Vista X/S5, X3, S3, Roadster X6, Roadster S6 User Manual

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User's Manual

Table of Contents

Section Contents Page

Introduction

Installation & Setup

Operation

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

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

1.3 Purchase Record and Warranty Registration.....................................................1-2

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

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

2.3 Projector Position and Mounting....................................................................2-10

2.4 Source Connections ........................................................................................2-15

2.5 Power Connection...........................................................................................2-24

2.6 Operating Orientation .....................................................................................2-24

2.7 Leveling..........................................................................................................2-24

2.8 Zoom, Focus & Lens Offset............................................................................2-25

2.9 Serial Port Connections...................................................................................2-27

2.10 Keypad Protocols and Conversion..................................................................2-34

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

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

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

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

3.5 Using Inputs and Ch annels..............................................................................3-18

3.6 Adjusting the Imag e........................................................................................3-24

3.7 Configuring System Parameters......................................................................3-41

3.8 Working With the Lam p.................................................................................3-47

3.9 Projector Status...............................................................................................3-50

3.10 Using Multiple Projectors...............................................................................3-51

3.11 Error Conditions .............................................................................................3-54

Maintenance

Specifications

Appendices

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

54-017115-13P Software Version 2.1 (10/02) Roadster/Vista User's Manual

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

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

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

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

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

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

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

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

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

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

D Serial Communication C ables..........................................................................D-1

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

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

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1.1 The Projectors

Section 1

Introduction

The Vista and Roadster projectors are professional quality DMD projectors that use



Digital Light Processing high-brightness multimedia and video projection. All models standard international video formats and can interface with IBM Macintosh



computers and workstations. Vista models are ideal for mounting in

(Roadster model shown)

(DLP) technology from Texas Instruments to achiev e

are compatible with



-compatible PC,

large audience venues in which there may be high levels of ambient light, such as in corporate boardrooms, auditoriums, and lecture halls. The Roadster offers this same high level of performance but with additional ruggedness enabling frequent transport, changing installations and easy stack ing of m ult ipl e projectors. This robust projector is well-suited for use in outdoor stages and arenas. Vista and

Roadster

features include:

◊ Native resolution of 1024 x 768 (X models) or 1280 x 1024 (S models), scal eabl e ◊ Brightness (ANSI lumens, ±10%):

• Vista X3/S3 = 3000 • Roadster X4/S4 = 4000 (note: X4/S4 discontinued)

• Vista X5/S5 = 5000, Roadster X6/S6 = 6000 (note: Vista S5 discontinued)

• Roadster X9/S9 = 8500

◊ Contrast Ratio

• Vista X3/X5, Roadster X4/X6 = 300:1 ANSI, 500:1 full on/off

• Roadster X9 = 400:1 ANSI, 500:1 full on/off

• Roadster S9 = 400:1 ANSI, 800:1 full on/off

• “S” models wit h 700W or 1200W lamp/power supply = 300:1 ANSI, 800:1 f ull on/off

◊ Smooth and versatile remote control of lens, with Intelligent Lens System (ILS™) for recall

of lens settings from source-to-source

◊ Tandem horizontal and vertical sizing software control ◊ Independent vertical stretch for changing aspect ratios ◊ Keystone adjustment via menu option (“X” models only) ◊ Interchangeable lenses for diagonal screen sizes up to 40 or more feet ◊ Display of NTSC, PAL and SECAM video input ◊ Display from PCs, V CRs, laser disc players, vid eo cameras, etc. ◊ Intuitive on-screen menus or hidden direct control with built-in or remote keypad ◊ Memory for up to 99 custom “channels” (source setups) accessible with keypress ◊ Controller and switcher compatibility ◊ Built-in RS-232 and RS-422 ports for computer control and networked projectors ◊ Remote-controlled shutter ◊ Rugged functi onal design fo r harsh environ ments and secure h andling ( ◊ Simple hardware option for hoisting and for stacking multiple projectors ( ◊ Modular design for easy servicing. Exterior panels of metal and polymer.

(optional in Vista models)

(standard in

Roadster

only)

Roadster

)

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INTRODUCTION

How The Projectors Work

1.2 Components

Vista and

front or rear flat screens. High brightness light is generated by an internal Xenon arc lamp, then modulated by three DMD (digital micromirror device) pane ls tha t provide digitized red, green or blue color information. Light from the “on” pixels of each panel is reflected, converged and then projected to the screen through a single front lens, where all pixels are perfectly superimposed as a sharp full-color image.

Included with Vista and 9/64” hex socket ball driver, eyebolts ( Manual. Make sure that you received everything.

Roadster

Figure 1.1. Components (SHOWN:

accept data/graphics and video in p ut sign als for projection on to

Roadster

is an infrared (IR) remote keypad, a power cord, a

Roadster

only) and a Roadster/Vista User’s

Roadster

WITH ADDED LENS)

Differences Between Roadster and Vista Models

Motorized Lens Shutter Audio Handles & Slot Covers Stacking Slots Eyebolts

Roadster

Vista optional optional

U = Standard

MODELS and AVAILABILITY: The Roadster line and the Vista line both offer models

differing in light output and/or imag e resolut ion. All combinations are documented in this manual, however the following m odels are no long er m anufac tur ed:

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

1.3 Purchase

Record and Warranty Registration

highly trained and extensive factory and deal er serv ic e network is always available to quickly diagnose and correc t projector malfunctions. Complete service manuals and updates are available to service technic ians fo r all projec tor s.

Should you encounter a problem with the projector and require assistance, contact your dealer or Christie. In many cases, any necessary servicing can be performed on site. If you have purchased the projector, fill out the records. In addition, make sure to complete the Warranty Registration at the Christie website—this will ensure that you receive all future product communications promptly.

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

discontinued

Roadster X4 / S4 Vista S5

Dealer:

Dealer Phone Number:

Projector Serial Number*:

Purchase Date:

Installation Date, if applicable:

UUU

not available not available optional

Purchase Record below and keep with your

Purchase Record

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Section 2

Installation & Setup

This section explains how to install and set up the projector. If you are familiar with the projector and want to quickly set it up for temporary use, follow the Quick Setup instructions below. For a more complete setup, follow the instructions and guides covered in the remaining subsections. This section assumes that the video decoder is installed.

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

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

2.1 Quick Setup

STEP 1

STEP 2

STEP 3

Position the Projector

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

Connect a Source

Locate the main input panel at the rear of the projector. The lower l eft ar ea, lab eled

INPUT 1, accepts an RGB input via BNC connectors. The upper right area (assuming

a video decoder is installed) accepts a composite video at

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

Connect the Line Cord to AC Power

Connect the projector’s line cord to the AC receptacle at the lower right rear corner of the projector and to proper AC. Use the line cord provided with the projector (see Section 5).

Model AC Power Required

X/S3 and X/S4 100-240 VAC, 50-60 Hz, max. 11.5 amps @ 100V X/S5 and X/S6 200-240 VAC, 50-60 Hz, max. 8.5 amps @ 200V

X9/S9 200-240 VAC, 50-60 Hz, max. 12 amps @ 200V

WARNING

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

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

INPUT 3 or S-video input at

STEP 4

Turn the Projector ON

Using either the built- in or rem ote key p ad, press second to turn the projector on (or press about five minutes. The input panel, should glow a steady green.

Powe r*

and hold for approximately 1

Powe r*

POWER LED, located in the lower right corner of the rear

). Let the projector warm up for

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INSTALLATION AND SETUP

STEP 5

STEP 6

Select a Source

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

Adjust Image

(NON-MOTORIZED MODELS)

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

•

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

focus the image clearl y.

With the input image displayed, rotate the

Input1, Input2, Input3

, or

Input4

to select

•

OFFSETS:

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

•

OTHER:

parameters as described in Section 3.

Adjust Image

NOTE: Motorized lens controls are standard on Roadster models only.

With the input image displayed, press

(MOTORIZED MODELS)

Turn either or both of the knobs adjacent

Press

Lens

on any keypad.

to refine other display

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Figure 2.1. Motorized Lens Adjustments

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INSTALLATION AND SETUP

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

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

You may want to reduce initial setup time by starting with an “Auto Setup”. The projector will automatically optimize a variety of display settings according to the incoming source detected. You can then re-adjust these settings at any time, if desired.

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

2.2 Installation Considerations

Lifting, Hoisting

and Stackin

Although this projector delivers a high brightness qual ity ou tput, f ina l display quality could be compromised if the projec tor is not properly installed. This subsection discusses issues you should consider before proceeding with a final installation. Even if you do not intend to use the projectors in a fixed and permanent installation, this subsection will help you to better understand what you can do to enhance display performance.

For any new installation, yo u will likely

have to safely lift or hoist the projector into place. Keep in mind the following guidelines for safety.

Lifting

The Roadster model includes a set of side handles for convenient brief hand transport, such as when a single projector is lifted or carried over short distances by 2 people, or for the addition of safety straps when hoi st ing (se e Hoisting, below). Note that these handles are not intended to support the entire weight of the projector for extend ed periods of time, nor can a set of handles support the weight of more than a single projector. In particular, never hoist or suspend the projector from these handles alone.

models do not have handles.

Vista

Hoisting

Safely hoisting th e proje ctor i n to pla ce requ ire s hois ting hardware avail abl e in a Christie Hoisting/Stacking Kit specially designed for the projector, as well as appropriate nylon webbed safety straps and rigging equipment. Never hoist a projector by its feet, handles or any oth er component (Figure 2.3).

WARNING

Do not use the side handles to suspend the projector.

IMPORTANT

It is recommended that you remove

the lens before hoisting a projector.

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INSTALLATION AND SETUP

TO HOIST INVERTED

Roadsters

remove the feet, insert 4 eyebolts provided and at tach a hoisting/rigging frame that will enable cables to remain vertical at all times. Add safety strapping at the side handles before hoisting into place. Never hoist or suspend a projector if there is any slack in cabling or straps, and keep all cables in place for a “flown” installation. NOTE:

Use straps and cabling with load capacity adequate for the projector weight. See Section 5. For a stack of two projectors, remove the small chrome cover near each

corner of the lid, and ins t all the threaded rods and heavy-duty eyebolt couplings provided in the Christie Hoisting/Stacking Kit. NOTE: Follow all instructions provided with the kit. Use a minimum of one safety strap per projector–i.e., if you are hoisting a stack of 2 projectors, both projectors must have their own safety strap attached. See Figure 2.5.

For one projector,

Figure 2.2. Minimum Hoisting Configuration for

One Projector

Roadster

(

ONLY

)

TO HOIST NON-INVERTED

in a Christie Hoisting/Stacking Kit specially designed for the projector–follow the instructions provide with the kit. Hoist with cabling and straps as described for inverted Roadsters, above.

TO HOIST AN INVERTED or NON-INVERTED

safety straps around the whole projector. Attach to the proper Christie ceiling mount only–never suspend or “fly” this model.

NOTE: Vista models cannot use the Christie Hoisting/Stacking Kit for hoisting into place.

Stacking

See Figure 2.4. A maximum of 2 with the Christie Hoisting/Stacking Kit hardware–follow all instructions provided in the kit. For safety, one projector should never “rest ” on another with out the prop er

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Figure 2.3. Do not hoist by handles or feet. Do not angle cables or straps.

Roadsters

You must use the hoisting hardware available

Vista:

Securely wrap hoisting cab ling and

Roadster

projectors can be safely secured together

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INSTALLATION AND SETUP

stacking hardware (avai lab le sepa ra te ly) in place, firmly securing the pro jec to rs together. If you are hoisting a stack, secure a safety strap to at least one handle of

each projector–keep the strap taut. NOTE:

models cannot be stacked.

Vista

Do not stack projectors without using Christie

Hoisting/Stacking hardware. The top projector could

slide off and cause injury or death.

WARNING

Do not carry a stack.

Figure 2.4. Stacking (

Do not invert only one projector within a stack.

TO HOIST STACKED

the projectors together with Christie Hoisting/Stacking Kit hardware,

following the instructions provided in the kit. Hoist with cabling and straps as described in Hoisting, above–make sure to use at least one safety strap on each projector in the stack. See Figure

2.5.

WARNING

Use Christie Hoisting/Stacking

hardware only.

Roadsters

Roadster

WARNING

Secure

only). Requires optional hardware.

Figure 2.5. Hoisting a Stack, Minimum

Configuration

(SHOWN INVERTED)

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INSTALLATION AND SETUP

Installation Type

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

or inverted mount.

Front Screen, Floor Mount Installation

ADVANTAGES CONSIDERATIONS

• Easy to set up

• Can be moved or changed quickly

• Easy to access

Front Screen, Inverted Mount (ceiling) Installation

ADVANTAGES CONSIDERATIONS

• Does not take up audience space

• Projector is unobtrusive

• Projector cannot be accidentally moved

Rear Screen, Floor Mount Installation

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Projector is easily accessed

• Usually good ambient light rejection

Rear Screen, Inverted Mount (ceiling) Installation

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Usually good ambient light rejection

• Shares floor space with audience

• Installation is more permanent

• It is more difficult to access the projector

• Requires separate room

• Installation cost is usually higher

Screen Type

Rear Screen, Floor Mount with Mirror

ADVANTAGES CONSIDERATIONS

• Projector is completely hidden

• Usually good ambient light rejection

• Requires less space behind screen than

other rear screen installations

Front Screen Installations

• Requires separate room

• Installation cost is usually higher

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

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Figure 2.6. Audience Coverage with Flat Screen

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INSTALLATION AND SETUP

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

Rear Screen Installations

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

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

Screen Size

Screen Aspect Ratio

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

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

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

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

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

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

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INSTALLATION AND SETUP

Using a 5:4 Screen with “S” Models

With one exception, XGA images will— by default—resize to fill an SXGA screen with “S” models. The exception (illustrated in Figure 2.7) is that video signals will retain their aspect ratio —f il l the screen by increasing Vertical Stretch to slightly expand the image to the top and bottom edges of the screen. For details, see 3.6, Adjusting the Image.

Using a 4:3 Screen with “S” Models

If you are using a 4:3 screen with “S” models (which produce 5:4 images), images will—by default—slightly overlap the screen vertically. To remedy, reduce Vertical Stretch so that the “too tall” 5:4 image no longer spills over the top or bottom of the screen (Figure 2.8). This control eliminates the need for simply m oving the projecto r farther from the screen, which would result in black borders for all sources. See 3.6,

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

noticeable in most cases.

Figure 2.7. Adjusting a 4:3 Video Image

Ideal Room Lightin

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Figure 2.8. Using a 4:3 Screen for a mix of 5:4 and 4:3 sources (“S” models)

The high brightness outpu t of this pro jec tor is certa inly w el l suit ed for loca ti ons

where ambient lighti ng is less th an optimum for projection, yet there are still many simple things you can do to optimize your installation.

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

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

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

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INSTALLATION AND SETUP

To minimize the effects caused by unwanted light from door and aisle ways, carefully choose the position of your pro jec tor and screen. Figure 2.9 shows an installation where poor screen placement allows too much unwanted light to enter the screen. In Figure 2.10, screen and the projector are positioned so that unwanted light is minimized.

Figure 2.9. Poor Screen Placement

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

Other Considerations

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

installation:

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

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

Figure 2.10. Better Screen Placement

temperature should be kept constant and below 35°C (95°F). Keep the projector away from heating and/or air conditioning vents. Changes in temperatur e can cause drifts in the projector circui try w hic h m ay affect per fo rmance.

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

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INSTALLATION AND SETUP

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

optical path.

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

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

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

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

◊ Larger scre ens requ ir e greater at tention to lighting condit ions.

• When laying out the projection room, consider positioning the projector and

screen in a manner which wi ll achieve maximum audience coverage and space efficiency. For example, placing the sc reen along the larger wall in a rectangular room will reduce audience coverage. Figure 2.11 shows two examples of how audience coverage is maximized.

Installation type, screen type, and lighting all affect where the projector is positioned.

2.3 Projector Position and Mounting

Throw Distance

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

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

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

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

Figure 2.11. Screen Locations for Maximum Audience Coverage

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Vertical & Horizontal

Position

INSTALLATION AND SETUP

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

the screen

width. Once you know your screen size and lens, you can estimate throw distance needed (see example in Figure 2.12).

Figure 2.12. Estimating Throw Distance

IMPORTANT:

For proper

(SEE APPENDIX E)

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

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

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

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

See Table 2.1 for the maximum percentage of the image that can be displayed above or below the center of each type of motorized lens. These image offsets are also illustrated in Figure 2.13.

NOTE: Shown are approximate motorized offset ranges—manual offsets may differ.

Table 2.1. Maximum % of Image Offset from Lens Center

Lens Type Max. Recommended Image Offset

✻ 0.8:1

1.2:1

1.5 - 2.2:1

2.2 - 4:1

✻ 2.5 – 4:1

4-7:1

✻ 4-7:1

✻ NOTE: VistaGRAPH X lens . Threaded le ns ada pter require d.

Motorized ZOOM feature is not availa b le f or V istaGRAPHX le ns es.

The 0.8:1 lens is not recommended for use in “S” models.

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

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Figure 2.13. Maximum Vertical Offsets

Continued…

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INSTALLATION AND SETUP

Figure 2.13. Maximum Vertical Offsets, Continued (ALL LENSES)

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

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

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

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

of lens center—either by turning the bottom knob on the front of the projector (the knob farthest from the IR sensor) in non-motorized projectors or through softw are in motorized projectors. The maximum horizontal offset for lenses that can be installed in this projector is shown in Figure 2.14. This value expresses the maximum percentage of the image that can be projected to one side of the lens center (roughly 77%, depending on the lens).

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Mountin

Figure 2.14. Maximum Horizontal Offsets (ALL LENSES)

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

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

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

Special Mounting

Note that projector can be rotated and mounted at any vertical angle—i.e., you can tilt the face of the projector up or down as much as desired for your installation. The side-to-side tilt, however, must not exceed 15° (see Figure 2.15). This limit ensures that the arc lamp in the projector operates proper ly and safely. Always make sure that exhaust air from the projector does not vent towards the lens, otherwise you may detect heat waves in your projected image.

You must use the proper ceiling mount fixture or stacking kit for your projector. For more information, contact your dealer.

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Figure 2.15. Horizontal and Vertical Tilt Ranges

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Folded Optics

2.4 Source Connections

INSTALLATION AND SETUP

In rear screen applications where space behind

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

The rear panel of the projector provides standard input panels to which you may connect a variety of sources. See Figure 2.16–the lower left area ( accepts an RGB signal from an external RGB source, or it can also be used for YPbPr signals or additional video sources. The upper right panel–the Video Decoder Module–accepts only composite video at such as VCRs, laser disk players or DVD players. There are also several optional interfaces available for connect ing othe r sourc es at the upper left area, just below the audio connectors (if present). For any input, including the optional inputs, audio with loop through connects at the audio input panel located between the license label area and only).

INPUT 3

or S-video at

INPUT 2.

INPUT 2 (audio is standard on Vista

INPUT 1) typically

INPUT 4

Such an option installs in

from devices

NOTES: 1) Audio connectors are standard on Vista models only. 2) For all connections to the projector, use only high-quality shielded cables.

Figure 2.16. Rear Connector Panel

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RGB Si

nals

INPUT 1

an RGB source such as VGA, SVGA, XGA, Mac, PowerMac, DEC, Sun, SGI and others. This projector supports multiple sync types with RGB signals: sync-on-green, composite sync, and separate H & V syncs.

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

Connect the outputs to the sync-on-green, only the red, green, and blue connections are required. If the source provides a composite sync output, connect it to the the source provides separate horizontal and vertical sync outputs, connect horizontal sync to the labeled

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

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

section.

provides 5 BNCs (connectors) for linking to a variety of sources, typically to

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

SYNC

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

input labeled

SYNC

VERT. See Figure 2.17.

HOR/COMP

SYNC

and connect vertical sync to

HOR/COMP

SYNC

. If

input

AUDIO for INPUT 1

system, connect pre-amplified (line level) audio inputs to the channel audio inputs located near the top left corner of the rear input panel. Then connect external audio amplification equipment to audio Audio connection cables require standard RCA type phono plugs.

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Figure 2.17. Connecting RGB Input

(STANDARD ON VISTA ONLY):

To control audio levels in an audio/visual

“IN 1” left and right

for sound output.

“OUT”

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YPbPr Signal

(COMPONENT VIDEO)

Connect a YPbPr signal (component video) to INPUT 1 as shown in Figure 2.18.

Figure 2.18. Connecting YPbPr Signal

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

. Use the appropriate digital interf ace ins ta lle d at

AUDIO for INPUT 1

(STANDARD ON VISTA ONLY):

To control audio levels in an audio/visual

INPUT 2

“IN 1” left and right

“OUT” for sound output.

INPUT

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Composite Video

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

video source ( If connecting a composite video source, use the Composite BNC connector or the

RCA phono jack at

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

INPUT 3–do not use both as inputs. See Figure 2.19.

AUDIO for INPUT 1

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

(STANDARD ON VISTA ONLY):

To control audio levels in an audio/visual

left and righ t

“IN 3”

for sound output.

“OUT”

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Figure 2.19. Connecting Composite Video

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S-Video

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

video source ( If connecting an S-Video source, use the 4-pin mini DIN connector or the Y and C

BNC connectors (luma and chroma) at

2.20.

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

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

Figure 2.20. Connecting S-Video

AUDIO for INPUT 1

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

(STANDARD ON VISTA ONLY):

To control audio levels in an audio/visual

“IN 4” left and right

“OUT” for sound output.

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Video Loop Through

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

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

Composite Video Loop Through

CONNECTIONS:

INPUT 3

cable from whichever of the next display device or projector. Continue this looping method for each projector, using either the phono plug or the adj ac e nt BNC as input into then using the other connector as an output (i.e., loop through). Whether you use the BNC or the phono plug as input or output depends on the type of cable you have on hand and what type of connectors are on each end. If desired, connect one audio signal to any projector as usual (audio is standard on Vista models only).

See Figure 2.21. From your source, connect a composite video signal

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

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

INPUT 3,

VIDEO TERMINATION:

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

Figure 2.21. Connections for Composite Video Loop Through

In Image Settings / Video Options control, make sure “Video

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S-Video Loop Through

CONNECTIONS:

INPUT 4

Connect a second cable from whichever video inputs of the next display device or projec tor. Cont inue th is looping method for each projector, using either 4-pin mini DIN or the 2 adjacent BNCs as input into

INPUT 4,

you use 4-pin mini DIN or the 2 adjacent BNCs as input or output depends on the type of cable you have on hand and what type of connectors are on each end. If desired, connect one audio signal to any projector as usual (audio is standard on Vista models only).

VIDEO TERMINATION: In the Image Settings / Video Options control, make sure

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

then using the other connector(s) as an output (i.e., loop through). Whether

See Figure 2.22. From your source, connect an S-video source signal

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

INPUT 4

connector is free to one of the S-

Figure 2.22. Connections for S-Video Loop Through

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Extra Video

– COMPOSITE OR S-VIDEO

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

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

Figure 2.23. Do not connect both types here simultaneously. NOTE: For additional video inputs, install an optional Composite/S-Video Input Module at

INPUT 2

Optional Inputs

Figure 2.23. Connecting an Extra Video Source to Input 1

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

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

• RGB 500 Input Module

• RGB 400 Active Loop Thru Input Module

• RGB 400 Buffered Amplifier Input Module

• Composite/S-Video Input Module

• PC250 Analog Input Module

• Serial Digital Input Module

• Digital HDTV Input Module

• DVI Input Module

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

NOTES: 1) Audio ports on optional interfaces are non-functional. Use the projector’s audio connectors labeled digital interfaces cannot be used in a Marquee Case/Power Supply or S witcher. 3) Connect analog HDTV signals directly to installed at projector models is not needed or recommended . 4) See Appendix F, Optional Input Modules for a brief description of each interface.

INPUT 2—the optional HDTV Input Module used in earlier Christie

(originally DVI / DFP Input Module)

IN 2 (standard on Vista only). 2) Optional

INPUT 1 or to any “RBG” input module

INPUT 2. They include:

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Connectin

a switcher

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

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

INPUT 1

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

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

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

SWITCHER (see Figure 2.24). The switcher

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

Connecting Multiple

Switchers

switcher inputs/outputs together to form a complete network of inputs accessible from the projector (you can network up to 9 switchers), and connect Switcher #1 to the projector as shown in Figure 2.24. In addition, connect the RGB output from each switcher to its matching slot on switcher #1–for example, connect the RGB output from switcher #2 to slot #2 on switcher #1, and the RGB output from switcher #3 to slot #3 on switcher #1. Note that slots used in this manner on switcher #1 are no longer recognized as inputs to the project or–if you select a slot lo cation that is connected to another switcher’s RGB output, the projector will display the “no input signal” error message.

Figure 2.24. Connecting a Marquee Signal Switcher

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2.5 Power Connection

Plug the projector’s high-current line cord into the line input socket located in the lower right corner of the rear panel of the projector, then plug th e 3-pronged end of the line cord into a grounded AC outlet. Input voltage to X3/X4/S3/S4 models must be capable of 100-240 VAC. For all other models, it must be 200-240 VAC. Use the

proper power source and the high-current rated line cord provided. See Section 5, Specifications for all power requi rements.

WARNING

Do not attempt operation if the AC supply and cord are

not within the specified voltage and power range.

Powe r*

Caution for Shutdowns: Once the projector is turned off (

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

), the lamp

2.6 Operating Orientation

2.7 Leveling

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

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

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

2.3, Projector Position and Mounting earlier in this secti on.

Figure 2.25. Adjusting the Feet Height

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2.8 Zoom, Focus & Lens Offset

INSTALLATION AND SETUP

Once the projector is properly set up and producing an image, you are ready to make quick lens adjustments. Refer to 3.3, Using the Keypad and 3.4, Navigating the Menus if you are unfamiliar with using the keypad and menu system.

Zoom

Focus

Lens Offset

NON-MOTORIZED:

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

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

MOTORIZED:

If you have a zoom lens installed, press

menu. Select the “Zoom” option (

) and adjust image size as desired with or

Lens

to display the Lens Control

. Refer back to Figure 2.1.

WARNING

Keep fingers away from the lens opening when

operating the motorized zoom function.

NON-MOTORIZED:

Near the lens opening, turn the lens focus tab until the image is as

sharp as possible.

MOTORIZED:

desired with

Press

to display the Lens Control menu. Adjust image clarity as

or . Refer back to Figure 2.1.

Lens

NOTES: 1) Initially, your image may be so blurry you cannot recognize the “Focus” menu option. Remember that press

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

Lens

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

sight is likely poor. Contact your dealer for service.

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

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

Intelligent Lens System

(ILSTM)

NON-MOTORIZED:

To relocate the image, turn either or both of the front knobs adjacent to the lens. The top knob “Vertical” will raise or lower the image, the bottom knob “Horizontal” will shift the imag e left or righ t.

MOTORIZED: Press

option (

Lens

to display the Lens Control menu. Select either lens offset

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

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

menus—refer to Section 3, Operation.

NOTE: Requires motorized lens.

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

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

ENABLING ILS

option (highlight it and press

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

Enter

). This will add the 4 lens positions—focus, zoom,

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horizontal and vertical offse t—to the cur rent chan nel se ttin gs recorded in proje ct or memory (see 3.5, Using Inputs and Channels if you are unfamiliar with channels). The lens will then autom atic al ly reposition itself according to these len s settings each time you use this channel. The ILS

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

You can still change lens settings as usual when the ILS

is enabled. Changes will be

recalled the next time you use the channel.

DISABLING ILS

delete the “Intelligent Lens Sy stem” checkmark (highl i ght the option and press

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

Enter

The lens will not move until you adjust one of its settings.

Operating Tips for Lens Settings and ILS

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

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

performance:

• The lens mount must be calibrated.

• When decreasing (

• When increasing (

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

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

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

• When holding

or , lens movement gradually accelerates.

or .

• As with any setting, you can directly enter a value using th e num bers on the

Enter

keypad, if desired. Press

before and after.

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

approached from a higher value, even if the direction of lens movement must reverse to do this. Likewise, an odd value is approached from a lower value. This protocol helps ensure ILS

accuracy. In general:

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

• To make small adjustments for ILS

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

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

. If even, press .

move slightly beyond the reques ted se tting before quickly rev ers ing back down to 1002. Although 1002 will appear in the menu, the physical location of the lens will not be accurately recalled by the ILS

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

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

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• Try to release the

continue as necessary with sm all inc rem enta l adjus tments in the same direction. If you “overshoot” slightly, do not reverse and “tweak” into place unless you have overshot beyond the backlash zone (which can vary from 10 to 600 increments, depending on the function). Otherwise, the ILS will not recognize the final “twe ak ed” value wh en you return to this channe l, and lens performance will appear inaccurate. In general, use small “incremental” fine- tuning only if the direct ion of lens mo v em ent has not changed during an adjustment. See Figure 2.26.

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

Figure 2.26. Lens Settings and the ILS

or key before reaching a desired lens setting, then

function

. If

2.9 Serial Port Connections

If using a computer

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

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

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

You may wish to use equipment other than the ke ypad for controllin g the projector or for performing other special functions. Such equipment—such as most personal computers—requires a serial interface for sending and receiving communication s through the serial ports on the projector. Note that there are two different types of serial communication port s on this projector as described below.

RS-232 Ports

From most computers, connect an computer and the projector serial port labeled is located near the bottom center of the projector's rear c ontrol panel (see Figure

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

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

RS-232 serial communication cable between the

RS-232 IN—this 9-pin D connector port

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Figure 2.27. RS-232 Serial Connection to a Computer

RS-422 Ports

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

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

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

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

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

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

RS-422 serial

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If usin

If using multiple projectors

a switcher

Figure 2.28. RS-422 Serial Connection to a Computer

WARNING

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

computer with RS-422 capability. The voltage levels of

this signal can damage incompatible equipment.

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

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

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

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

Serial Communications

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

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

SWITCHER (refer back to Figure 2.24). The switcher

RS-232 OUT connec tor of the fi rst projector

RS-232 IN connector of the next

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Figure 2.29. Adding Another Projector via RS-232

RS-422 NETWORK

an RS-422 interface, first set them all to the same baud rate needed, then chain the projectors together by conne c ting the (already connected to the computer/controller) to the next projector in the chain.

: To control multiple projectors with a computer/controller having

RS-422 PORT 2 connector of the first projector

RS-422 PORT 1 connector of the

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Figure 2.30. Adding Another Projector via RS-422

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INSTALLATION AND SETUP

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

RS-232 OUT

(or

RS-422 PORT

, if applicable). See exam ples below .

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

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

Figure 2.31. Assorted Networks (NOT split)

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Back-u

or “Split” Networks

In a typical network, broadcast serial communications or messages destined for a specific projector travel through all serial ports in each projector regardless of whether the messages originate from an RS-232 or RS-422 source (refer back to Figure 2.31, bottom example). The communication pat h depends on the serial c a blin g connected at each projector.

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

Then enable the “Split Network” setting in the Communications menu for each projector present so that RS-232 communications remain on RS-232 paths only and RS-422 communications remain on RS-422 paths only (Figure 2.32). Each projector can then receive and send either type of message depending on which con tro ll er init iat es the commands— should one path fail, the second “back- up” network path can be used. Only one network should be active at a given time, as determined by the controller (whether it is RS-232 or RS-422). Note that the “Broad cas t Key” option is OFF.

Figure 2.32. Enable “Split Network”

IMPORTANT

Whenever downloading new projector software to networks, use a

single-route network only. DISCONNECT any redundant serial cabling

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

Two Different “Splits”

There are two differen t split ne tw ork configurations possible (Figure 2.33). Set up whichever option best suits your application needs:

A. SPLIT NETWORK WITH ONE CONTROLLER– If you have a single contro ller and

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

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

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

B. SPLIT NETWORK WITH TWO CONTROLLERS–

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

If you have two controllers (one

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Figure 2.33. Two Types of Split Networks

Pro

ector Numbers

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

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

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

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2.10 Keypad Protocols and Conversion

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

Protocols are most useful for multiple-projector applications. For example, you might want to change a keypad protocol if you are working with two projectors and two remote keypads in the same room and need to control each projector independently (Figure 2.34). When Keypad A has a different protocol than Keypad B, each keypad communicates only with the projecto r having a matc hing protocol. Or, if you have a network of two or more projectors connected together via RS-232 serial ports, you may want only certain projectors to respond to a wired keypad, thus you can use different protocols to limit responses.

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

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

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

Remote Keypad

Protocol

— IR OR WIRED KEYPAD —

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

Figure 2.34. Independent Keypads and Projectors

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INSTALLATION AND SETUP

Step 1

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

Step 2

Unlatch and open the empty battery compartment on the back of the keypad as shown in Figure 2.35.

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

Figure 2.35. Opening the Keypad

Step 3

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

Step 4: Set the Jumpers

Set the jumpers as shown in Figure 2.36. Take care to refer to the correct part of the drawing — IR or wired (optional). Use tweezers or needle-nose pliers to remove and replace each jumper as necessary.

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

Set between pins 2 and 3 to set as Protocol “B”.

• J2 jumper: For either remote, set between pins 2 and 3 as shown; otherwise, the

projector will not respond correctly to keypad commands.

• J3 jumper: For the IR remote, make sure that the jumper is set between pins 2

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

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

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

Step 5

Replace battery com partment cover. Plug into projector (wired keypad only) and test.

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Figure 2.36. Locating and Setting the Jumpers

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

SHORTCUT METHOD:

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

Input1 Color Pixel

Press

Input1 Color Pixel

Press

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

Posi tion

= Proto col “A”

= Proto col “B”

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Convertin

a Keypad

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

versa (available February 2000).

TO CHANGE FROM INFRARED TO WIRED:

• Remove battery com partment cover from back of keypad.

• Remove batteries.

• Wait 1-2 minutes.

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

compartment. Make sure that the battery cov er is notched sm oothly to accommodate the cable.

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

• Replace battery compartment cover.

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

TO CHANGE FROM WIRED TO INFRARED:

• Unplug the keypad from the projector.

• Open the keypad back and unplug the keypad cable.

• Wait 1-2 minutes.

• Install batteries (see Section 4).

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

• Replace battery compartment cover.

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3.1 Overview

3.2 Projector Basics

Section 3

Operation

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

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

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

Projector components and functions are illustrated below. Refer back to the chart on page 1-2 to determine what is available on each of the various models.

Figure 3.1. Basic Projector Components

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Com

onents / Features

ZOOM - Accessed manually in some models or with the keypad if a motorized zoom

lens is present, the lens barrel of a zoom lens (optiona l) rot ate s to adjus t the si ze of the image without moving the projector. Minimum and maximum image sizes depend on which zoom lens is installed — see Section 5, Specifications.

FOCUS -

keypad if a motorized lens is present, focus adjusts the sharpness of the image at the current throw distance.

LENS OFFSET – Operated manually in some models or with the keypad if a motorized

lens is present, vertical and horizontal offsets shift the lens and move the image up or down and left or right. See Section 2, Installation and Setup for the offset rang es for any given lens. These are also listed on page 5-1.

SHUTTER -

The shutter is controlled with the keypad.

EYEBOLTS (

only.

SIDE HANDLES (

models only.

STACKING SLOTS (

requires a separate hardware accessory kit. See Section 2.

Accessed manually in some models (via 2 “tabs” on the lens) or with a

Closing the shutter blocks the lens internally and turns the image to off.

(NOTE: OPTIONAL IN SOME MODELS)

Insert in feet holes for suspending a single inverted

Roadster

) –

Roadster

For safety straps or for brief hand transport.

) -

For stacking of

) -

Roadster

models. NOTE: Stacking

Roadster

WARNING

When stacking projectors you must use Christie

stacking hardware (available separately) in the slots.

LAMP SIDE PANEL -

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

FILTER SIDE PANEL -

AUDIO IN/OUT (Vista) –

Vista models only.

For accessing the interior lam p door and replacing the lamp

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

For connecting pre-amplified (line level) audio. Standard on

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COMPOSITE/S-VIDEO INPUT -

devices such as VCRs.

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

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

RS-232 SERIAL INTERFACE (WITH LOOP THROUGH) -

be remotely controlled by a computer or controller, and provides a communications connection for Christie’s Marquee Signal Switchers.

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

be remotely controlled by an RS-422 compatible computer or controller (such as the Two-Way Controller accessory). RS-422 communications can travel greater distances than can RS-232 communications, but require RS-422 compatible equipment.

AC LINE CORD INPUT

provided w ith the pr ojec tor. See Section 5. Never unplug while the fans are running .

Model AC Power Specifications

X/S3 and X/S4 100-240 VAC, 50-60 Hz, max. 11.5 amps @ 100V X/S5 and X/S6 200-240 VAC, 50-60 Hz, max. 8.5 amps @ 200V

X9/S9 200-240 VAC, 50-60 Hz, max. 12 amps @ 200V

Accepts a composite video and S-Video signal from

Allows one or more projectors to

– Use the AC supply specified, and always use th e line cord

STATUS/POWER LEDS -

corner of the rear connector panel indicate projector "Status" (top) and "Power" (bottom). During normal operation, the "Power" lig ht is ste ady green and the "Statu s"

WARNING

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

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

Two LEDs (light emitting diodes ) loca ted in the lowe r rig ht

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light flashes green each time a key is pressed or when the projector receives a serial command. Use the following as a guide:

3.3 Using the Keypad

Figure 3.2. Reading the Status LEDs

NOTE: A steady red power light accompanied by a coded pattern of red and yellow flashes from the status light indica te s an internal system err or. Con sul t the rear LCD display for an explanation, and see 3.11, Error Conditions. Should the problem persist, contact a qualified service technician available through your dealer.

REMOTE WIRED KEYPAD CONNECTOR (3-pin XLR) -

control of the projector.

BUILT-IN KEYPAD - Alternative location for entering commands. NOTE: The keypad

can be inverted by a qualified service technician. Contact your dealer.

LCD STATUS DISPLAY – Visual feedback for monitoring projector activities and status. INFRARED SENSORS - The infra red (IR) sensors on the front and rear of the projector

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

HARD RESET -

system failure. Insert a pen point or small screwdriver.

The keypad appears in three locations:

Emergency access for powering dow n the pro ject or in the event of a

• Built-in to the rear of the projector

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

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

For optional tethered remote

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

Built-in

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

this keypad provides feedback regarding current status and activities of the projector.

The IR Remote Keypad controls the projector by way of wireless communications

IR Remote

from a battery-powered infrared (IR) transmitter. Use the IR remote keypad the same way you would use a remote keypad supplied with a TV or VCR. When making key presses, point the keypad either toward the screen or toward the front or rear of the

Figure 3.3. Keypad

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projector. One of two sensors on the projector will detect the sig nals and relay the commands for internal processing.

Wired Remote

—OPTIONAL—

Guide to Keypads

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

recommended when:

• the rear of the projector is inaccessible

• the lighting conditions are unsuitable for proper IR transmission

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

NOTES: 1) For extra long distances and/or harsh environments, you may prefer to use an optional remote Two-Way Controller to control the projector. For operating details, please see the Two-Way Controller User’s Manual included wit h this accessory. 2) Old VistaGRAPHX “Roadie style” keypads can be used with this projector, but the

Keep in mind the following guidelines:

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

For any key having an “*” (

Func

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

Powe r*

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

OFF

), a momentary press similar to a mouse click is sufficient. Press the “lightbulb key” to temporarily illuminate the backlight for the keys

without sending any other comm and.

, and

OFF

repeat their “arrow” actions when held down. For other keys, release and press again to repeat an action. In a network, pause between adjustments to ensure that the last projector can “keep up” with the commands. If you press a key while the projector is busy with anoth er action, such as during

a power-up, the key press may not take effect.

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Keypad Commands

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When you turn on the projector it begins operating at presentation level, such as an image from the most recently used source signal. The projector temporarily leaves presentation level whenever you use the keypad to work with control settings, display menus, or on-line help. For example, pressing

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

again (or

Exit

) to return or leave the menu system and return

to presentation level. Specific keypad commands are explained below:

Power ON/OFF

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

Powe r*

followed immediately by

OFF

if you want to guarantee the correct toggle (useful if you are unsure of the present status).. With multiple projectors, use with

to direct the power-up or power-down command

to a specific projector or to broadcast as desired.

NOTES: 1) Whenever the projector is turned off, the lamp cooling fans remain on for about five minutes to cool the lamp. Never unplug the projector during this time, or as a shut down, as it can lead to premature lamp failure. 2) Avoid turning a projector back on until it has been off for a few minutes—hot re-strikes of the lamp may redu ce lamp life.

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Input1

Input 1

Input1

Press This is the same as entering

Input2

Input 2

Press interface). This is the same as enterin g

Input3

Input 3

Press video) . This is the same as en tering

Input4

Input 4

Press is the same as entering

Input

Press

to select the source connected to

Input2

to select the source connected to

Input3

to select the source connected to

Input4

to select the source connected to INPUT 4 on the projector (S-Video). This

Input

when you want to display from a specific source location, such as a

Input

INPUT 1

INPUT 2

INPUT 3

on the projector (data input).

on the projector (an optional

on the projector (composite

switcher connected serially to the projector’s switcher port. The first digit represents the number you have assigned to your switcher (usually 1-9, or “0” for one of the four inputs on the projector). The second digi t represent s the sw itche r’s sl ot num ber (1-9). For example:

OPERATION

Input

= display data from switcher 1, slot 2.

NOTES: 1) Although you don’t need to use the input key unless a switcher is connected to the projector, you can also use the projector itself: use switcher), then

, , , or

as the first digit (representing the projector as the

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

Input

to access the four input “slots” on

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

Channels and Inputs for a detailed explanation of inputs. NOTE:

Input

key behavior during a presentation depends on whether or not the

Display Channel List option is selected in the Menu Preferences menu. You can choose to have on-screen feedback when you press

Input

, or you may prefer to enter

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

Chan

Channel

Chan

Press

to select a specific source setup (channel) defined and stored in projector memory. Once you enter a 2-digit channel number (or, if there is a list displayed, highlight it and press

Enter

), the display will automatically change and update

according to the numerous setup parameters defined for that channel.

NOTE:

Chan

key behavior during a presentation depends on whether or not the

Display Channel List option is selected in the Menu Preferences menu. You can choose to use a scrollable list of channels when you press

Chan

, or you may prefer to

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

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Stby*

Standby

Stby*

Press

and hold for approximately 1 second to blank all display and mute the audio output (if connected) while keeping the projector in a warmed-up and ready state. Or quickly press and release

Stby*

and follow immediately by

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

Stby*

hold

Press

again (or use

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

specific functions, such as Channel Setup or Image Settings. Press

Stby*

OFF

). Or simply press

Exit

remove all menus and return to presentation level.

Enter

Press

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

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

Exit

Press

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

again to

OFF

NOTE:

Exit

does not save changes within text editing boxes (including number

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

Arrow Keys

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

• Use

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

• Use

or to change to a different option within a pull-down list without having to display th e lis t first

• Use

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

Use the

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

OFF

You can also use

OFF

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

OFF

in conjunction with certain toggle keys—i.e., those including an asterisk symbol—to ensure a toggle only in the desired direction. When turning the projector on, for instan ce, you m ay be too far from the projector to know whether it is really off or if the shutter is merely clo sed. I f you press

Powe r*

and hold it for approximately 1 second in hopes of turning the projector on, the projector will actually turn off if the projector was already on. Instead, to avoid the risk of togg ling in the wrong direction, quickly press and release normally the function key you wish to toggle (in this case

OFF

as desired. The specific toggle will occur.

Powe r*

). Then immediately (within 2 seconds) press either

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

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Color

Press

Shutter*

•

Shutter*

Stby*

•

Stby*

Powe r*

•

Powe r*

Mute*

•

Mute*

OSD*

•

OSD*

Color

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

= close the shutter

OFF

= open the shutter

(NOT PRESENT IN ALL MODELS)

+ ON = put the projector in standby mode

OFF

+ +

= leave standby

= turn the projector on

OFF

= turn the projector off

= turn the audio (if connected) and menu display on

OFF

= turn the audio (if connected) and menu display off

= turn the menu system on

OFF

= turn the menu system off

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

Tint

Press

to adjust the red/green color hue for tru e color reproduction of NTSC video

Color

key has no effect when the ADP option is installed.

and until the desired color saturation

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

and until the desired tint is displayed.

Detail

Press video). Use

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

and until the display is as sharp as desired, keep ing in m ind that any level of detail above 3 will also introduce a certain degree of noise in the image. Set below 3 to filter the signal and remove noise from a noisy source.

Cont

Contrast

Cont

Press

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

3.6, Adjusting the Image (Image Settings subsection).

Bright

Brightness

Bright

Press

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

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

Vol

Volume

Press

Vol

to control the audio level (if connected). Use and until you reach

the desired volume.

NOTE: Audio control is standard on Vista models only. In other models, the does nothing.

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Proj

Projector

Proj

Press

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

The “Projector” checkbox (read- only ) shows whether or not the pro jec tor phy sically 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 differ en t projecto r.

To use a specific projector, enter the 3-digit number assigned to the projector you want to use. Press

Enter

to select, press

Exit

to cancel. If you switch to a projector other than the one you are currently using, the checkmark will disappear. Keypad commands (even

Powe r*

) will then affect this projecto r.

Pixel

Posi tion

Lens

To broadcast to multiple projectors, press number. Keypad commands (even

Powe r*

Proj Proj

) will then affect all pro jec to rs p re sent.

without entering a projecto r

NOTES: 1) The "Broadcast Keys" option in the Communications menu must be selected for only one (any) projector in a serial network. The keypad in use must be OFF (disabled) for the remainin g pro jectors. See 2.10. Keypad Protocols and Conversion, and 3.7, Configuring System Parameters.

Pixel

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

OFF

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

and to increase or decrease the frequency of the pixel

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

and

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

Position

Posi tion

Press and to move the image left or right, use

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

and

OFF

to move the image up or

down.

Lens

(STANDARD IN ROADSTER ONLY)

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

Offset.

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Lens

Press

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

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

Figure 3.4. Lens Control Menu (

Lens

)

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

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

sight is likely poor. Contact your dealer for service.

ZOOM: Enlarge or shrink the image (note: requires a Roadster/Vista zoom lens).

HORIZONTAL OFFSET:

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

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

VERTICAL OFFSET:

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

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

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

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

ILS

is a global

Figure 3.5. Lens Settings and the ILS

function—any lens settings you subsequently def ine for oth er chann els wil l be reca lle d whenever you use those channels. Delete the checkmark if you want to use consistent zoom, focus and offset settings for all channels—the lens will not move unless you re-adjust a lens setting.

For full details regarding optimization of ILS

Focus and Lens Offset.

CALIBRATE LENS:

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

performance, refer to 2.8, Zoom,

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

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

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

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

Lens.

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

the lens to the approximate center of the lens opening—th e im ag e will be fairly w ellcentered on this axis. Note that if centering remains significantly “off”, lens mount bore sight is likely poor. Contact your dea ler for service.

Shutter*

Mute*

Shutter

(OPTIONAL IN SOME MODELS)

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

Shutter*

hold

for approximately 1 second to toggle the shutter closed or open with a single key press (this also blanks the image electronically). Or quickly press and release

Shutter*

and follow immediately with

OFF

if you want to guarantee the correct toggle (useful if you are unsure of the present status ). Close the shu tte r whenever you want to mute all display yet maintain access to projector functions. Open the shutter to regain the display. With no shutter installed,

Shutter*

still blanks the

image electronical l y, but the bl ankin g is not quite as blac k.

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

Mute

Mute*

Use

Mute*

quickly press and release

to mute audio (if connected) and/or hide the current menu. Press and hold

for approximately 1 second to toggle on or off with a single key press. Or

Mute*

and follow immediately w it h

OFF

if you want to guarantee the correct toggle (useful if you are unsure of the present status). In either case, a small message appears on scre en to signif y mute status.

NOTE: After early October 2000, audio control is standard on Vista models only. In models without audio,

Mute*

temporarily turns the current menu on/off.

Func

Function Key

From presentation level, press color or colors in the display. For example, data, shown below and also appears on the back of the IR remote keypad. Color enabling can also be accessed through the menu system rather than these shortcuts.

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Func

followed by a 2-digit number to enable a specific

Func

will display all color data. The list of av aila ble col o r combinations is

will display only red and green

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OPERATION

NOTE: When

Func

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

= Red = Green

= Blue

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

Exit

does the same thing)

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

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

Func

key within the menu system is noted with the appropriate topic

Func

in the Channel Setup menu to enable

deletion or copying of a channel.

OSD*

OSD (On-screen display)

OSD*

Press and hold visible or invisible). Or press

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

OSD*

followed immediately by

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

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

OFF

OSD*

Help

Press again to exit. From presentation level, press

for detailed information about any current menu and highlight. Press

Help

to access the General Help menu consisting of Using Help, Setup, Keys, Source (Input) Selection, Stat/Pwr LEDs and Using 3D. Press

Tes t

Test

Tes t

Press

to display one of the available test patterns. Press

next available pattern in the sequence.

Exit

to leave General Help and return to presenta tion level.

Tes t

again to display the

Tes t

will exit after the last pattern, or press at any time to remove the current test pattern f rom the sc reen and return to presentation level.

NOTE: For a complete list of all test patterns, see the Geometry menu description later in Section 3.

Keypad operating settings (protocols)

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

Help

Exit

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OPERATION

3.4 Navigating the Menus

Most of the controls for the projector are accessed from within the projector’s menu system. There are several groups of related

functions, with each group selectable from the Main menu as shown at right. Press

at any

time to display the Main menu. On the keypad, either enter the number

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

for the Image Settings menu,

keys to highlight the desired option and press

Figure 3.6. Main Menu

Enter

. The function menu you selected will then appear. If you select “Auto Setup”, this will not activate a separate function menu but rather begin an automated process of optimizing critical display parameters such as size, position, pixel tracking, etc.

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

Enter

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

to move the highlight

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

On-line Hel

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

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

• Press

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

Exit

to return to the previous screen

to leave the menu system and return to the presentation

Help

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

Help

again to exit.

From presentation level, press within a topic. Press menus, a line of hint text also appears.

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Help

to access general Help Topics. Scroll as necessary

Exit

to return to your presentation. At the bottom of some

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Figure 3.7. Accessing General Help Topics

OPERATION

Time-outs

The Global Icon

Using Slidebars and

Other Controls

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

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

TIME-OUTS

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

If a menu option includes this icon, settings for the option apply univ er sa lly to any

incoming signal.

Most of the function menus allow you to change settings by using slideba rs, checkboxes, and pull-down lists. To select a slidebar, toggle a checkbox status, or view a pull-down list, do one of the follow ing w ith in the function menu:

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

change (for example, press

• Or move the highlight to the desired parameter and press

• Or move the highlight to the option desired and press

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

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

Once selected, change the setting as des ired (see bel ow ) and press return to the current function menu.

for Vertical Stretch in Size & Position menu).

Enter

or .

Enter

to save and

Slidebars in menus -

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

The current value for a given option,

Enter

to save (or press

Exit

to cancel).

or to gradually adjust the

Enter

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Double slidebars -

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

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

OFF

. When you are done, press

Exit

to return to your presentation. For

fast continuous adjustments, hold down the desired arrow key.

“Direct” slidebars -

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

Contrast

option

in the Image Settings menu. Direct slidebars are listed below.

LIST OF DIRECT SLIDEBARS

Tint

Posi tion

Pixel

Cont

Bright

Color

Tint

Detail

H-Position or V-Position

Pixel Tracking or Phase

Volume

Contrast

Brightness

Color

Detail

Cont

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

Enter

or or to save ( or

Exit

to save and return to your presentation.

Enter

and enter a specific

Exit

to cancel).

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

OSD*

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

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

Checkboxes -

To toggle the checkbox, simply highlight and press

Conditions are present if its adjacent checkbox contains a checkmark.

Enter

, or highlight and use to

check and

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

Pull-down lists –

labeled with a

• Highlight it and press

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

, you can:

▼

Enter

• Or enter the menu option number.

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OPERATION

Figure 3.8. Example of Pull-Down List

Use noted with a small

OFF

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

). Press

Enter

to choose an option from the list, if desired.

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

or . Press

Enter

when the desired choice appears.

Editin

Text

NOTES: 1) Press list. 2) Press

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

Exit

(such as a channel name) and press

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

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

Enter

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

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

to move the cursor backwards as desi red.

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 3.9. Entering Text

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

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

press

Func

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

Func

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OPERATION

Editin

Numerical Values

3.5 Using Inputs and Channels

PRESS

press

Enter

WHEN FINISHED:

Enter

NOTE: Press

Exit

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

To accept the edits and move out of the edit window,

text.

Enter numbers directly from the keypad in order to specify numbers representing

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

NOTES: 1) Once you enter the first digit, this digit re plac es 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 a full explanation of how to connect a variety of sources to the projector.

The projector stores and automatically recalls up to 99 different channels (source setups) for a variety of inputs. This memory feature allows you to define and conveniently use a wide variety of customized setups rather than having to repea tedly re-configure the projector for di ff eren t pres ent at ions. Each ph ysical source (i.e., input) can have several different channels associated with it.

INPUT - An input simply describes a physical location for an incoming signal

Do I Select an Input

Or a Channel?

connection. These connections are always either on the pro jector it self (one of the four inputs at the rear of the projector) or on any swit che r connec ted to the projector’s switcher port. criteria only—to which switcher it is connected and to which slot it is connected— and is identified by a 2-digit number entered on the keypad. The first digit specifies the switcher (0-9), the second specifies the slot (1-9). Note that the projector is always considered “switch er #0”.

You can switch to an input in either one of two ways. Pressing the appropriate direct key — of the four inputs connected at th e rear of the projector. Or, if your projector has a switcher connected to it at the

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EXAMPLES:

Input

Input1

Input2

Input

describes the source signal according to two specific

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

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

Input3

Input4

, or

— is a quick and seamless way to display from one

SWITCHER port, press the general

Input

key and enter

Input1

)

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OPERATION

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

Regardless of which method you use to select a source/input, the image will be displayed according to the following:

If it is the first time you have used the source/input (or if you used the input but did not define a channel by adjusting anything ), the projector will recognize the new input signal based on its frequencies and polarities, and will automatically display an image according to default settings for such a signal. Note that a graphic source will resize into a full-screen image, whereas video or HDTV sources will resize only as much as possible while maintaining the ir aspect ra tio.

If you used the source once bef ore 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 an

Input

key will automatic al ly reca ll th is

channel—and all its setup parameters—and update the display accordingly. If more than one channel exists for the input, the image will be displayed according

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

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

tailor a display to your specific needs. Since source types and applications can vary greatly, you will likely want to adjust and define a wide variety of parameters, such as brightness, contrast, tint, size, etc., in order to customize and optimize the display coming from a particular source. For example, the display settings you choose for a VCR source may be very different from those you choose for a high resolution computer source, or one signal may simply vary from another signal used earl ier through the same input location. Once you have adjusted a display parameter, such as pixel tracking or contrast, all cu rre nt set ti ng s are collec tiv ely s tor ed in the projector's memory as a unique 2-digit channel, such as channels available for the same input, any of which can be selected by using the

. You can have numerous distinct

Chan

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

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

In order to use channels ( you must first create them. See below.

To use a new source with the projector, a new

Creating a New

Channel

— AUTOMATIC —

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 (press channels in the projector are searched for match ing inpu t and sig na l param eter s. I f no match to the incoming input signal is foun d in the currently de fin ed channe ls, a new

Chan

key may display a channel

Chan

on the keypad),

Input

Input1, Input2, Input3

Channel List (

Input4

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Chan

)

), the existing

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OPERATION

channel is temporarily created based on factory-defined defaults for this signal. The

channel number assigned to this channel is the lowest available number from 01-99. NOTES: 1) An automatic channel will be discarded unless one or more of its

parameters are changed, and will not appear in the Channel List (see below). 2) If two channels have the same distinguishing source characteristics except for the reversal of sync connectors (i.e., H-sync and V-sync, are switched), they are still defined as distinct channels. 3) You cannot define a new channel without a signal present.

If the incoming signal does match an existing channel, the image will be set up and displayed as usual according to the pa ram eters currently defin ed for tha t channe l.

What Channels

Are Defined So Far?

USING A CHANNEL:

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

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

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

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

From the presentation level press 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 (see sample at right), with the active channel highlighted.

Enter

. The Channel

You can normally select a channel at any time by pressing

, or

Figure 3.10. All Channels Appear in the

Channel Setup Menu

Chan

WHAT APPEARS IN THE CHANNEL SETUP MENU?

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

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As shown in Figure 3.10, this menu

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OPERATION

SIGNAL TYPE — Either channel list, whether the

Chan

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

Table 3.1. Abbreviations for Signal Type

Abbrev. Signal Type

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

Copying or

Deleting Channels

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

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

• Press

Func

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

channels. See Copying or Deleting a Channel below.

• Press

Enter

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

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

Func

press

Enter

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

—a new channel will be created. It is identical to original, which still remains, but it is identified with the next available number from 01-99. If you change your 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.

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OPERATION

Figure 3.11. Copying A Channel

TO DELETE A CHANNEL

then press press

Func

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

Enter

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

, highlight the desired channel in the Channel Setup menu,

delete this channel.

Figure 3.12. Deleting a Channel

TO DELETE MULTIPLE CHANNELS, highlight any channel in the Chan nel Se tup menu

and press Only” and press

Func

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

Enter

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

NOTE: For any deletion, a confirmation box appears to make sure that you really want to delete. Select “Cancel” (default) if you d on’t want to delete after all.

Editin

a Channel Setu

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.

CHANNEL EDIT — STEP 1

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

CHANNEL EDIT — STEP 2

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

Enter

to display the main menu. To display the

, or move the highlight to the Channel Setup option

Enter

. The Channel Setup menu will appear.

. The Channel Edit menu will appear similar to the sample shown in Figure 3.13.

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Figure 3.13. Channel Edit Menu (SAMPLE)

OPERATION

CHANNEL EDIT — STEP 3

If desired, 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 channel number from 01 to 99 can be changed

•

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

•

SWITCHER NUMBER: “0” represents the projector i tse lf. O r, if the input

source is connected to a switcher, the default will be the lowest switcher number available (from 1-9)–change here as desired.

•

SLOT: 1 (

Input1

), 2 (

Input2

), 3 (

Input3

), or 4 (

Input4

) for projector inputs, or

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

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

•

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

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

with unchanged parameters), this defined channel will then appear in the list available when accessed via

Chan

key is pressed. If unchecked, the channel must be

Chan

on the keypad or via the Auto Source function. NOTE:

On-screen display of the channel list is an option tha t must be set in the Menu Preferences menu.

•

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

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

Chan

on the keypad—and a change in input signal will

not result in a channel change.

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

•

settings for the previous channel in the Channel Setup list.

NEXT CHANNEL:

•

Select this option to see or change Channel Edit settings

for the next channel in the Channel Setup list.

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OPERATION

3.6 Adjusting the Image

Most options for source-specific im ag e adjust ments can be accessed thr ough two menus: Size and Position (

) and Image Settings (

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

Exit

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

From your presentation, access any of the individual options in these m enus by pressing location in the menu system. For example, press

followed by the appropriate two- dig it num ber represe nt ing the ir

to quickly access the

“Color Setup” option in the Image Settings menu. For certain options, you may prefer to use a “direct key” from presentation level to

go directly to a particular option rather than traveling through the menu system at all (note: this is not available for all display parameters). For example, press access the “contrast” slidebar immediately . Press

Exit

to return to your presentation.

Cont

Auto Setu

NOTE: 1) To hide the “direct” slidebars only, make sure the Display Slidebars option in the Menu Preferences menu is unchecked. 2) To hide the entire menu system from view, toggle the on-screen display OFF: press and hold the

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

OSD*

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

Table 3.2. Auto Setup Parameters

What an “Auto Setup” Does

OPTIMIZES: SETS TO DEFAULT:

Pixel Tracking Contrast & Brightness

Pixel Phase Auto Input Level (off)

Size Blanking

Vertical Stretch Detail

Position Filter

Input Levels

(if analog source)

(if video source)

Luma Delay

key.

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Ima

e Size and Position

The two-page Size and Position menu

allows you to increase or decrease the size of your image, change its proportion (aspect ratio), move the image to a specific area of the screen, and refine other related parameters. Use Size and Position controls to match the image precisely to the screen size and aspect ratio needed for your application.

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

Exit

(press

Resize Presets

Use Resize Presets to quickly display an image in its native resolution (including anamorphic) or to automatically res ize an image to closely fit the screen. The value for Size, Position and Blanking parameters (described later) will, in turn, change as necessary without your having to set them manually. Resizing options for non-tiled applications are explained in detail below.

Figure 3.15. Resize Presets Choices

Figure 3.14. Size and Position Menu

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

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

WHEN “CUSTOM” APPEARS: The “Custom” descrip tor automatically appear s in the

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

• Select

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

your image as large as possible f or the pres ent sour ce as de scr ibed below:

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

aspect ratio. For example, 1024 x 768 becomes 1280 x 1024 in “S” models.

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

aspect ratio (assumed to be 5:4).

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

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

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

stretched vertically.

So with the exception of HDTV (16:9), the “Def ault” se tt ing produc es an aspec t ratio that is either almost or exactl y 5:4 (if “S” model) or 4:3 (if “X” model). See examples below.

NOTE: Shown with “S” model resolution (1280 x 1024). “X” models are 1024 x 768.

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

smaller or larger than the native resolution of the projector. All Size, Vertical Stretch, H-Position, V-Position or Blanking values will change acc ordingly. For example, for a source with a native resolution of 800 x 600, “No Resizing” will center a small image within a black border. Conversely, an HDTV image is wider than both 1024 and 1280 and will be cropped on the sides—or, in the case of “1080i” HDTV, cropped at top and bottom too. With “No Resizing”, signals with non-square pixels, such as video connected to distorted images that are too tall or too wide. See below.

INPUT 3

INPUT 4

, produce

• Select “FULL SCREEN” to use all pixels (1024 x 768

• Select

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in“X” models, 1280 x 1024 in “S” models) for displaying the imag e, reg ardles s of sou rce or orig ina l aspect ratio. See right. NOTE: SXGA resolution shown.

“FULL WIDTH” to fill the display from left-to-

right. Depending on the source, this may create top and bottom borders.

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OPERATION

• Select “FULL HEIGHT”

bottom. Depending on the source, this may create side borders.

• Select

• All

“ANAMORPHIC”

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

NOTE: 1) SXGA resolution shown. 2)Use “Anamorphic” for regaining a 16:9 display of non-HDTV anamorphic sources only (typically found on some DVDs, for example). For HDTV, the “Default” s et ting wil l produce the same resul t.

TILED resizing cho ice s are selecta ble only if you have defined a tiled group of

projectors in the Tiling Setup submenu. See 3.10, Using Multiple Projectors.

to fill the display from top-to-

to display an entire non-

Size

Size controls both the image width and height in tandem, maintaining the original aspect ratio (proportion) of data from the incoming signal. Under some conditions in “X” models, adjusting Size also adjusts Keystone.

NOTE: If Size

1,000,000, adjusting Size also adjusts keystone simultaneously. Requires “X”

model.

Vertical Stretch

Vertical stretch adjusts the height the image while keeping the width constant. Use Vertical Stretch to display data from the incoming signal in a different aspect ratio. Under some conditions in “X” models, adjusting Vertical Stretch also adjusts Keystone.

NOTE: If Size

1,000,000, adjusting Vertical Stretch also adjusts keystone simultaneously.

Requires “X” model.

Pixel Track

SHORT CUT:

(

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

1000 (1000 = No Resizing) and Size x Vertical Stretch value

Pixel

Press

and adjust the top slidebar.)

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OPERATION

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

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

Pixel Phase (

SHORT CUT:

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

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

Adjust pixel phase when the image (usually from an RGB source) shows shimmer or “noise”. Pixel phase adjustment is done mo st effect iv ely from within a proper test pattern, such as a smooth gray consisting of a clear pa tte rn o f tiny bla ck and white dots, or a similar graphic image, such as the Windows shutdown screen. Adjust until the image is stable and each dot is clearly defined. Using the numbers on the slidebar as a guide, you will notice that you can actually stabilize the image at more than one point—i.e., you may find that the image appearance at "11" is identical to the image appearance at "38", thus you can select either setting.

Press

Pixel

and adjust the bottom slidebar.)

Filter

Filter applies a low pass filter to the input signal . This remov es high frequen ci es which can improve pixel phase noise but which also reduces signal bandwidth. Note that most signals will not require any filter adjustment—use the filter option only if standard pixel track ing and phase ad justments do not adequately clea r up a “noisy” signal. For best results:

1. Optimize Pixel Tracking and jot down the

value.

2. Optimize Pixel Phase

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

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

4. Adjust Filter to maximize the width of the good

area. See right.

5. Return Pixel Tracking to its correct setting from

Step 1.

6. Readjust Phase.

NOTE: “Filter” affects only the current signal.

H-Position (

SHORT CUT: Press

This option moves image right or left.

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Posi tion

and adjust the top slidebar.)

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OPERATION

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

V-Position

Posi tion

SHORT CUT:

(

This option moves the image up or down.

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

Press

and adjust the bottom slidebar.)

Lens Control

SHORT CUT: Press

(

For a full description of the Lens Control submenu, see 3.3, Using the Keypad ( key) and 2.8, Zoom, Focus and Lens Offset.

Blank: Top, Bottom, Left or Right

These slidebars blank (turn to black) the top, bottom, left, or right edge of the image so that any unwanted information is cropped from view. For example, when displaying native size video you may want to blank out a few of the top lines. Do not use in combination with Keystone control.

PLL Loop Gain

This control changes the relative offset to the default gain. The default PLL (Phase Lock Loop) Loop Gain setting of 10 is set automatically with a Pixel Track ing adjustment and is correct in most cases. In rare instances, such as if your image exhibits tearing or “flag-waving”, increase the PLL loop gain setting as necessary. Or, if your image is unstable and “breaks up ”, this m ay indic at e that the PLL loop gain setting is either too high or too low. PLL Loop Gain affects the current channel only.

(STANDARD IN ROADSTER ONLY)

Lens

to activate the Lens Control submenu.)

Lens

Keystone

NOTE: This function is not available in “S” models.

Adjust the keystone control if images appears non-rectangular or keystoned in shape—that is, smaller at either the top or bottom edge. The effect of keystone adjustment is similar to physically tilting the projector forward or backward in relation to the screen, and it affects all sources.

NOTES: 1) Keystone is enabled for a source only if Size is Vertical Stretch is $1,000,000. 2) Keystone adjustment is not available in “S” models. 3) Avoid using Keystone with Blanking.

$1000 and Size x

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OPERATION

Generally, set at 50 (default) to apply no keystone—if your projector is positioned with its lens surface parallel to the screen, images will be rectangular. If images are too narrow at the bottom, increase keystone. If images are too narrow at the top, reduce keystone.

The keystone control ma y be limited when Size is just slightly greater than

1000. In general, work with image size, stretch and keysto ne controls as necessary for your application.

Plug & Display (EDID)

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

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

Image Settings

Tiling Setup

See 3.10, Using Multiple Proje cto rs (Ti ling Se tup section). Use options in the two-page Image

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

Exit

exit the menu (press Options not available for your projector model appear dimmed and are disabled.

Contrast

(

SHORT CUT: Press

slidebar.) “Contrast” increases or decreases the

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

Cont

and adjust the

Figure 3.16. Image Settings Menu

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OPERATION

Brightness

(

SHORT CUT: Press

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

Pixel Phase

(SHORT CUT: Press

See description in Size and Position section, above.

Detail

SHORT CUT: Press

(

Bright

Pixel

d adjust the slidebar.)

and adjust the slidebar.)

”Detail” adjusts the sharpness of a video image. Use is as sha rp as desired, keepi ng in mind that any increase in detail above 3 (default) will also introduce a certain degree of noise in the image. Set below 3 to filter the signal and remove noise from a noisy source. Keep at 3 to apply no detail.

Color Space

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

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

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

NOTE: For digital signals or for signals connected to space function is entirely automatic and the pull-down list disabled.

• Select

• Select YPbPr (Video)

• Select

NOTE: When certain RGB signals are fir st conne cted, the proj ect or may not initiall y recognize them as RGB and will incorrectly decode their color information as YPbPr (video). These signals can include:

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

with a standard definition televised signal (SDTV)

YPbPr (HDTV)

with a high definition televised signal (HDTV).

and until the display

INPUT 3 or INPUT 4, the color

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

• RGB signals in NTSC, PAL, SECAM frequency ranges

• Scan-doubled sync-on-green

• Scan-quadrupled sync-on-green

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OPERATION

Color Setup

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

COLOR —

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

shortcut to “Color” slidebar, press

TINT —

signals or HDTV signals. Use is displayed in your image. It is best to adjust tint while displaying an external test pattern—otherwise, i t is recommended that tint remain at its default se tt ing . For a shortcut to “Tint” slidebar, press

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

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

NOTE: The custom temperatures “User” or “Interpolated Color” can be defined in the Color Temperature Setup menu. Until defined, these custom choices all default to 6500K. See 3.8, Configuring System Parameters.

“Color” adjusts the

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

Color

at any time.

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

and until the desired balance or red-to-green

Tint

at any time.

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

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

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

experienced users only.

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

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OPERATION

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

under optimum viewing conditions for vi rtu al ly all ty pes of imag es, includ ing video, HDTV and computer graphics.

ENHANCED –

provides a more gradual rolled-off transition to maximum white. Together, these differences can improve the appearance of m any kinds of images.

HIGH AMBIENT –

and “Enhanced” settings. In high ambient light conditions, details can be seen in the dark parts of an image that would otherwise be difficult to perceive.

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

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

LINEAR –

normal source signals, it results in a picture of low contrast with highly elevated low- and mid- level grays. It should be used only with sources that have their own pre-applied gamma control.

COLOR TEMPERATURE SETUP —

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

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

This setting elevates middle gray levels compared to “Default”, and

This setting elevates low gray levels compared to the “Default”

This setting is a straight, linear transition from black to white. For

Use the Color Temperature Setup submenu to

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

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

Figure 3.17. Color Temperature Setup Menu

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OPERATION

SELECT COLOR TEMP – See Figure 3.17. Upon opening the Color Temperature

Setup menu, the current temperature appears as the top option. You can change to a different color temperature here as desired, just as in the Image Settings menu. Note that selecting a “User” color temperatu re, enables the “ W hi te L evel” options in the Color Temperature Setup—you can adjust them as desired to define or change a “User” color temperature (see “White Levels”, below). Likewise, selecting “Interpolated Color” here activates the “Interpolated Color” slidebar for defining or changing an interpo la ted color temper atu re for a connected source.

INTERPOLATED COLOR – Select this option if you need a specific color

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

WHITE LEVELS –

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

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

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

COLOR ENABLE –

working with color tem perat ur e white lev els.

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

temperature setup with that of another. This function can be particularly useful as a starting point for a new “User” color, or for accessi ng an unaltered factory default. It is disabled for all color temperatures except “User”. See Figure 3.18.

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

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

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Figure 3.18. “Copy From”

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OPERATION

To create a starting point: To set a starting point for a new custom user color temperature, select a user temperature, then highlight “Copy From” and select a temperature that is similar to wha t you want. Adjust white levels from there as desired.

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

1. Select the “User” color temperature

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

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

(such as “Factory 5400K”). These are the ca lib rated color temperatures se t at manufacture—they remain intact for the life of the projecto r.

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

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

Figure 3.19. Presets and

“Factory” Presets

Video Options

Not applicable to graphics sources.

VIDEO STANDARD — The projector

automatically detects the video standard present and displays the name of this standard here. Press select a different video standard from a complete list available to the projec tor (some will appear disabled, depending on the current incoming signal). Selecting a specific standard forces the projector to process the signal according to this standard.

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

INPUT VIDEO BLACK — This control compensates for incoming elevated black levels–

called “setup”–that are present in certain v ideo sig nals, and ensures that blacks on screen are neither crushed (i.e., with dark gray appearing black) nor excessi vel y elevated (i.e., with black appearing dark gray). By default, the pro jector automatically determines the correct setting according to the type of incom ing v ideo sig nal:

to view or

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OPERATION

• 0 IRE

•

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

VCR – This control determines to what degree the projector tol era te s sig nal

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

VIDEO TERMINATION —

to terminate the video inputs 3 and 4 (75

The input should be terminated unless

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

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

standards, and Japanese NTSC.

7.5 IRE – For most NTSC video signals.

Enter a checkmark

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

only. Enter a checkmark (default) for most decoded video sources—this activates the AGC circuit to ensure properly bright images. Delete the checkmark if a decoded video image exhibits strange color artifacts such as stripes in highly saturated colors, indicating an incompatibili ty betwee n this sour ce and the AGC.

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

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

Input Levels

NOTES: 1) It is recommended that only experienced users use the Input Levels submenu—the projec tor autom at ically optimizes input le v els for a ll but the most unusual of sources. 2) Before attempting an input level adjustment, check that overall contrast and brightness settings are near 50 and that color temperature is properly set up on an internal grayscale test pattern. 3) There must be at least one white pixel present in the image for proper “Auto Input Level” function. Leav e this con tro l off.

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OPERATION

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

automatic adjustment requ ires at least 1 white pixel in the image. Without a white pixel, input levels may produce skewed colors, particularly in non-video images.

However, for a very unusual sourc e exhibitin g overly high blacklevels (most often caused by a noisy source that causes blacklev el sp ik es), an exp er ienc ed user may prefer to use the Input Levels menu (see Figure 3.20). These adjustments, which are actually a calibration process to compensate for differences in sources and cabling, enables an experienced user to perfect the source image input levels. Note that Input Levels are of limited use with digital signals, but offer some ability to tweak poorly mastered source materials.

Figure 3.20. Input Levels Submenu

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

checkmark only if you are an experienced user and you have an unusual source that you feel needs further color temp eratu re and /or inpu t lev el adjus tm ent. Aft er ente ring a checkmark, wait for the six values to sta bilize, then delete the checkmark and exit.

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

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

NOTE: Not required for “Auto” adjustment.

Cont

•

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

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

required for “Auto” adjustment.

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

INPUT 4, as Input Levels are not applicable for digital sourc e s 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

= 50 (approx.)

INPUT 3 or

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OPERATION

only a certain color while adjusting—use the “Color Enable” option (described below).

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

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

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

produced from certain high resolution, high frequency graphic sources. Enter a checkmark if the image appears unusual l y dim, if there are horizontal stre aks across the image, or if there is significant co lor dr ift. D elete the checkmark if the image is either sufficiently bright or overly bright.

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

COLOR ENABLE –

with color temperature white levels or input levels.

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

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

levels, and may improve the accuracy of inpu t lev els set by th e Auto Input lev el function. Enabling the Peak Det ec tor act iv ate s a specia l opera ting mode that detects only pixels that are considered black or white—all other levels are displayed as a mid-level gray. When used with a 16-step grayscale pattern, where the black and white bands are known to be at the edges of the image, you can watch these isolated areas while adjusting indiv idual bl ack lev els and inpu t driv es as necessa ry . Images from this source will then display correct blacks and whites without crushing.

See Figure 3.21.

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

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

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

For the current colo r, adjust its correspond ing “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.

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

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

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

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

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

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

Figure 3.21. Adjusting Input Levels Using the Peak Detector

(RED EXAMPLE SHOWN)

Processing Mode

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

OPERATION

AUTO (default):

projector will automatically select the correct processing mode according to what input signal it detects. Use “Auto” unless you want or need to override its performance and apply a specific mode instead.

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

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

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

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

MINIMUM DELAY:

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

8-bit processing provided in the projector, resulting in smoother and clearer details in video images. This feature requires installation of optional internal hardware—the Advanced Digital Processing Module— and is disabled unless this module is present. It activates full source-toscreen 10-bit processing for a digital video source, typically connected via the optional Serial Digital Input Module or the Digital HDTV Input Module ( be noticeably improv ed, however these signals are fi rs t converted w ith 8bit processing before routing th roug h the ADP m odule.

Motion Filter

This control is most useful for smoothing out moving images from interlaced sources. In most cases the proper Motion Filter setting is automatically determined according to the type of incom ing sourc e signal. However, if your source is noisy and/or inconsistent you may wish to “force” a setting to ensure stable processing for this sour ce—if des ire d, overr ide

The

Not used in this projector.

INPUT 2). Images from analog signals (INPUT 1, 3 or 4) will also

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the default “Auto” setting by select ing the appr opr ia te m otion filter :

AUTO:

the incoming signal. Note th at th e “Still Video” filter w ill be appl i e d for RGB non-HDTV interlaced signals, and the “Motion” filter will be applied for RGB HDTV interlaced sources.

STILL VIDEO:

Note: Applied for RGB non-HDTV interlaced signa ls.

VIDEO:

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

FILM:

quality and stability.

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

GRAPHICS: For graphic images.

MOTION:

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

Dark Interval

Not available in this projector.

Invert Stereo3D

Not available in this projector.

The projector will automatically use the co rre ct m otion f il ter acc ord ing to

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

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

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

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

White Boost

Not available in this projector.

PLL Loop Gain – See description in Size and Position. Noise Reduction – requires optional ADP Module

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

Horizontal Filter – requires optional ADP Module

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

Vertical Filter - requires optional ADP Module

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

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3.7 Configuring System Parameters

System Configuration

And Diagnostics

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

NOTE: For experienced users/technicians only.

In the Configuration menu, you

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

Image Orientation

Use this pull down list to change the orientation of the image according to the orientation of your projector. If the setting is incorrect, projected images will be reversed and/or upside down, See 2.6, Operating Orientation for an illustrated explanation.

Language

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

Menu Preferences

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

MENU LOCATION —

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

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

HORIZONTAL SHIFT AND MENU SHIFT —

customized menu location.

DISPLAY CHANNEL LIST —

list whenever you press with a list icon feedback when using the dialog box while switching channels and sources during a presentation, do not enter a checkmark.

Use the pull

Figure 3.22. Menu Preferences Menu

Shift your menus as desired, creating a

Enter a checkm ark if you want to see a scrollable channel

Chan

from your presentation. These channels must be marked

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

Input

key. If you prefer to hide the channel list and input

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

DISPLAY SLIDEBARS —

Enter a checkmark to superimpose a small slidebar over the

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

Pixel

Posi tion

, , or

Bright

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

DISPLAY ERROR MESSAGES —

Choose in what way you want to be notified of errors

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

LARGE MENU FONT —

Enter a checkmark to enlarge me nus and their text. You may

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

Communications

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

Geometry

From the Configuration submenu, select the Geometry submenu to adjust your display shape,

work with the lens, define a multi-screen mapping of incoming source material, or to work with test patterns. The “Reserved” option has no function.

KEYSTONE and TILING SETUP — Refer to

Figure 3.23. Geometry Menu

descriptions under Size and Position earlier in this section. Controls are duplicated here for convenience during setup.

LENS CONTROL —

the Keypad (

TEST PATTERN — Use the pull-down list to select and display an

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

Lens

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

internal test pattern. Sel ec t OFF to turn off the display of a test pattern.

(SHORTCUT: Use

Tes t

key.)

Color and Uniformity

Use the opt ions in the Color and Uniformity submenu to define color temperature, primary color hues and/or to achieve consistent brightness throughout all display areas. This submenu is typically used in multipleprojector applications that requ ire pre cise m atchi ng

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between adjacent displays—for Roadster/Vista models, only Color Temp Setup is available.

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

locations for convenient access.

Auto Power Up

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

Diagnostics and Calibration

From the Diagnostics and Calibration submenu you can

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

TEST PATTERN —

COLOR ENABLE — Refer to description under Image Settings. FREEZE IMAGE — Enter a check ma rk to freeze (stop) an image at a single frame.

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

ODD PIXEL ADJUSTMENT

sources with Color Space set to RGB only.

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

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

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

Resize Preset in Size and Position menu.

Display a single color—choose from a “Color Enable” lis t or use the shortcuts indicated on the back of the key pad.

Refer to description under Geometry submenu.

– For

Func

key

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

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

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

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

NOTES: 1) Adjust offset before gain, since offset affects gain. 2) A value of 128 represents no change in normal odd pixel offset or gain. 3) Odd Pixel Adjustment eliminates “1 pixel on, 1 pixel off” patterns only, not any type of larger patterns.

Reserved

No function for these options.

Service

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

stem Communications

Use the checkboxes and pull-down

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

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

Figure 3.24. Communications Menu

Baud Rate

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

NOTE: 1) The baud rate setting does not affect the switcher port, which is always 9600 baud. 2) See Serial Port Connections and Appendix D for more information about cable connections between d evi ces. 3) On early models, the 2 highest baud rates are unavailable for downloading projector MAIN software.

and keys.

Enter

key—do not just scroll this control

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Front IR / Back IR

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

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

accept IR data accordingly, responding t o

default is adequate for most single-p rojec tor insta ll at ions. Sel ect

A or B

A, B or both. The projector’s

a specific protocol to prevent interfer ence when you are contr o llin g

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

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

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

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

OFF, the protocol for the

B also changes the Back

A or

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

OFF setting. This safeguard prevents accidentally disabling a keypad

while you are using it. Instead, use either the built-in keypad or the wired remote to set the remaining activ e senso r to

OFF. The projector will no longer respond to an IR

remote keypad.

IMPORTANT

Keep at “

A OR B

the current IR keypad protocol.

” unless you are sure of

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

Wired Keypad

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

B" keypad. Likewis e, the projector can be set to accept wired

A or B. If desired, you can prohibit the

A" keypad

projector from responding to a particular wired keypad protocol, or you can ensure that the projector responds to either protocol (default). You can also prevent the projector from responding to the keypad entirely. In the pull-down list, select the desired protocol.

NOTE: The wired keypad for this projector is set at manufacture to "Protocol A". See

2.10, Keypad Protocols and Conversion for information about changing the keypad protocol.

ADDING A WIRED KEYPAD PROTOCOL: To add a protocol, select the A or B option. CHANGING A WIRED KEYPAD PROTOCOL: As a safeguard, you cannot accidentally

select an option in the “Wired Keypad” list that would disable the wired keypad during use, since such options are automatic ally disabled in the list. In other words, you cannot switch to the opposite protocol or select Instead, if you want to quickly change to the other protocol, you may find it more convenient to use one of the other keypads (the built-in keypad or the IR remote) to execute the protocol change for the wired keypad. The projector will now recognize

OFF using the wired keypad.

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only the opposing wired keypad protocol. Or, if you prefer, use the wired keypad to safely change its own protocol:

1. Select the

changed (see Step 2), it will still be recognized by the projector.

2. Unplug the keypad and change the protocol in the keypad as desired. Do this

either by entering th e short- cut softw a re com m and or by hard- w iring the keypad as described in 2.10, Keypad Protocols and Conversion.

3. Plug the keypad back into the projector. Return to the Communications menu

and select the new protocol you have just set up in the wired keypad.

TURNING OFF THE WIRED KEYPAD:

you cannot use it to select the accidentally disabling the w ired k ey pad during us e. I nstead, use eit her the bui lt- in keypad or the IR remote keypad to select to the wired keypad.

Broadcast Key

Enter a checkmark if you want keypad commands sent to one projector to be relayed to all projectors in a network. Note the effect of a broadcast setting and allow y ou to con tro l a specif ic pro jecto r w hen necessary. Make sure to remove the checkmark if using the split network feature.

Projector

Enter a three-digit number (such as "001") to assign or change a number to the projector currently in use – if the current pro jector already has a number assigned, that number will appear here (see right). Numerical identity for projectors is required whenever you want to communicate with a single projector within a multiple-projector application (see Keypad). If you make a mistake in assigning or changing the projector number, press

key description in 3.3, Using the

A or B option. This will ensure that once your keypad is manually

If you want to disable the wired keypad entirely,

OFF option. This safeguard prevents you from

OFF. The projector will no longer respond

key will temporarily “ov err ide ” the

Exit

to cancel.

For complete information about controlling multiple projectors, see 3.10,

Using Multiple Projectors.

Split Network

Enter a checkmark if you have a network in which each projector is connected via both its RS-232 and RS-422 serial ports (Figure 3.25 communications will then remain on either its RS-232 or RS-422 path (depending on the controller) rather than being broa dca st to all 3 rem aining serial ports. Should a projector or path ever fail, the other path will be available as a back-up.

The Split Network feature is unnecess ary when on ly a single se ria l link is conne ct ed between any two projectors (Figure 3.25B), and will cause communication errors if these single links vary from RS-232 to RS-422 anywhere in the network. Likewise, if you have two serial links connected between any two projectors, failure to use the Split Network checkbox can also cause a communication error.

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NOTES: 1) Requires double serial links—RS-232 and RS-422—between all projectors in a network. 2) Set each projector’s Broadcast Key OFF. 3) Keypads cannot broadcast in a split network—use controller(s) instead. 4) Do not use a split network when downloading new projector software to a network.

3.8 Working with the Lamp

Figure 3.25. Split Network Checkbox — ON vs. OFF

Whenever you install a new lamp in the projector you must access the Lamp submenu (available from Main) and record the lamp serial number in the projector’s memory. You can also choose the lamp operation mode you prefer, such as maintaining a specific intensity (light output) or power level, and define the expected lamp life. Read-only information includes the lamp serial number and age.

NOTE: See 4.4, Replacing the Lamp and Filter for complete instructions on installing a new lamp in the projector.

LAMP HOURS shows the number of hours logged on the current lamp. Whenever you

record a new lamp serial number, this read-only value automatically resets to “0”, where it begins to log time for the new lamp. “Lamp Hours” also app ears in the Status menu.

LAMP S/N is the serial number recorded for the current lamp. When you install a new

lamp and enter its serial number, the number will appear here. NOTE: Read-only.

Figure 3.26. Lamp Menu

LAMP MESSAGE — Enter a checkmark if you want to enable a warning message upon

power-up that the lamp has reached the specified lam p lim it and should be replaced. Delete th e checkmark if you do not want to see this warning—instead, when your

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lamp expires, only the status in formation on the back of the projector will provide the warning to replace the lamp.

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

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

Set

LAMP LIMIT

to the number of hours you expect to log on the current lamp before replacing it. This limit typically will match you lamp warranty, but consider also that actual lamp life depends on what lamp mode(s) you use over the life of the lamp and how much light output is desired for your application. In any case, when the lamp approaches your chosen lamp limit, the Lamp Messag e (if it has been enabled ) will appear upon power-up.

NOTES: 1) If you change modes over the life of a lamp, the lamp limit you originally expected may no longer apply. 2) Turning the lamp on and off can reduce lamp life significantly, as will other factors. Limit lamp strikes to what is necessary.

Set which

LAMP MODE you want to use in order to control the

light output in your application. Although there can be exceptions, in most lamps the higher the light output or power setting, the shorter the life span of the lamp.

Figure 3.27.

Use the lamp mode that best suits your need for brightness. For example, you may simply need as much brightness as possible, which will apply maximum power to the lamp—choose

Max Brightness.

Alternatively, in a tiled application you may want to

closely match and maintain brightness levels between adjacent images—choose

Intensity for each projector, then judge by eye and set each individual intensity setting

as necessary (see “Intensity”, below). Or yo u may simply want to apply a reduced power level to the lamp at all times—choose a specific

Power wattage.

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Lamp modes are described below:

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

•

maximum power of 700W in the X3/S3/X4/S4, 1200W in the X5/S5/X6/S6 and up to 1700W (self-adjusting

) in the X9/S9. Keep in mind that the “maximum brightness” for any lam p g radually diminishes with age—images will becom e dimmer over time. The current light output level (stated as an arbitrary value, i.e. unrelated to lumens) appears in the “

•

Intensity: Brightness will remain close to a spec ified level for as long as

Intensity” box.

possible. Once you select this option, enter a number represe nt ing the int ens ity level (brightness) you wish to maintain—the projector will automatically adjust power as needed to closely maintain this in tens i ty ov er tim e. Note tha t an intensity value is simply an arbitrary value from 0-9999 unrelated to lumens levels in your model. See “

•

Power:

The power (watts) supplied to the lamp will remain at a desired level

Intensity” below.

throughout the life of the lamp. Once you select this option, enter the number of watts representing the power lev el you wish to maintain. See “

In X9/S9, a new lamp needs less than full power to achieve maximum brightness and will, in fact, limit incoming power as required to run at 75A. During the first few hundred hours of life, the lamp arc gradually changes and voltage automatically increases until the lamp is utilizing the full 1700W. This self-adjusting behavior results in less “lamp drop-off” over time---images are brighter for a large r per c e n tage of ove rall lamp l ife .

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POWER – The number shown here indicates how many watts are applied to the lamp.

In the X3/X4/S3/S4, set from 450-700 watts as desired. In the X5/X6/S5/S6, set from 800-1200 watts as desired. In the X9/S9, set from 1200-1700 watts as desired. For any model, keep in mind that lower power levels produce dimmer images. When in “

Power” or Max Brightness modes, the power level remains constant

“

Intensity” mode, the power level will change as necessary

maximum power level in

mode is the same as operating in

Power

. Specifying the

. When in

Max Brightness

mode.

NOTES: 1) Power level can be set only if the lamp is in “power” mode. 2) If you are in “Intensity” mode, the power level value will automatically increase over time as necessary to maintain the desired brightness as closely as possible, until power reaches its maximum. 3) After approximately 500 hours of use, all models using a 700W lamp require lamp power of 550W or higher. If set too low, the aging lamp can cause a projector shutdown. Upon your next power up, lamp power will automatically maximize and a message box relates “Unexpected lamp off. Power set to max.”. Use 550W or more to ensure normal operation and prevent similar shutdowns, or install a new lamp in order to reliably use lower lamp power levels.

INTENSITY – This number represents the current brightness of your lamp, decreasing

over time when you are operating at However, when you are operating in “ chosen “

Intensity

” setting.

Max Brightness or at a specific Power level.

Intensity

” mode, this value remains at your

NOTE: The number shown for “intensity” is not the actual lumen o utp ut, b ut rather an arbitrary value unrelated to lumens.

To use “

Intensity

” mode, judge by eye and set the level as desired for your application, remembering tha t hig her sett ing s can sig ni fi can tly shor ten lamp life. Over time, the projector will automatically increase the power supplied to the lamp as needed to maintain the chosen intensity as closely as possible. This is called “Brightness Tracking” or “LiteLoc”.

Keep in mind that once power reaches its maximum (see “

Power”, above), this

tracking is no longer possible. At this point, the lamp will gradually begin to dim as usual, even though your original “

Intensity

resume accurate tracking, reduce the intensity setting so that the resulting “

” value will still appear in the menu. To

Power”

value is less than its maximum—the lower the inte nsi ty , the longer it can be maintained.

Do not lower the “

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

its minimum (450 watts in the X3/S3/X4/S4, 800 in the X5/S5/X6/S6, and 1200W in the X9/S9) — the intensity settings will be inaccurate and ca nnot be maintained. Note also that lamp power of 550W (or higher) is require d for any 700 W lam p hav ing more than 500 hours on it. Make sure your “

Intensity” setting is high enough to keep

the corresponding lamp power at 550W or higher. For best results in matching intensity over in tiled images, choose an intensity set t ing that ena ble s all lamps to operate at less than the maximum number of watts available in your projector, but above 550W. See “

Power”, above.

Precise behavior with newly-installed lamps in X9/S9 is described in footnote 1 on the previous page.

Because a new lamp in X9/S9 can emit maximum brightness without initially requiring maximum power, adjusting Power or

Intensity slid e ba r s be yond this po in t pro d uc e s no ad d it i o nal light out put. This is normal for the s e mo dels.

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NOTES: 1) Lamps become more stable over time, thus a specific intensity is more easily maintained as the lamp ages. 2) Intensity can be set only if the lamp is in "Intensity" mode 3) Intensity cannot exceed the output of Max Brightness mode.

LAMP HISTORY -

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

Use

CHANGE LAMP

to record the serial number for a newly installed lamp.

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

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

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

This read-only option lists the most lamps most

Figure 3.28. Recording the New Lamp Serial Number

3.9 Projector Status

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IMPORTANT

Always DO record the serial number of a NEW lamp.

This read-only menu lists a variety of det ai ls about th e standa rd and op tio nal components currently in use on the projector. Refer to the Status menu for versions of hardware (left side) and software (r ig ht side ) instal led, the number of lam p hours logged in total and for a specific period (such as a rental period), and for your projector model name and serial number. In addition, the Status menu identifies the current channel, switcher, slot and frequencies.

ON, OFF

Use

, or

to see additional Status information.

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3.10 Using Multiple Projectors

Assigning a

"Projector#"

Controllin

One Projector

Figure 3.29. Status Menu

When working with multiple projectors, you may want to use the RS-232 or RS-422 serial ports to chain the projectors together in a network that you control from either a keypad or a computer/controller (see 2.9, Serial Por t Conne ctions). Or you m ay prefer that each projector stands alone, but is controll ed with a comm on IR remote key p ad. You can also tile a single incoming image among multiple displays in a videowall, with each display making up a portion of the total image. In such cases, you can switch back and forth between broadcasting to all projectors or controlling each projector individually.

Make sure you have assigned a unique projector number to each projector present —

this number will be required in order get the exclusive attention of an individual projector. To assign a projector number:

Press Scroll down to "Projector#" and enter a valid three-digit number (000 to 999) for identifying the current pr oje ct or. Press

Repeat for each projector, using a unique three-digit number for each. Once every projector has its own number, you can begin to control the network.

First make certain that only one (any) networked projector has its "Broadcast Keys"

option selected (checked) and IR sensors enabled — the remaining projectors must have the “Broadcast Keys” option unchecked and their keypads disabled (do this in the Configuration / Communications menu). The "Broadcast Keys" projector will then relay keypad commands to the other projectors. If using a wired remote, make

and select the Configuration menu, then the Communications submenu.

Enter

to accept the entry, or

(SAMPLE)

Exit

to cancel.

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sure to select the “Broadcast Keys” option for the projector to which the wired remote is connected.

Broadcasting to

All Projectors

Tiling An Image

Across Multiple Displays

To work with a single projector, press projector. Enter the three-digit number you have assigned to the projector you wish to control. All keypad comm ands will then affect thi s projector exclus iv ely un til you press

again and enter a different number, or until you switch to broadcast mode (below).

NOTES: 1) If you are using a computer or contr ol ler to issue commands, use the correct RS-232 software command to gain control of a single projector.

First make certain that only one (any) networked projector has its "Broadcast Keys"

option selected (checked) — the remaining projectors must have the option unchecked and their keypads disabled (do this in Configuration / Communication menu). The "Broadcast Keys" projector will then relay keypad commands to the others. If using a wired remote, make sure to select the “Broadcast Keys” option for the projector to which the wired remote is connected .

On either the IR remote or wired k e ypad, press Press all projectors.

NOTE: 1) If you are using a computer or controller to issue commands, use the correct RS-232 software command to broadca st.

Tiling an image means that multiple adjacent

displays work togethe r to form a single image, like a tiles in a mosaic. This videowall concept contrasts with other multiple-projector applications in which each display is a complete and independent image. Use the Tiling Setup menu as described below (accessed via the Size and Posi tio n menu or Configuration/Geometry menu) to configure a maximum of 16 displays (4 x 4) into one single-image videowall or tiling array.

again without entering a number — the keypad commands will now affect

to display an editable window from each

to display the projector box.

Defining the Videowall

NUMBER OF ROWS –

your videowall. Each projector must have the same setting.

NUMBER OF COLUMNS – Use the slidebar to define the number of colum n s (1-4)

present in your videowall. Each projector must have the same setting.

PROJECTOR ROW AND PROJECTOR COLUMN – For each projector, use these two

slidebars to define the projector’s unique row-and-column location within the videowall. Any videowall begins with the top left corner display as Row 1, Column

1. See Figure 3.30.

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Use the slidebar to define the number of rows (1-4) present in

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OPERATION

Figure 3.30. Tiling Setup (Example of 4x4 Array)

Resizing the Videowall Image

RESIZE PRESETS –

described above, select a desired tiled resizing method. Sections of incoming data will then automatically map to the appropriate “row,column” address in your videowall, filling the wall with a com plete image that is scaled as you have specified.

When your multiple-projector tiled array has been defined as

NOTES: 1) Tiled resizing options are enabled only if you have defined an array of two or more projectors as described above. 2) Use the same tiled resizing option for each projector in your array, regardless of the number of rows and columns in the array. 3) Whether the wall produces a black border or a cropped image depends on the aspect ratio and resolution of the incoming source.

• For each projector, select “Tiled Full Size” to

fully fill all screens in the wall. Each section of incoming data will be scaled horizontally and vertically to fill the screen to which it automatically maps. See right. Note this option does not necessarily maintain aspect ratio.

• For each projector, select “Tiled Full Width”

to fill the videowall from left-to-right while maintaining aspe ct ra tio. This ty pica l ly creates a top and bottom black border on the wall, and is best suited for HDTV signals. See right.

NOTE FOR LARGE ARRAYS: 1) In large arrays having 3 or 4 rows, the center row(s) will automatically fill. 2) Screens with very little or no image will be blanked (cropped).

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• For each projector, select “Tiled Full Height” to

fill the videowall from top-to-bottom while maintaining the incom ing aspec t rat io. This typically create s a black borde r on the left and right edges of the wall. See right.

NOTE FOR LARGE ARRAYS: 1) In large arrays having 3 or 4 columns/rows, the center screen(s) will automatically fill. 2) Screens having very little or no image will be blanked (cropped).

• For each projector, select “Tiled Anamorphic”

to fill the videowall from left-to-right while maintaining the incom ing “wides cr een” (anamorphic) aspect ratio of 16:9. This typically create s a black borde r at the top and bottom edges of the wall. See right.

NOTE FOR LARGE ARRAYS: 1) In large arrays having 3 or 4 columns/rows, the center screen(s) will automatically fill. 2) Screens having very little or no image will be blanked (cropped).

3.11 Error Conditions

Large Displays and 10-bit Processing

When processing sources through the optional ADP module, you may have to crop the extreme top and bottom edges of the image OR map to fewer screens (see right).

Occasionally the proje cto r may encounter an error condition that interrupts normal operation. Such a condition can be caused by an invalid user entry, an input signal error (most common) or other system error.

If you would like to be notified on-screen of such errors, select the “Screen” option from the “Display Error Messages” pull-down list (in Menu Preferences Menu). If you would like to be notified via a serial communication only, select the “RS-232” option instead. To receive both notifications, select “All”. To disable error messages (except for invalid user entries) , selec t “Off”.

NOTE: Error messages also always appear at the rear LCD next to the keypad.

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User Errors

Input Signal Errors

Invalid User Entry

Any keypad entry not recognized by the projector will trigger an on-screen error message describing the problem. For example, if you specify a channel number that has not been defined, the message “Invalid Channel will appear. Or if you try to enter the wrong password, you’ll see “Invalid Password”. Press message and eliminate the message box.

NOTE: Displaying of “Invalid User Entry” messages cannot be disabled, even if Display Error Messages has been set to “Off”.

Input signal errors messages appear when you are in presentation level (i.e., when

there are no menus present) and have selected an input on which the projector detects a problem. While menus remain operational and pressing any key will temporarily remove the message from the screen, you must resolve the signal problem in order to permanently eliminat e the messag e .

NOTE: Input signal messages appear on-screen only if Display Error Messages has been set to “Screen” or “All”.

No Signal

The message "No signal" appears when there is no signal detected at the selected input. Both HSYNC and VSYNC are inactive and the screen background is black. Connect or correct the signal, or select another inp ut.

Enter

Exit

to confirm the

System Warnings / Errors

Bad Sync

The message "Bad Sync" is displayed when HSYNC or VSYNC are active but the signal cannot be displayed. Such a condition occurs when only one of the two signals is present, or when either signal is unstable or of the wrong frequency. Co rrect 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 indicatin g th at 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 is.

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 steady red “Power” LED and a flashing red- and- yellow error code on the “Status” LED. This condition indicates 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 message 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

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will remain operational, the message indicates the presence of a serious problem that should be reported to the manufacturer. You can press but for best results you should reset the projector—power the projector down and up again with the

System Errors

A system error message indicates that a serious malfunction has been detected and must be reported to the manufacturer (see Status LED Codes, below). The projector will no longer operate and must be reset—power the projector down and up again with the

The Status LED Codes

If the "Status" LED on the back of the projector repeatedly flashes a pattern of yellow and red light while the "Power" LED glows a continuous red, you have encountered a likely system error requiring the attention of a qualified service technician (see System Warnings and System Errors, above). Try resetting the projector by powering it off and on again, cooling when necessary. Consult Table 3.3 and contact your dealer if the problem persists.

The specific pattern of flashing indicates the 2-digit code identifying the type of problem encountered—the number of yellow flashe s represen ts the fi rs t dig it and th e number of red flashes indicates the second digit. For example, a pattern of “yellowyellow-red-red-red” is “Code 23”, meaning the lam p ballas t (power supp ly ) is overheated. These codes are listed in Table 3.3.

key.

to remove the message,

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Table 3.3. System Error Codes

Code Description

GENERAL

12 Software bug. Contact dealer/factory. 13 CRC error in flash ROM. Download new software. 14 Replace IPM 15 Attempting to download code without being in boot mode 16 Invalid interrupt. Power off/on. If persists, contact dealer/factory.

LAMP / BALLAST

21 Unable to turn the lamp on 22 Lamp is overheated 23 Lamp ballast (power supply) is overheated 24 One or more of the lamp interlocks are open 25 Lamp may be on before being turned on 26 Cannot read valid lamp ballast ID 27 Unexpected lamp shut-off 28 Lamp not installed

IMAGE PROCESSOR MODULE

31 Boot code CRC failed 32 Unable to program the Sync Xilinx part 33 Unable to program a device on Altera programming bus 34 Unable to program a device on JTAG programming bus 35 Unrecognized ROM type 36 Write to flash ROM failed 37 General IPM failure 38 Code being downloaded will not fit in ROMs

PANEL DRIVER MODULE / LIGHT ENGINE ELECTRONICS

41 Unrecognized Panel Driver Module (PDM) 42 Unable to program a device on Panel Driver programming bus 43 Panel Driver/optical system communication problem 44 Red Formatter/flex cable problem 45 Green Formatter/flex cable problem 46 Blue Formatter/flex cable problem 47 Mixed Formatters 48 Download failure in display engine

POWER & COOLING

51 Fan #1 failed (part of Cooling Module) 52 Fan #2 failed (part of Cooling Module) 53 Fan #3 failed (side fan, bottom—connects to J38 on ICM) 54 Fan #4 failed (side fan, top—connects to J39 on ICM) 55 Low voltage power supply failed to turn on

MOTOR CONTROL MODULE (not in all projectors)

61 Problem communicating with MCM 62 Unable to program the MCM field-programmable gate array

INTERCONNECT OR CHASSIS I.D.

71 Unable to access EEPROM on the ICM 72 EEPROM memory has re-initialized

VIDEO DECODER MODULE (INPUT 3 OR 4)

81 Unable to program the video decoder (VDM)

OPTIONAL INTERFACE MODULE

91 Unable to program the option card

If you encounter a system error, try resetting the projector by powering it off and on again (cooling if necessary). Contact dealer/factory if error persists.

OPERATION

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Vista X/S5, X3, S3, Roadster X6, Roadster S6 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual