input Levels

— SUBMENU

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

Good RGB or input levels—

that is, the drives and blacklevels for each of the

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

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

However, for a very unusual source exhibiting one or more overly high blacklevels (typically caused by a noisy source causing blacklevel spikes), an experienced user

may prefer to use the Input Levels menu (shown above). These adjustments, which

together serve as a calibration process compensating for differences in sources and cabling, enable an experienced user to perfect the source image input levels and

eliminate the “overshoot” and “undershoot”. Note that Input Levels are of limited use

with digital signals, but do offer some ability to tweak poorly mastered source materials.

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,

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then delete the checkmark and exit. The Auto Input Level is automatically turned off upon exiting 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.

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 whites are too low, which is rare), you likely have a noisy source that is producing skewed input levels. Continue with Step 5.

5. Temporarily enable “Auto” in the Input Levels submenu. Wait for all 6 values to

stabilize. Alternatively, do not use “Auto”—reduce blacklevels manually instead.

Judge by eye and change one or more of the six levels as necessary to obtain proper blacks and whites. You may want to see 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 high-

resolution high-frequency graphic sources. For almost all sources, the best clamp location is automatically selected by the projector.

Use the normal Back Porch location if the image is either sufficiently bright or overly bright. Select Sync Tip if the image appears unusually dim,

if there are horizontal streaks across the image, or if there is significant color drift. This moves the clamping pulse from the normal back-porch location (which is likely too

short) to the tip of the horizontal sync pulse. Tri Level is typically needed for an HDTV

source.

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

while working with color temperature white levels or input levels.

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

levels, enabling you to accurately set the Input Levels for any particular source with the appropriate image. Enabling the Peak Detector activates a special operating mode

for detecting only pixels that are considered black or white—all other levels are

displayed as a mid-level gray. When used with a smooth grayscale pattern in which

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Section 3: Operation

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 3.14. Adjusting Input Levels Using the Peak Detector

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

enter a checkmark in the Peak Detector checkbox. NOTE: The “Peak

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

2. Display one primary color. NOTE: Selecting Auto Color Enable ensures the

correct color is displayed for each setting.

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

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

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

slidebar just until a single band of color appears at the opposite edge of the

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

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

blacklevel slidebar if necessary. NOTE: Readjusting blacklevels at this point

affects the gain; only readjust when absolutely necessary.

6. Repeat Steps 3-5 with the other two remaining primary colors. When each

primary color shows one optimized black band and white (or colored) band, the input levels for this source are correctly set. Upon exiting the Input Levels

menu, the Peak Detector checkbox will clear.

Figure 3.14. Adjusting Input Levels Using the Peak Detector

(RED EXAMPLE SHOWN)

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Section 3: Operation

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.

GAMMA TABLE: This control applies

a default video, graphics or simple

gamma table or “curve” to your images, controlling the intensity of mid-level colors and producing maximum contrast, brightness and color performance. As shown at right, the graphics curve is a modified power curve that will show more detail in darker areas of the projected content while the video curve has a linear segment near black to compensate for increased black levels typical of video signals. A simple gamma curve is a true power curve that does not alter the contrast or the intensity of mid-level colors. Although the projector automatically applies either the graphics or video curve according to what type of incoming signal is detected, in some cases you may wish to

override this default and use graphics gamma for a video source or video gamma for a

graphics source. Alternatively, if neither default is ideal, you may prefer to apply the simple (non-optimized) gamma curve or a user-defined custom gamma curve that has been created externally, named, and downloaded to the projector (requires separate

PC-based Arbitrary Gamma

and KoRE Librarian software applications). If any of

these special user curves have been installed, their names will appear in the Gamma Table pull-down list.

Keep in mind that any Gamma Table choice sets the related Gamma value (shown in the Image Settings menu) to a 2.2 default, where it can be fine-tuned as desired.

Different values (1-3) here indicate that the original gamma table has been adjusted

with either the Gamma slide bar or direct key.

NOTES: 1) If no user curves have been defined and downloaded to projector memory, only the 2.2 default gamma curve is available here – adjust as desired using gamma in the main Image Settings menu. 2) Some graphic material will look best with the video setting while some video material is best with the graphic setting.

SELECT COLOR ADJUSTMENT: In “Select Color Adjustment”,

choose an overall color palette for all images. The “Max Drives” factory default simply drives all 3 colors at their maximum level so that they are fully on and cannot be changed. The two other pre-defined color adjustment

choices—SD Video and HD Video—apply a color gamut

optimized for video sources (standard or high-definition). Alternatively, you can specify a color temperature. This enables the adjacent Color Temperature slidebar and applies its current setting (default = 6500K). If none of the pre-defined “Select Color

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Section 3: Operation

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).

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

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

list in the Advanced Image Settings menu.

RESERVED — No function.

WHITE BOOST — White boost is a source dependent setting that enables you to

recapture some of the lost light from the transition between segments in the color wheel as it’s spinning. For NTSC, HDTV, PAL and SECAM signals the white boost defaults to “2” and for graphic signals or when a test pattern is selected it’s “10”. When white boost is set to zero, it is off and the option grays out in the menu. As you increase the value of white boost you will notice that the image becomes increasingly brighter and a little less saturated.

NOTES: 1) White Boost is automatically disabled (grayed out in menu) when you enable Brightness Uniformity, Edge Blending or select a color adjustment (Select Color Adjustment) other than “Max Drives”. The grayed out value you see is the last value loaded before being disabled. 2) White Boost can also be adjusted specifically for internal test patterns. However, once you switch back to a source, the White Boost settings will reset to the value set for that source. 3) If the ChristieTWIST module is installed and edge blending is enabled, White Boost is still active and can be adjusted to suit.

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Simulation 3D — SUBMENU OF ADVANCED IMAGE SETTINGS

This submenu allows you to adjust the timing between the input signal and its appearance on screen. This is most useful in applications where you want to match the timing of the projector to other equipment, such as a video recording device in broadcasting environments.

FRAME DELAY MONITOR — This

Figure 3.15.

value changes as it monitors the latency between input and output. The value should remain fairly constant and close to the value of the Frame Delay, 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 values will change significantly, indicating that the frame input is no longer equal to the output.

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, where the feeling of “real

time” image response is a priority, a minimum setting is usually preferable. If set too high or low, frame locking will not be possible—most sources require approximately 50 lines of delay to ensure frame locking.

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

timing based on the input signal. The locked option forces (if possible) the output image to be phase locked to the input frames. Rate Matched means that the output

runs at close to the input frequency but isn’t locked to it so the output will drift in phase relative to the output. Free Run forces the output to run at a 60Hz frame rate.

Advanced Image Settings continued

MOTION FILTER —

This control is most useful for smoothing out moving images from

— SUBMENU

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

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

the incoming signal.

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

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

computer-generated images.

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

and stability.

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

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

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Section 3: Operation

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.

3.6 Adjusting System Parameters and Advanced Controls

System Configuration f — GENERAL —

Use the Configuration

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

addition, the Configuration

menu provides access to diagnostics, calibration

tools and the Service

submenu (passwordprotected).

Keep in mind that settings in the Configuration menu (and its submenus) are typically

“global” settings applied regardless of the type of source being using. This characteristic is identified with the

(globe) icon alongside the option.

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

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

Language

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

Image Orientation

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

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.

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Menu Preferences — SUBMENU

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

LARGE MENU FONT — Enter a

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

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

customized location for the display of all on-screen menus.

To create a custom menu location quickly, choose a preset that is closest to the desired

location. Then adjust “Horizontal Shift” and “Vertical Shift” slidebars to move the

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

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

customized menu location.

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

Channel

list whenever you press

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

also enables on-screen feedback when using the

from your presentation. Channels marked with a list icon

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

Bright

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

Contrast

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 receive messages via RS232 (or RS422) serial communication only. To hide error message displays, such as during shows and presentations, select “Off” or “RS232”.

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.

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Section 3: Operation

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

source signal.

To replace the default “Christie logo” splash screen (or other) with one of your own,

use KoRE Librarian to download the desired .bmp to the projector. This will

overwrite the current splash screen content in projector memory.

System Configuration f

— COMMUNICATIONS —

Settings in the Communications

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

Baud Rates

The baud rate setting determines the speed of communication to and from the projector on the RS232 or RS422 links. The maximum rate for the RS232 is 115200; for RS422 it is 19200. Set the baud rate to match that of

Figure 3.16. Communications

your controlling device, such as your PC. If you are unsure about what baud rate to choose, refer to the documentation for the controlling device. In an existing network of projectors, if you discover that a projector has a different baud rate, make sure to use the pull-down list and select the correct baud rate using the

key—do not just scroll this control with

keys. Serial communication is always eight data bits, no parity.

Projector

Enter a three-digit number (such as “001”) to assign or change a number to the projector currently in use. If the current projector already has a number assigned, that number will appear here (for example, “004” in Figure 3.16, above). Numerical identity for projectors enables you to communicate with a single projector within a

Proj

multiple-projector application (see also make a mistake in assigning or changing the projector number, press

key in 3.2, Using the IR remote). If you

Exit

to cancel.

Network Routing

NOTES: 1) 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 3.17A, RS422 controls only the projector to which it is connected. In Figure 3.17B, either RS232 or RS422 will control the network.

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Figure 3.17. Using the “Network Routing” Option

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

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

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

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

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

Ethernet Settings –

SUBMENU

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

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Section 3: Operation

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.

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

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

ArtNet Interface Settings

— SUBMENU

ArtNet is an Ethernet communication protocol that was developed by Artistic License. It is used for controlling lighting/staging equipment from a lighting console or PC application. It is based on the popular DMX512 control protocol.

ArtNet SUBNET: This is the highest level address for a device. Typically it is set to 0.

ArtNet UNIVERSE: Each packet of data is broadcasted to all devices plugged into a

universe (up to 512 devices/channels).

ArtNet CHANNEL: There are 512 channels per universe. This control allows you to

specify the starting channel for this projector.

ArtNet ADVANCED MODE: When this setting is enabled, each projector listens for data

on 64 channels starting with the base channel. When advanced mode is not in use, the projector only listens on 10 channels. You can squeeze more devices per universe when the projector uses fewer channels.

NOTE: The additional 54 functions are not currently implemented and are reserved for future use.

ArtNet BASE CHANNEL: When advanced mode is enabled, the projector listens to data

on 64 consecutive channels, or 10 consecutive channels when advanced mode is not enabled. The projector processes requests that come on either 10 or 64 consecutive channels beginning with the ‘base channel’ defined here. The requests implement the following functions:

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DMX Channel Function Value

Base Shutter

Base + 1 Slider Lock

Base + 2 Input * 1 – 8 Input # Base + 3 Channel * 1-99 Channel #

Base + 4 Lens – Vertical * †

Base + 5 Lens – Horizontal * †

Base + 6 Lens – Focus * †

Base + 7 Lens – Zoom * †

Base + 8 Power *

Base + 9 None

0 – 64

65 – 192

193 – 255

0 – 254

255

1 – 254

255

1 – 254

255

1 – 254

255

1 – 254

255

1 – 254

255

Open

No Action

Closed Locked

Unlocked *

Lens Down

Stop

Lens Up

Lens Right

Stop

Lens Left

Negative Focus

Stop

Positive Focus

Zoom Out

Stop

Zoom In Power Off No Action Power On

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

NOTE: It is important to ensure the channels DO NOT overlap another device. Example:

Good Bad

Proj1_Base = 0 Proj1_Base = 5 Proj2_Base = 10 Proj2_Base = 9 Proj3_Base = 20 Proj3_Base = 11

DEVICE NAME:

This option is used to name each device; some ArtNet servers support

querying for devices.

DEVICE DESCRIPTION: More information that is returned when a “device query” has

been done.

Broadcast Key

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

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 “any” so that the front and/or rear IR sensor locations on the projector respond to the IR keypad. Set to “off” to disable.

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

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

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

OFF. The projector will no longer respond to an IR

remote keypad.

NOTE: Protocols B – G are used for rental staging applications.

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—to select “off”. This safeguard prevents you from accidentally disabling the wired keypad during use.

System Configuration — GEOMETRY & COLOR —

In the Configuration menu, select

the Geometry and Color submenu

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

Test Pattern

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

Tes t

key for cycling through test patterns.

Keystone and Warping

NOTE: To see the submenu at right requires the ChristieTWIST warping module, which is standard with Matrix projectors. Without this module, this submenu is replaced with a slidebar for adjusting Keystone – all other projectors will have this. Refer to the description provided later in this section.

™

Use the Keystone and Warping submenu to shape your images using new corner

points and/or to apply customized curved image boundaries (warps).

WARP SELECT: Choose a type of image shaping to apply,

or choose to disable these adjustments. Settings apply to all sources.

 Disabled: Display standard (rectangular) images with

no warping or keystone adjustments applied.

 2D Keystone: Move four corners of the image to

correct for a keystoned image and/or to create an unusual four-sided image exhibiting perspective or

distortion. See 2D Keystone, below.

 User 1-10: Apply a custom image shape or twist that has been defined in the

ChristieTWIST™ Basic v1.0 PC application and downloaded to projector

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Section 3: Operation

memory, typically creating one or more “squeezed” or stretched areas in the display. If no custom warps have been created, the User options will have no effect.

2D KEYSTONE: Move

one or more corner points as desired for your application. Traditionally, keystoning adjustments simply correct an image in which opposing sides are inclined away from each other (caused by tilting the projector in relation to the screen). If the lens surface is parallel to the screen and settings are 50.0, the image should appear rectangular. Alternatively, move

Figure 1. Moving the Corners for 2D Keystone

the corner points to create a specific 4-sided image in which corners are up to 25% closer to the center of the image, or which are cropped off.

WARP PRE-FILTER HORIZONTAL: Adjust as desired to smooth or sharpen side-to-side

clarity in a warped image. An increase will appear to blur horizontal lines.

WARP PRE-FILTER VERTICAL: Adjust as desired to smooth or sharpen top-to-bottom

clarity in a warped image. An increase will appear to blur vertical lines.

WARP SHARPNESS: Adjust as desired to soften or sharpen the overall image, similar

to a Detail adjustment.

WARP LATENCY: Set the percentage of frame delay (default = 50.0) desired for

displaying incoming data. A higher or lower setting will typically be needed with significant warps, ensuring that the entire image appears. Warp latency also provides a means of synchronizing one display with adjacent displays or other equipment such as audio.

NOTE: If a ChristieTWIST

™

module is installed, the Edge Blending menu controls are expanded to include user-defined blends appropriate for a warped image. The new blend ranges are 0-80 for side blends, and 0-60 for top or bottom blends. If no warping is currently applied but you still need to use edge blending for a tiled wall, select “Standard”.

Keystone

This option is available when the ChristieTWIST

™

module is not installed.

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Section 3: Operation

Use to correct a keystoned image shape in which both sides of the 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 3.18)

Figure 3.18.

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 3.10, 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.

NOTE: See also 3.10, Using Multiple Projectors.

Color Adjustments by X/Y, and Color Saturation —

SUBMENUS

NOTES: 1) For defining or changing a User 1, 2, 3, or 4 color performance or “gamut”. Sometimes known as Comprehensive Color Adjustment™. 2) 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).

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Section 3: Operation

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 Image Settings

Figure 3.19. Color Gamut Choices

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”).

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

3.20)—changing either or both of these numbers will change the hue of the color, and relocate the “triangle” for possible colors. For example, changing the x/y coordinates for red may move the

Figure 3.20. Customize Color

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

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Section 3: Operation

four “User” color gamuts needed for your environment and applications. Apply at any

time in the Advanced Image Settings menu.

Figure 3.21. CIE 1931 Chromaticity Diagram

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

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

COLOR SATURATION: Use this

submenu if you do not have specific color coordinates in mind and will simply judge color performance by eye or meter. Like

the Color Adjustment by X,Y

submenu, each color control actually defines new x/y coordinates for that color and changes its hue—it is just a different interface.

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

Figure 3.22. 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.

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System Configuration

DIAGNOSTICS / CALIBRATION

Section 3: Operation

Test Pattern

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

Tes t

key

for cycling through test patterns.

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

Test Pattern Grey Level

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

Freeze Image

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

Color Enable

Select which color or colors you want to see. This is useful while working with color temperature, input levels or other special setup parameters. Colors can also be enabled/disabled by entering the corresponding function code listed on the back of the standard IR remote.

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 3.23):

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.

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Section 3: Operation

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 3.23. 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.

Color Wheel Calibration

— SUBMENU

The Color Wheel Calibration submenu

allows you to set the timing of the two color wheels in the projector. It is important the color wheels are correctly calibrated for the colors and shades in the displayed image to appear the same. Incorrectly calibrated, the

colors will appear in various unmatched shades throughout the image. Typically, this

adjustment is only required when a color wheel is replaced.

1. Select the single lamp operation mode that corresponds to the color wheel you

want to calibrate. For example, select “Single Lamp 1” when calibrating color wheel 1 and “Single Lamp 2” when calibrating color wheel 2.

2. Enter the Color Wheel Calibration submenu – the Color Ramp test pattern will

automatically display and the “Color Enable” option will automatically switch to White

3. Adjust “Color Wheel 1 (or 2) Delay” so the transitions across each color bar

appears smooth.

4. Repeat Step 1 – Step 3 for the other color wheel. NOTE: Wait for 35 seconds

when requesting a change in single lamp operation modes to allow for one lamp to warm up and the other to turn off.

5. Verify adjustments by choosing different colors in “Color Enable”. NOTE: Upon entering the Color Wheel Calibration submenu, the “Color Enable”

option automatically switches to white and the color ramp test pattern displays.

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Section 3: 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 blacklevels and input drives until both bands are just visible. Images from this source will then display correct blacks and whites without crushing or washing out.

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

Level Detector

The “Level Detector” checkbox enables specific thresholds for blacks and whites—

input levels that fall below a specified Level Value (see below) are displayed as black,

and all others are displayed as white. It aids in Odd Pixel Adjustment. To use:

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

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

3. Adjust Offsets to minimize area of black stripe.

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

5. Adjust Gains to minimize area of white stripe.

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.

Aspect Ratio Overlay

Selecting this option with a checkmark will overlay a number of common aspect ratio boxes on top of the source image. This is very helpful during the setup of the projector and can be turned off after desired specifications have been achieved.

The single “Option Card” entry in the Configuration menu identifies which optional input module (a.k.a. cards) is present at

INPUT 5 (Option 1). If the option slot is

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

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

INPUT 5 (Option 1). The

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

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

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Section 3: Operation

3.7 Working with PIP or Seamless Switching

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

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

For best PIP or Seamless Switching results, use two different signal types* as defined

below. Do not mix two signals of the same type.

Signal Type Description (Input Location)

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

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

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

Working with PIP f

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

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

megapixels.

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

• Avoid using an interlaced source in the PIP window

• Seamless switching may affect image quality in some cases

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

Use the first of six

options in the PIP and Switching menu

to enable and define how you want to use

PIP.

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Section 3: 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.

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 3.5, Adjusting the Image for details.

Exceptions are:

POSITION PRESETS –Set the

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

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

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

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

PIP Image Settings —

SUBMENU

Adjust the PIP (secondary image) without affecting the size or position. The primary

image remains unchanged. See 3.5, Adjusting the Image for details

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Section 3: Operation

Working with Seamless Switching

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

Use this setting to choose what is more important, image quality or switching

between sources. Selecting Best Image Quality will ensure your image is always

proper however when switching sources, the screen will go blank increasing your

switching time. Smooth Switching allows for a cleaner transition between sources. The image will fade from one image to another according to the Fade Time control. Seamless Switching overrides the Frame Lock Enable settings and forces the output to

run at 60Hz regardless of the input signal. Image is 100% seamless when switching sources.

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

Fade Time

Set how long (in seconds) it takes to gradually dissolve one image into another for a

source switch when Image Optimization is set to Best Switching. NOTE: PIP must be

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

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Numbers Select Main Image

Use Numbers Select Main Image to use the

numeric keys #1-8 as input keys. This remapping of the keypad (see right) can be particularly useful with PIP displays, providing a convenient shortcut for changing the primary (background) image

without first having to return to the Main menu.

Select “Always” to use the keys in this manner all of the time, even with single displays. For normal

keypad function, select “Never” (default). Set to When PIP Active to activate number keys only

when PIP is in use.

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

Section 3: Operation

3.8 The Lamp Menu

bout lamp operation, f

odes and auto-switching

The dual lamp illumination system used in this projector gives you the flexibility to choose an operation mode (single lamp or dual lamp) to suit the specific needs of your installation. The unique lamp auto-switching feature also provides the potential to operate the projector for extended periods without interruptions related to lamps or lamp replacement.

A complete understanding of how the projector works is critical in effectively

maintaining its continuous operation. The Lamp Menu and the options provided, such

as selecting a lamp operation or power mode and monitoring lamp status can help in achieving bright, uninterrupted projection.

The projector by default is set to power on in Dual Lamp mode. No light appears on

the wall during the first 25 seconds of power up; this is the time it takes to ignite the lamps. As the lamps warm up to their full potential, you will notice brightness gradually increasing. Before sending a keypad command, wait for the projector to complete its initialization phase (“ON” will appear in the status LED display), otherwise the request will be ignored. After this time, you can switch to one of the Single Lamp modes or make any other software request.

On rare occasions, a lamp may not ignite on the first attempt. A brief description of what you will notice in each of the lamp modes is described below.

• In Dual Lamp mode, only the light from the lamp that successfully ignited will be

seen on the wall. In this case, the projector will wait 90 seconds and try re-striking the lamp. The projector will attempt only 2 re-strikes of the lamp. If it fails to turn the second lamp on it will automatically switch to the Single lamp operation mode for the lamp that was successfully turned on. If during one of its retries, the projector successfully turns the second lamp on, the lamp operation mode remains in Dual Lamp.

If both lamps fail at the same time, an error is reported and the projector

automatically powers down.

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Section 3: Operation

• In Single Lamp mode, the projector will try to strike the lamp again in 90 seconds

(considered re-strike #1). Only after the third attempt (re-strike #2) will the

projector declare the lamp as “Failed to Strike” (in Lamp submenu) and

automatically switch to the single lamp operation mode for the lamp that was not ignited. All lamp specific menu options will then change to reflect the true lamp operation mode of the projector.

NOTE: P-VIP lamps, by nature, do not successfully ignite when “hot” and therefore the 90 second wait period is taken by the projector before each strike attempt and between powering the projector down and up again.

Lamp operation modes will also automatically change if there is a failure of one of the lamp related components, such as the lamp driver, color wheel or fan. An error code will be displayed in the status LED or through the RS-232 serial communications log that indicates which component has failed. The lamp status will also show one of several messages that points to the failed component. The lamp in this instance is typically still okay and does not require replacement.

MANUALLY SWITCHING FROM DUAL TO SINGLE LAMP MODE – Switching from dual

to single lamp operation mode occurs immediately. The result is an instant dimming of the displayed image. At this time, you can modify the lamp power or adjust other settings to increase desired brightness.

MANUALLY SWITCHING FROM SINGLE TO DUAL LAMP MODE – When you manually

switch from a single lamp mode to the dual lamp mode, the projector immediately tries to ignite the second lamp. If the first attempt to ignite the lamp fails it will wait 90 seconds and try again.

MANUALLY SWITCHING BETWEEN SINGLE LAMP MODES – When manually switching

between single lamp modes, there is a 35 second overlap when both lamps are on. This overlap allows the “new” lamp to warm up before the other lamp is turned off. The new lamp operation mode displays immediately in the menus. Only after the third attempt (re-strike #2), will an error message display to indicate the type of error that

was detected. If no specific error is detected, then the error will be “Failed to Strike”.

If this occurs, the first lamp will not turn off and the projector will continue to operate in the original lamp operation mode. In summary, it could potentially take the projector up to 4.5 minutes to successfully switch lamp modes. The projector will

attempt to maintain light on the wall during this time. NOTE: If a problem is fixed before the last strike attempt the lamp could turn on.

If a lamp fails during operation, the projector will immediately attempt igniting the other lamp if it’s not already on. Only in this case, will there be a brief interruption in the display.

NOTE: A lamp will naturally decrease in brightness as it ages. Lamp life can also be decreased further by a frequent change in lamp operation modes (number of times its ignited).

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Section 3: Operation

Figure 3.24. The Lamp Menu

LAMP MESSAGE - Enter a checkmark 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 LED display will provide the visual warning to replace the lamp. The LED’s next to the built-in keypad will flash “LP” when lamp time has expired. The lamp should be replaced.

NOTES: 1) It is recommended that the Lamp Message checkbox remain enabled. 2) If a lamp warning message appears during power-up, press

Exit

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

LAMP LIMIT - Set the lamp limit to the number of hours you expect to log on the

current lamp before replacing it. The limit by default is 1500 hours.

LAMP MODE - Select a lamp mode to control the light output of your projector —

select “Max Brightness” to run the lamp as brightly as possible or “Power continually run the lamp at the specific wattage set by adjusting the

POWER – Adjust the slidebar when LAMP MODE is set to “Power”, to indicate the

number of watts (250-300) applied to the lamp.

In general, a lower power level

” (default) to

POWER slidebar.

generates a dimmer image. Specifying a maximum power level is the same as operating in “Max Brightness” mode.

LAMP OPERATION – One of the key features of the projector is that it can be operated

with one or two lamps on. From the pull down list, select the lamp operation mode

you want to operate the projector in. “Dual Lamp” is the default.

DUAL LAMP – Select “Dual Lamp” to operate the projector with both lamps on. In

•

this mode, you can achieve maximum brightness output by the projector. Refer to

Lamp Operation and Switching on the previous page for more details on how the

projector behaves when in this mode.

SINGLE, LAMP #1 OR SINGLE, LAMP #2 – Select “Single, Lamp 1” or “Single,

•

Lamp 2” to specify the lamp you want to operate the projector with. The other lamp remains in “reserve” and will only turn on if the current lamp “fails” for some reason or if the mode is manually selected.

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Section 3: Operation

NOTES: 1) The projector will automatically shutdown if it detects both lamps have “failed” (this includes lamps not installed). 2) The lamp operation mode will not automatically switch to a previous mode once a “failed” lamp is replaced. It must manually be selected. 3) It takes approximately 25 seconds for a cold lamp to reach full brightness when it is first turned on. 4) Power is cut to a lamp only when the lamp operation mode is switched to the other lamp.

IMPORTANT - the original lamp stays on for 35 seconds to allow the new lamp to warm up before power is cut and lamp operation modes change.

MORE LAMP 1 (MORE LAMP 2) - There are two separate lamp submenus that can be

accessed from the Lamp menu. Each submenu is dedicated to one lamp – you can

view specific lamp information, such as lamp hours, lamp history and the current status of the lamp. You can also change lamp operation modes.

LAMP HOURS - This read-only information shows the current number of hours logged

on the current lamp. Whenever a new lamp serial number is detected it begins to log

time for the new lamp. This information also appears in the Status menu.

LAMP S/N - This read-only information displays the serial number for the current lamp.

NOTE: When a lamp is installed, the projector automatically detects the serial number and displays it here. The serial number is not manually entered.

LAMP 1 (OR 2) STATUS – This read-only information displays the current status of a

lamp and can be viewed any time during operation. Refer to the list below for the possible lamp status messages and their meaning:

•

“Good” continually appears as the status until there is a failure with one of the

lamps. Then one of the other error messages will display.

“Failed to Strike” will display when the projector fails to turn a lamp on. This may

•

or may not be lamp related. Further investigation is required.

•

“Lamp Not Installed” will display when a lamp is not detected. If present, check to

ensure the lamp is fully inserted and connected to the terminal block.

•

“Turned Off Unexpectedly” will display when a lamp or lamp related component,

such as a lamp driver fails. Check for an error code on the status display.

•

“Interlock Tripped” will display when the lamp door is opened for a lamp that is

still on. In this case, the lamp will automatically be turned off.

•

“Cooling Fan #8 (or #10) Failed” will display when one of the corresponding lamp

fans fail. (Cooling fan #8 is associated with Lamp #1 and Cooling fan #10 with

Lamp #2)

•

“Color Wheel Stopped” will display when a color wheels ceases operation.

•

“Operation Error” will display when the lamp driver reports an operation error and

the lamp is off. This typically occurs when trying to turn on a hot lamp.

•

“Driver Vcc too Low” will display when a lamp driver fails.

LAMP HISTORY - This read-only option lists the lamp serial number and corresponding

lamp hours of the lamp most recently installed. Lamp History is automatically updated

when a new lamp is installed.

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3.9 Status Menu

Section 3: Operation

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, the hours logged in total and for a specific period (such as a rental period), and for your projector model name

and serial number. In addition, the Status menu identifies the current channel, its

location, its frequencies and other details.

3.10 Using Multiple Projectors

Matching Colors f In Multi

le Screens

Scroll the full Status menu using

. Use for page up/down.

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 3.6, Adjusting System Parameters and Advanced Controls for

complete information about communicating with multiple projectors.

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

Preliminary Calibration

As a final part of the manufacturing process, all primary colors in the projector are precisely set to pre-established values to ensure that overall color performance is optimized and is as accurate as possible (refer back to Figure 3.21). 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 (password-

protected) 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.

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Section 3: Operation

Color Adjustment Procedure

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

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

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

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

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

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

 Set Select Color Adjustment to “Max Drives”  Display a full white test pattern  Adjust lamp power and Optical Aperture until adjacent white fields appear the

same brightness.

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

the x/y coordinates defining the “Max Drives” color gamut for this projector. Jot down the values shown in one (any) of the displays. See Figure 3.25. Or use the “Copy From” function to copy them into a “User” gamut in one projector.

Figure 3.25. 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 3.26).

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Section 3: Operation

Figure 3.26. 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

3.21.) 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.

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Section 3: Operation

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.

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.

Achieving Brightness f Uniformit

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

Figure 3.27. Color Matching Using

Color Saturation Menu

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

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

smooth screen in which:

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

• no area of the screen appears brighter than another

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

Although the Brightness Uniformity control can be used for a stand-alone projector, it

is particularly useful for setting up and maintaining tiled images that form a cohesive display wall in which the color “cast” and light output appear uniform throughout each image as well as throughout the entire wall. The procedure provided here assumes a multiple-screen application.

Before You Begin

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

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Section 3: Operation

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

“Matching Colors in Multiple Screens” procedure (above) before attempting to

work with Brightness Uniformity. This ensures that primary colors, color temperature, and maximized light output are all well-matched from one screen to another. These matches are needed before you can achieve good Brightness Uniformity results.

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

significantly during the first 100 hours of lamp use. For best results with new 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 brightness will require a slightly reduced overall brightness—this reduction will help

ensure that you have enough range of adjustment when examining brightness variables more closely from screen-to-screen, and will help prevent premature “maxing out” when trying to match to a certain color, zone or projector.

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

for a User color temperature defined when you matched primary colors, and

continue to use it for all sources displayed on the wall. Your other color temperatures will not necessarily be matched from screen-to-screen.

 WHITE UNIFORMITY 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 Multiple Screens) to ensure

matched overall color temperatures and light output between screens.

IMPORTANT: Double-check that all WHITES and LIGHT OUTPUT are

well-matched.

1b) Enable the

Brightness Uniformity

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

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Section 3: Operation

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:

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

matched wall, continue to Step

1e.

• If you prefer maximum brightness rather than a particular color

temperature, select “Max Drives”.

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

applications!

1e) In the White Uniformity

menu, set the “Overall”

output level to 50.0 and all remaining 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 Eight Zones

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

2a) On each screen, compare the color temperatures in the 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.

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

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

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Section 3: Operation

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 3.28

Figure 3.28. Match Zones to Center Color Temperature

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

2a & 2b for all remaining screens.

Steps

Step 3: Adjust Light Output in 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 3.9). 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 3.29. Match Zones to Center Light Output

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Section 3: Operation

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.

e Blending f

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 image.

What is a Blend?

In simple terms, a blend appears as a gradient strip along an edge of a projected image. It is darkest along the extreme edge of the image, and lightens nearer to the rest of the image (see right). 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 3.30

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 3.31. Edge Blending Concept

(NOTE: TILING DONE AT SOURCE)

images. Visible overlaps will disappear as illustrated in Figure 3.31.

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.

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.

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Section 3: Operation

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. 32).

Decreasing the Blend Shape

setting slows the rate of change so

Figure 3. 32. “Shape” Examples

that more of the region appears

mid-gray. For most applications, this subtle control is best left close to 50.

 Blend Midpoint determines the white

level at the blend midpoint (the point equidistant between the beginning and end of the blend). Increasing the

Blend Midpoint setting creates a

blend that appears brighter than the rest of the image. Decreasing the

Blend Midpoint setting creates a

blend that is darker than the rest of the image. A setting of 50 means the midpoint is approximately 50% black—for best results in most applications, keep fairly close to this default.

Figure 3. 33. “Midpoint” Examples

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Section 3: Operation

 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.

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 12.525% along shared edges (see Figure 3.34). Tiling not a projector feature.

Physically align the projectors and images from your intended external source, then match colors

Figure 3.34. Tiling Example

and Brightness Uniformity.

IMPORTANT: For a shared edge, the following Blend procedures and settings

should be identical on BOTH projectors.

1. Start with two 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.

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Section 3: Operation

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 3.35. Set Starting Points for Each Projector

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

edge (for example, if the projector’s image is on left, its right edge overlaps the

adjacent image—adjust Right Blend Width). Use the same setting on the second

projector for this shared edge.

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

overlapping blends disappears or just changes to very light gray. For the shared edge, use the same Blend Width setting on each projector. If the best 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.

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.

As an alternative to using a keypad, most projector functions can be controlled

3.11 Remote Control of the Projector

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. Using a PC interface can also prove to be useful in instances where extreme warping is applied and the menu items become illegible and hard to navigate.

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Section 3: Operation

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. 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.

3.12 Error Conditions

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”.

The two-digit error code that corresponds to the message appears in the LED status

display window located next to the built-in keypad (Figure 3.36.). NOTE: During

normal operation the status code “On” appears.

Figure 3.36. LED Status Display on Built-In

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User 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

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”.

Section 3: Operation

Exit

to clear the

ut Signal Errors f

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 the wrong frequency. Correct the signal or select another input.

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.

stem Warnings / Errors f

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 LED status display window next to the built-in keypad. 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”.

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

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Section 3: Operation

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 and contact your dealer if the problem persists.

The specific code number identifies the source of the error detected, and is particularly useful in cases where the projector is too far away to read the accompanying text message in the LED status display window. For example, the code “27” means “Lamp 1 could not be turned on”. Error codes for this projector are listed in the table below.

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Error Codes f

Section 3: Operation

Code Description

GENERAL

12 Software bug. Contact dealer/factory. 13 Flash memory corrupted. Download new software. 14 Engineering only programming is complete. Call Christie, replace TIPM. 15 Attempting to download code without being in boot mode 16 Invalid interrupt. Power off/on. If it persists, contact dealer/factory. 17 Forced boot mode. Keys held down too long. 18 Attempting to program boot mode without jumper

LAMP FAILURES

21 Lamp compartment too hot 25 Lamp 1 not installed 26 Lamp 1 Interlock: door open, lamp not installed 27 Unable to turn lamp 1 ON 28 Lamp 1 shut off unexpectedly 29 Lamp 1 driver overheated 2A Lamp 1 driver operation error (e.g. too hot can’t start) 2C Lamp 1 driver UART communications failure 30 Lamp 2 not installed 31 Lamp 2 door open 32 Unable to turn lamp 2 ON (unknown reason) 33 Lamp 2 shut off unexpectedly 34 Lamp 2 driver overheated 35 Lamp 2 driver reports operation error (e.g. too hot can’t start) 36 Lamp 2 driver UART communications failure 37 Lamp Watchdog Tripped – Unless lamps turn on again after 3 minutes, assume software hung.

POWER AND COOLING

41 Lamp 1 driver Vcc to low 42 Color wheel 1 stopped for at lease one second 44 Lamp 2 driver Vcc too low 45 Color wheel 2 stopped for at least one second 4C Projector shutdown due to critical error 51 TIPM fan failed 53 Main blower failed 56 Engine fan failed 57 Lamp 1 driver fan failed 58 Lamp 1 fan failed 59 Lamp 2 driver fan failed 5A Lamp 2 fan failed

TIPM (image processor)

60 Boot code CRC failed 61 Unable to program the DigMux PLD 62 Unable to program the Control PLD 63 Unable to program the BUBKS PLD 64 Unrecognized ROM type 65 Write to flash ROM failed 66 General image processor failure 67 Downloaded code will not fit in the ROMs 68 Communication problem with scaler on image processor

BUILT-IN or EEPROM

70 Unable to access the EEPROM on the built-in keypad 71 EEPROM memory re-initialization (built-in keypad) 72 Unable to access the EEPROM on the lamp module 73 Unable to access the EEPROM on the Back End Board

BACK END BOARD

80 Unable to detect Back End Board 81 Unable to program a device on the programming bus 82 TI flash download failure – not started 83 TI flash download failure – partial write 84 TI flash download failure – checksum read 85 TI – I2C write failure 86 Communications failure

BACKPLANE or OPTIONAL INTERFACE MODULE

A0 Unable to program the Option Card A1 Unable to power the Option Card A2 Unable to program the Backplane module A3 Unable to program the Warp Module

Clear system errors with again (wait at least 90 seconds and allow for proper cooling). For detailed information, monitor the RS232 IN port. Contact

dealer/factory if error persists and if a code appears that is not listed.

Exit Exit

. If you encounter a system error, try resetting the projector by powering it off and on

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4.1 Warnings and Safety Guidelines

Section 4

Maintenance

The projector is an international regulatory agency approved product designed for safe and reliable operation. It is important to acknowledge the following precautions while operating the projector to assure complete safety at all times.

WARNING

Always remove the lens when shipping the

projector.

WARNING

NEVER look directly into the projector lens.

The high brightness of this projector

could cause permanent eye damage.

Labels and Markings f

Instructions

Observe and follow all warnings and instructions marked on the projector.

The exclamation point within the equilateral triangle alerts the user to important operating and maintenance (servicing) instructions in the literature accompanying the projector.

The lightning flash and arrowhead symbol within the equilateral triangle alerts the user to un-insulated “dangerous voltage” within the projector’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock.

Read all operating instructions prior to using the projector.

WARNING

For protection from ultraviolet radiation,

keep all projector shielding intact during operation.

WARNING

Installation should be performed by qualified

personnel.

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Section 4: Maintenance

Pro

ector Location f

Operate the projector in an environment, which meets the operating range as specified

in Section 6 – Specifications.

• Do not operate the projector close to water, such as near a swimming pool. Do not

operate in extremely humid environments.

• Do not place the projector on an unstable cart, stand or table. A projector and cart

combination should be used with care. Sudden stops, excessive force and uneven surfaces may cause the projector and cart combination to overturn.

• If the projector is to be ceiling mounted, use only the Christie-approved ceiling

mount fixture.

Lam

s f

The two 300W P-VIP lamps in the projector require replacement when they have reached their end of life (approximately 1500 hours), if they have failed during operation, or have a drastic change in brightness (typical of aging lamps). To effectively maintain operation of the projector it is best to be aware of any changes

that occur in brightness and the number of hours each lamp is in use. Refer to 4.4.

Lamp Replacement for more details on lamp replacement. NOTE: These are mercury-containing lamps. Handle appropriately. Refer to

Appendix G for the lamp product safety data sheet.

Follow all safety and warning precautions regarding lamp replacement and handling.

WARNING

Wait approximately 5 minutes to allow the lamp to cool

before removing.

Do not stick hands into the lamp compartment during

lamp replacement.

The lamp is under great pressure when hot and may

explode causing physical injury and/or property damage.

Allow a lamp to cool before handling and/or powering

down and unplugging the projector.

Use only the attachments and/or accessories recommended by CHRISTIE. Use of

Power Cord and Attachments

others may result in the risk of fire, shock or personal injury.

• Do not set or rest items on the power cord. Place the projector in an area where

• Operate the projector at the specified voltage only. Do not overload power outlets

4-2 Christie DS+60/DW30/Matrix 3000 User’s Manual 013-100149-02 Rev. 1 (01/07)

Use only the lamps supplied by CHRISTIE, in the Lamp

Replacement Kit.

WARNING

Use only the AC power cord supplied. Do not attempt

operation if the AC supply is not within the specified

voltage and power range. See Section 6.

the projector cord cannot be abused or damaged by persons walking on it or by objects rolling over it.

and extension cords as this can result in fire or shock hazards.

Ventilation f

Servicin

Section 4: Maintenance

• The projector is equipped with a three-wire plug having a third grounding pin.

This is a safety feature – if you are unable to insert the plug into an outlet contact an electrician to have the outlet replaced. Do not defeat the safety purpose of this

grounding-type plug.

Slots and vents in the projector provide ventilation. Never block or cover these openings. This ensures reliable operation of the projector and prevents overheating.

• Do not place the projector over a radiator or heat register. The projector should

not be placed in an enclosure unless proper ventilation is provided.

• Do not “poke” objects into the ventilation openings of the projector. They may

touch dangerous voltages or short-out components resulting in a fire or shock hazard. Do not spill liquids of any kind into the projector. Should an accidental spill occur, immediately unplug the projector and have it serviced by a qualified service technician.

If any of the following conditions exist, immediately unplug the projector from the power outlet and ask a qualified service technician to look at it.

• The power cord has been damaged.

• The internal cooling fans do not turn on when the projector is first powered up.

• Liquid has been spilled into the projector.

• The projector has been exposed to excessive moisture.

• The projector is not operating normally or its performance has significantly

deteriorated in a short period of time.

• The projector has been dropped or the shipping case (if applicable) has been badly

damaged.

WARNING

Do not attempt to service the projector yourself. All

servicing must be performed by CHRISTIE accredited

service technicians.

Use replacement parts that are manufacturer-approved

only. Use of any other part other than the ones specified

by the manufacturer can result in fire, electric shock or

risk of personal injury and irreparable equipment

damage.

WARNING

Never service the projector while it is still plugged in.

There are exposed voltages that could cause severe

physical injuries and possibly death. Always unplug the

projector and wait two minutes to allow the capacitors on

the power supply to discharge before removing the

projector’s covers.

013-100149-02 Rev. 1 (01/07) Christie DS+60/DW30/Matrix 3000 User’s Manual 4-3

Texas Instruments MATRIX 3000, DW30 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual