RPMSP & CSP70
Dual UHP Series
User’s Manual
Table of Contents
Projector Overview ......................................................................................... 1-1
Components..................................................................................................... 1-2
Purchase Record and Servicing....................................................................... 1-2
1.1
1.2
1.3
1 INTRODUCTION
2.1
2.2
2.3
2.4
Connecting Sources......................................................................................... 2-1
Connecting Communications.......................................................................... 2-4
System Integration – GPIO Connector............................................................ 2-9
Power Connection......................................................................................... 2-10
2 INSTALLATION &
SETUP
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.8
3.9
About the Projector ....................................................................................... 3-1
Using the Remote Keypad .............................................................................. 3-2
Navigating the Menus ..................................................................................... 3-8
Using Inputs and Channels............................................................................ 3-12
Adjusting the Image ...................................................................................... 3-17
Adjusting System Parameters and Advanced Controls................................. 3-32
Working with PIP and Seamless Switching.................................................. 3-42
Working with the Lamp ................................................................................ 3-45
Status Menu ................................................................................................. 3-49
3 OPERATION
3.10 Using Multiple Projectors ............................................................................. 3-49
3.11 Remote Control of the Projector ................................................................... 3-59
3.12 Error Conditions ........................................................................................... 3-60
4.1
4.2
4.3
4.4
Warnings and Safety Guidelines..................................................................... 4-1
Cleaning and Maintenance Guide ................................................................... 4-3
Replacing Remote Batteries............................................................................ 4-5
Lamp and Filter Replacement ......................................................................... 4-5
4 MAINTENANCE
5.1
5.2
5.3
Power .............................................................................................................. 5-1
Displays........................................................................................................... 5-2
Ethernet........................................................................................................... 5-4
5 TROUBLESHOOTING
6 SPECIFICATIONS
APPENDICES
6.1
Specifications.................................................................................................. 6-1
Appendix A: Glossary ............................................................................................... A-1
Appendix B: Keypad Reference.................................................................................B-1
Appendix C: Serial Communications.........................................................................C-1
Appendix D: Auxiliary Fan Connector...................................................................... D-1
Appendix E: System Integration.................................................................................E-1
Appendix F: Optional Input Modules ........................................................................F-1
NOTE: Due to continuing research, all information in this manual is subject to change without notice.
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Section 1
Introduction
GraphXMASTER RPMSP-D100U and CSP70-D100U products are based on single
chip DLP(Digital Light Processing) technology by Texas Instruments with SXGA+
resolution.
1.1
Projector
Overview
The RPMSP-D100U is a dual lamp
projector that is specially designed
for rear screen projection. This
purpose-built projector has a
flexible mounting base, which
allows it to be fitted with a variety
of mounting systems in either a 0-
degree or 90-degree configuration.
The 6-axis adjuster also allows for
Figure1.1 RPMSP-D100U
precise geometric alignment with
the screen – an important feature
especially for rear screen tiling applications.
The CSP70-D100U display cube is an ideal choice for a complete solution in a variety
of ever demanding 24/7 control and operations centers. The CSP70 provides the same
alignment features as the RPMSP along with uniform brightness and ultimate color
matching ability – extremely important in tiled display walls where a single seamless
image may be required.
Key features
◊
true SXGA+ (1400 x 1050) native resolution with other resolutions fully
scaleable
◊
◊
◊
◊
◊
◊
◊
◊
◊
◊
◊
◊
◊
Variable Brightness (dependant on lamp power and white boost setting)
Contrast Ratio – 1100:1
24-bit RGB display
Control with IR or wired keypad
User selectable Dual lamp or Single lamp operation modes
Automatic lamp switching for continuous operation
Intuitive user menu system
Built-in RS-232 and RS-422 ports for computer and network projectors
6-axis adjustment mechanism for image geometry adjustment
Low distortion lens (0.7:1 or 1.16:1)
Built in RS-232 for control via external computer, etc.
Lens horizontal or lens vertical configurations (CSP70, lens vertical only)
Modular, industrial design for ease of servicing and installation
For a complete list of product specifications, see Section 6.
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Section 1: Introduction
Each projection system is provided with a User’s Kit, which includes items required
in the setup and maintenance of the projector. Check the User’s Kit to ensure you
have received the following items:
1.2
Components
♦ User’s Manual
♦ Installation Guide
♦ IR remote keypad with batteries
♦ Assorted ball nose drivers
♦ Bracket for 90° configuration change (refer to Installation Guide for instructions)
Additional User’s Kits can be purchased through Christie.
RPMSP & CSP70 User’s Kit (102-108001)
Whether the projector is under warranty or the warranty has expired, Christie’s highly
trained and extensive factory and dealer service network is always available to quickly
diagnose and correct projector malfunctions. Service manuals and updates are
available to service technicians for all projectors.
1.3
Purchase
Record and
Servicing
If you encounter any problems with the projector and require assistance, contact your
dealer or Christie Digital Systems. Fill out the information in the table below and keep
with your records for future reference.
Purchase Record
Dealer:
Dealer Phone Number:
Projector Serial Number:
Purchase Date:
Installation Date, if applicable:
NOTE: The projector serial number can be found below the adjustment mechanism on the mounting plate.
You can also register your product on-line by visiting www.christiedigital.com ⇒
Service and Support ⇒ Product Registration. This will keep you in touch with all
the latest product information, such as updates, technical bulletins, downloads and
Christie newsletters.
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Section 2
Installation & Setup
This section includes information on the setup and connection of various sources to
the projector. Sources should only be connected after the projector has correctly been
installed. For mechanical installation and first-time setup instructions, refer to the
separate Installation Guide provided in the User’s Kit.
Sources connect to the Input Panel located at the back of the projector. See Figure 2.1.
2.1. Connecting
Sources
The upper right corner (INPUT 1) typically accepts an RGB signal from an external
analog RGB source, or it can also be used for YPbPr signals or additional video
sources. Just beside these BNCs, the DVI-I connector (INPUT 2) accepts digital or
analog display signals from a computer. Connect analog composite video at INPUT 3
or S-video at INPUT 4 from devices such as VCRs, laser disc players or DVD players.
There are also several optional interfaces available for connecting other sources—
these interfaces slide into the remaining unused option slot, and can be done while the
projector is running.
Figure 2.1. Input Panel
NOTES: 1) See Section 6, Specifications for details regarding compatible inputs. 2)
Use high quality shielded cables only for all connections.
INPUT 1 consists of 5 BNCs (connectors) for linking to a variety of sources. The
typical connection would be to an RGB source such as a PC, Mac, DEC, Sun, SGI and
others. This projector supports multiple sync types with RGB signals: sync-on-green,
composite sync, and separate H & V syncs.
RGB Signals '
NOTE: Depending on your source, you may need a custom adapter cable with BNC
connectors at the projector end and a different type of connector at the other (such as
a 15-pin "D" connector for some computer sources). Contact your dealer for details.
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Section 2: Installation and Setup
Connect the SYNC BNC input(s) first. Then connect the red, green and blue source
outputs to the RED, GREEN, and BLUE BNCs on the INPUT 1 panel. If the source uses
sync-on-green, only the red, green, and blue connections are required. If the source
provides a composite sync output, connect it to the SYNC input labeled HOR/COMP. If
the source provides separate horizontal and vertical sync outputs, connect horizontal
sync to the SYNC input labeled HOR/COMP and connect vertical sync to SYNC input
labeled VERT. See Figure 2.2.
Figure 2.2. Connecting RGB and Sync
NOTES: 1) If for some reason the projector fails to recognize a signal as an RGB
signal, specify this Color Space option within the Image Settings menu. See 3.5
Adjusting the Image. 2) To connect YPbPr signals–such as from DVDs or analog HDTV
sources–to INPUT 1, use the red, green and blue BNCs as described in YPbPr Signals
(below).
Connect a YPbPr signal (component video) to INPUT 1 or INPUT 2 as shown in Figure
2.3.
YPbPr Signals '
(COMPONENT VIDEO)
NOTES: 1) If, for some reason, the projector fails to recognize a YPbPr signal,
specify this Color Space option within the Image Settings menu. See 3.5, Adjusting
the Image. 2) Do not connect digital component signals (known as YCbCr) to INPUT
1. Install an appropriate optional module in INPUT 5 for this.
Figure 2.3. Connecting YPbPr sources
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Section 2: Installation and Setup
INPUT 3 and INPUT 4 provide simultaneous connection of both a composite video
source (INPUT 3) and an S-Video source (INPUT 4). See Figure 2.4.
Composite and S-Video '
Figure 2.4.Connecting Composite or S-Video sources
Use the DVI-I connector at INPUT 2 to connect either analog or digital video devices
to the projector. When connecting devices that transmit an analog video signal such as
VCRs, laptops, and PCs use the DVI cable provided with the projector. Plug the
DVI-I (single link) connector end to the projector and the 15-pin VGA connector to
the device.
DVI Digital Video '
Use a cable with DVI-I connectors at both ends to connect devices that transmit
digital and analog video signals such as high-quality DVD players, satellite receiver
and digital cable TVs.
NOTE: 1) To ensure true digital output from devices that transmit digital signals,
connect to the DVI-I connector. 2) DVI loop through is not available unless you have
the optional DVI Input Module installed at INPUT 5.
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Section 2: Installation and Setup
Optional modules allow you to increase your total number of inputs and/or
accommodate different signal types, whether analog or digital. Install in the areas
labeled INPUT 5. Options include:
Optional Inputs '
•
•
•
•
•
•
•
RGB 500 Input Module
RGB 400 Active Loop Thru Input Module
RGB 400 Buffered Amplifier Input Module
PC250 Analog Input Module
Serial Digital Input Module
DVI Input Module
Dual SD/HD-SDI Module
NOTES: See Appendix F, Optional Input Modules for a brief description of each
interface.
As an alternative to the projector’s keypad or remote, you may wish to communicate
with the projector using a PC or other controller. Such a device sends commands and
receives feedback via serial links (RS232 and RS422), Ethernet or GPIO
communications to the projector, all described below.
2.2
Connecting
Communications
As desired, direct the projector’s IR remote keypad towards the display screen or the
projector’s IR sensors. Alternatively, connect a wired (tethered) version of the remote
to the mini stereo connector labeled REMOTE on the projector’s input panel. Note that
response to a wired keypad must also be enabled in the Communications menu—see
3.6, Adjusting System Parameters and Advanced Controls for more information.
Remote Keypads '
There are two types of serial ports available on the projector: RS232 and RS422. You
can connect a device with a serial interface, such as a computer to either of these
connectors (not both) and control the projector remotely by entering specific serial
communication commands.
Serial Port Connections '
Connecting RS-232
The two 9-pin DIN connectors labeled RS232 IN and RS232 OUT on the input panel
are dedicated to serial communication. Using the appropriate serial communication
cables (see Appendix C) connect the controlling source, such as a personal computer
to the RS232 IN connector. Then set the baud rate to match that of the computer.
Refer to Section 3 for details on changing the projector’s baud rate.
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Section 2: Installation and Setup
Figure 2.5. Connecting RS232
Connecting RS-422
If you wish to control the projector with a computer and or other controlling device
with RS-422 capability, connect a RS-422 serial communication cable between the
computer and the RS-422 port on the projector. RS-422 is better suited for serial
communication over long distances then is RS-232 communication.
Use the RS-422 port only if your device has RS-422 capability – always consult
the literature provided with your equipment before connecting. Connecting to the RS-
422 port with incompatible equipment could damage your projector.
Connect a RS422
device only.
Figure 2.6. Connecting RS422
Ethernet Communications
To add the projector to an existing Ethernet network with other equipment such as
controllers and other projectors, connect standard CAT5 Ethernet cable between your
Ethernet controller (or hub) and the Ethernet port on the side of the projector.
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Section 2: Installation and Setup
CONNECTING TO A PC: If you are connecting the Ethernet port directly to a PC (rather
than a network or hub), make sure to use a crossover Ethernet cable. Keep in mind
that an Ethernet link cannot be used for downloading a software upgrade to the
projector—use RS232.
Figure 2.7.
Upon connection to an Ethernet network, the projector’s factory default IP address of
0.0.0.0.0 will automatically enable the DHCP function (if available on the network) to
assign a new IP address that is valid and unique for that network. Or, if there is no
DHCP function available on the network (or if a specific static IP address for the
projector is preferred or required), you can set the address in the Ethernet Settings
menu or via an ASCII serial command.
Regardless of how it is assigned, once a projector has a valid and unique address it
will respond to commands sent to this address. To determine the projector’s current IP
address, consult the Status or Communications menus.
Refer to Section 3 for further information about setting up and using a projector
connected via Ethernet.
RS-232 NETWORK: If you want to connect multiple projectors in a network with serial
communication, connect the controlling source to the RS232 IN connector of the first
projector in the network. Then take another serial communication cable and connect
one end to the RS232 OUT connector and the other end to the RS232 IN connector of
the next projector. Continue this pattern of connection with all projectors in the
network. The last projector in the network will only have a connection to the RS232
IN connector. See Figure 2.8.
Connecting Multiple '
Projectors
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Section 2: Installation and Setup
Figure 2.8. RS232 Network
MIXED NETWORK: To control multiple projectors with a computer/controller having an
RS422 interface, first set them all to the same baud rate as your RS422 controller.
NOTE: You must enable this combination of RS422 and RS232 in the
Communications menu. Set the “Network Routing” option to “RS232 and RS422
Joined”. See Section 3 for details.
Then chain the projectors together by connecting an RS232 port of the first projector
(already connected to the computer/controller through the RS422 port) to an RS232
port on the next projector in the chain. Continue connecting projectors in this manner
until you’ve reached the last projector in the chain, so that only the last projector has
one unused RS232 port. See Figure 2.9.
Figure 2.9. Mixed Network
Note that communication parameters such as baud rate must be set to match the
particular controlling device before connecting as a network—refer to the
documentation that came with your controlling device in order to determine the proper
baud rate. See 3.6, Adjusting System Parameters and Advanced Controls if you need help
changing the projector baud rate. In addition, set the Network Routing to “RS232 and
RS422 Joined” if you want to reach all projectors.
NOTES: 1) To avoid damage, connect only properly wired serial communication
cables. See Appendix C for details. 2) It is recommended that each RS232
communication cable be no more than 25 feet in length. Use high quality cables.
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Section 2: Installation and Setup
ETHERNET NETWORK SETUP: To add one or more projectors to an Ethernet network,
use standard CAT5 cable to connect each projector’s Ethernet port to a hub belonging
to the network. A controller or PC must also be connected to the hub. See Figure 2.10.
Figure 2.10. Typical Ethernet Network
SETTING THE PROJECTOR’S IP ADDRESS: Upon connection to most Ethernet
networks, each projector’s factory default IP address of 0.0.0.0 triggers the network’s
DHCP (Dynamic Host Configuration Protocol) server function to automatically assign
an IP address that is valid and unique for use on that network. Depending on the
network, this DHCP-assigned IP address usually remains stable for a single session,
but may change with subsequent power-ups and logins. On some networks, the
address will remain stable from session to session. In all cases, the projector’s IP
address and port appear in the Status menu as well as the Ethernet Settings submenu.
See Figure 2.11
Figure 2.11. Setting the Projector’s IP Address
Note that if a projector’s IP address is anything other than 0.0.0.0 (shown as
000.000.000.000 in the Ethernet Settings menu) upon connection to an Ethernet
network, or if DHCP is not available on the network, the automatic DHCP server
function for supplying a valid and unique IP address to the projector is disabled.
Instead, a specific and static IP address must be defined in projector memory—enter
the new address in the Ethernet Settings submenu, or send to the projector via a serial
command. The IP address will be in effect until it is changed again, or until the DHCP
checkbox is re-enabled for use with a DHCP server on the network.
NOTES: Only the port and IP address of the projector can be changed. The subnet
mask is fixed (255.255.255.0).
CHANGING THE PORT#: On some Ethernet networks, firewall restrictions may require
that the port number of the projector be changed from its default of 3002. If so, enter a
new port number in the Ethernet Settings menu or include the new port# in an XIP
serial command sent to the projector.
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Section 2: Installation and Setup
By default, communications originating from one type of serial controller—RS232 vs.
RS422 vs. Ethernet—stay on the corresponding network path. This separation is
indicated by a “Separate” setting for “Network Routing” in the Communications
menu. If you are using an RS422 controller, for example, it will communicate only
with the projector to which it is connected unless you change this setting to either
“RS232 and RS422 Joined” or “All Joined”.
Separating Networks '
To relay all messages to all ports—RS232, RS422, and Ethernet—set the “Network
Routing” option in the Communications menu for each projector to “All Joined”. This
configuration is useful if you are using a non-RS232 controller with the RS232 linking
available between these projectors. For example, you may want to use both an RS422-
compatible controller and an Ethernet-connected PC for working with a network of
projectors linked via their RS232 in/out ports (Figure 2.11).
Communicating to '
All Ports
Figure 2.12. Joining All Networks
To isolate just RS422 communications, select “RS232 and Ethernet Joined”. In Figure
2.12, only projector #3 will respond to the RS422 controller. To isolate just Ethernet
communications, select “RS232 and RS422 Joined”—only projector #1 will respond
via Ethernet.
General Purpose Input Output
2.3
System
The GPIO connector on the input panel can be used to provide a method of interfacing
a wide range of external I/O devices to the projector.
Integration -
GPIO
Connector
Refer to Appendix E: System Integration for complete details on pin configuration
and how to program the various pins on the connector.
Figure 2.13.
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Section 2: Installation and Setup
Plug the line cord to the AC receptacle located in the bottom left corner of the Dual
Lamp Module (DLM), and the 3-pronged end into a grounded AC outlet. The input
voltage to the projector must be capable of 100 - 240 VAC. (See also Section 6 –
Specifications for complete details on all power requirements.)
2.4
Power
Connection
Use the approved North American-rated line cord supplied with the projector. If you
are connecting to an area outside of North America make sure you are using an
appropriately rated line cord.
Always power down the projector before unplugging the AC line cord. Wait
approximatley10 minutes for the lamps to cool sufficiently before unplugging the
projector.
WARNINGS
Do not attempt operation if the AC supply and cord are
not within the specified voltage and power range.
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Section 3
Operation
This section explains how to effectively operate the projector once it has been
installed. It is recommended that you read this section and familiarize yourself with
the components and the available menu options before you begin using your projector
for the first time.
Refer also to the Installation Guide provided with your projector for installation and
setup information.
The projector’s modular architecture is best suited for control room and mission
critical environments where ease of servicing is a must and down time must be kept to
a minimum. A brief description of each module has been provided in this section.
Knowing your projector will help you in times where troubleshooting is necessary.
3.1
About the
Projector
Figure 3.1. Identifying Projector Components
Projection Head Module (PHM)
The PHM module is the centermost module of the projector. It contains the projection
lens (0.7:1 or 1.16:1), IR sensor, color wheel, DMD and other optical components. It
also provides the electrical interfaces required to drive these components.
The PHM is connected to the adjacent DLM module. As an assembly, the two
modules are mounted to the 6-axis adjustment mechanism. With a quick changeover
in mounting brackets the PHM can be removed, rotated 90°, and re-mounted for rear
screen projection applications where a first surface optical mirror is used.
Dual Lamp Module (DLM)
The DLM connects to the adjacent PHM module by a specially designed coupling that
allows rotation of the PHM module only This module houses the two 100W UHP
lamps, two lamp drivers, a 390V high voltage power supply (HVPS) and cooling fans.
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Section 3: Operation
The DLM is designed to remain in a horizontal position and does not get
rotated 90° like the PHM when the configuration of the projector is changed.
AC RECEPTACLE - Connect the appropriately rated line cord supplied with the
projector to the AC receptacle on the DLM. Before unplugging a projector,
allow the cooling fans to turn off.
LAMPS - Two, 100W UHP lamps are housed in this module and are
accessible by opening the lamp doors located at the top. Before replacing a
lamp, read the procedure and safety and warning guidelines provided in
Section 5.
Electronics Module (EM)
The EM module contains the main electronics and input connectors of the projector. It
is vertically mounted to the tray using a separate mounting bracket. Also located on
this module are two, 7-segment windows. The projector’s status and any 2-digit error
code will be displayed in this window. In addition to the numeric readout, there are
two decimal points in the display: the right decimal point flashes when the projector
receives a command, and the left point flashes when the projector sends a command.
6-Axis Adjuster
The projector provides the ability of modifying the geometry of a displayed image
using the uniquely designed 6-Axis adjustment mechanism. This mechanism is
shipped from the factory in a nominal position and can be adjusted using a 3/16” ball
driver. All adjustments made to the adjuster can be “locked” into place by tightening
the lock screws and setscrews. Instructions and tools required to adjust the 6-axis can
be found in the User’s Kit.
3.2
Using the
Remote
Keypad
Laser radiation is emitted from the laser diode in the remote. Do not look
directly into the beam of the remote.
The projector is controlled via an IR remote keypad. The keypad accesses various
menus in which settings can be changed and saved into memory (called channels).
There are 50 channels in which you can store customized settings for various sources.
Keypad Commands '
The IR remote keypad provided in the User’s Kit provides the user with wireless
control of the projector of up to 100 feet away. The most effective method of
operating the projector is by facing and pointing the keypad directly at the screen.
There is only one IR sensor that picks up the transmissions of the keypad and it is
located just below the lens. It is important to keep the transmission path clear because
any obstruction will limit if not prohibit transmission of commands.
NOTE: This keypad has a single IR protocol and can be converted to a wired remote
by connecting the cable provided with the projector to the mini stereo connector
labeled as REMOTE on the input panel.
The IR remote keypad controls the projector by way of wireless communications from
a battery-powered infrared (IR) transmitter. Use the IR remote keypad the same way
you would use a remote keypad supplied with a TV or VCR. When making key
presses, direct the keypad either toward the screen or toward the front of the projector.
IR Remote '
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Section 3: Operation
The IR sensor on the projector will detect the signals and relay the commands for
internal processing. See Figure 3. 2.
You can convert the IR remote into a wired remote keypad using the cable provided
with the projector. Connect one end into the remote and the other to the mini stereo
connector on the input panel labeled as REMOTE. The wired remote is recommended
when:
Wired Remote '
•
•
the lighting conditions are unsuitable for proper IR transmission
you want to use a separate keypad for each projector in a group
NOTE: Leave the batteries in the wired remote for the laser key (
) to work.
Figure 3. 2.
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Section 3: Operation
Guide to Keypads '
Keep in mind the following guidelines:
•
•
Press keys one-at-a-time; there are no simultaneous key combinations required.
OSD
Power
and OSD
—are “press-and-hold” keys that do not function with a
typical quick press-and-release key press.
•
Hold arrow keys down for continuous adjustment/movement in one direction. In
serial networks, pause briefly between adjustments to ensure that more distant
projectors can “keep up” with the commands.
•
If you press a key while the projector is still responding to the previous action,
such as during power-up, the second key press may not take effect.
Specific keypad commands are explained below:
Keypad Commands '
Power ON/OFF
Press and hold
briefly (or press two times quickly) to toggle the projector on or
off with a single keystroke. Or press and release
followed immediately by
(on) or
(off) to guarantee the correct toggle (useful if you are unsure of the
present state).
NOTES: 1) After powering down, the lamp cooling fan remains on for approximately
5 minutes to cool the lamp. 2) It is a good idea to avoid turning a projector back on
until it has been off for several minutes. Hot re-strikes of the lamp may reduce lamp
life.
Test
Test
Test
Press
to scroll through the projector’s internal test patterns. When a test pattern is
to scroll through the patterns without going back to the input.
up, use
Auto
Setup
Auto
Press
Auto
Setup
to initiate an automated process in which the projector optimizes critical
display parameters such as size, position, pixel tracking, etc., for the current unlocked
channel. These parameters are listed in Table 3.1. An Auto Setup can save time in
perfecting a display, and you can further modify the settings as desired.
Table 3.1. Auto Setup
What an “Auto Setup” Does
OPTIMIZES:
Pixel Tracking
Pixel Phase
SETS TO DEFAULT:
Contrast
Brightness
Size and Blanking
Vertical Stretch
Position
Auto Input Level (off)
Detail (if video source)
Filter
Input Levels
Luma Delay
Channel
Channel
Channel
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 ), the display will automatically change and update
according to the numerous setup parameters defined for that channel. Note that a new
channel is automatically created if you adjust an image from a new source.
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Section 3: Operation
Channel
NOTE: Channel (
) key behavior during a presentation depends on whether or not
the Display Channel List option is enabled in the Menu Preferences menu. You can
Channel
choose to use a scrollable list of channels when you press
, or you may prefer to
enter the desired channel number “blind”, i.e., without on-screen feedback. See Menu
Preferences later in this section.
Input 1
Input 2
Input 3
Input 4
Input 5
Input 1
Input 1
Press
to display from the data input source connected to BNCs labeled INPUT 1.
If PIP is enabled, pressing this key will change the PIP source.
Input 2
Input 2
Press
to display from the DVI source connected to INPUT 2. If PIP is enabled,
pressing this key will change the PIP source.
Input 3
Input 3
Press
to display from the composite video source connected to INPUT 3. If PIP is
enabled, pressing this key will change the PIP source.
Input 4
Input 4
Press
to display from the S-video source connected to INPUT 4. If PIP is enabled,
pressing this key will change the PIP source.
Input 5
Input 5
Press
to display from the INPUT 5 interface module installed in the Option 1. If
PIP is enabled, pressing this key changes the PIP source. If there are two inputs
connected here, such as if the Dual SD/HD-SDI is installed, the second input (B) is
considered INPUT 7. Press INPUT 5 to access INPUT 7 as follows:
Input 5
•
•
While displaying from INPUT 5, press
again. This switches to INPUT 7.
While displaying from any input other than the Dual SD/HD-SDI Module,
Input 5
press
. This switches to either INPUT 5 or INPUT 7, depending on which of
the Dual SD/HD-SDI Module inputs (A or B) was last used. Press
display from the other Dual SD/HD-SDI Module input.
Input 5
again to
Input 6
Input 6 – no function
Bright
Brightness
Bright
Press
to increase or decrease the amount of black in the image. Use
keys until you reach the desired level of contrast—for best results, start high and
decrease so that dark areas do not become black (i.e., “crushed”). Conversely, overly
high brightness changes black to dark gray, causing washed-out images. See 3.5,
Adjusting the Image (Image Settings subsection). NOTE: Always adjust brightness
before contrast.
Contrast
Contrast
Contrast
Press
to change the amount of white in your images. Use
keys until
you reach the desired level of contrast—for best results, start low and increase so that
whites remain bright but are not distorted or tinted, and that light areas do not become
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Section 3: Operation
white (i.e., “crushed”). Conversely, low contrast causes dim images. See 3.5,
Adjusting the Image (Image Settings subsection).
Gamma
Gamma
NOTE: This is the same as “Gamma” in the Image Settings Menu. “Gamma”
determines what gray shades are displayed between minimum input (black) and
maximum input (white) for a given amount of signal. The proper setting helps
maintain optimized blacks and whites while ensuring a smooth transition for the “in-
between” values utilized in colors and grays. Thus, unlike brightness and contrast
settings controls, the overall tone of an image can be lightened or darkened without
changing the two extremes, and your images will be more vibrant yet with good detail
in dark areas.
The normal gamma setting of 2.5 is correct for most signals and conditions. If excess
ambient light washes out the image and it becomes difficult or impossible to see
details in dark areas, lower the gamma setting to compensate. This will improve
contrast ratio while maintaining good details for blacks.
Menu
Menu
Menu
Press
to enter or exit the projector’s menu system.
OSD
OSD (On-screen display)
OSD
Press
to hide the projector’s menu system during use. To see the menus
again, do one of the following:
OSD
• Press and hold
briefly
• Press and release followed immediately by
OSD
OSD
• Press
Invisible menus are fully functional, enabling “hidden” access to numbered features
and image adjustments by entering the corresponding sequence of keypresses on the
keypad.
NOTES: 1) With OSD “on”, you can still hide error messages and slidebars by
disabling these options in the Menu Preferences menu.
PIP
Press
to enable and disable Picture-in-Picture. PIP enables you to display two
different images simultaneously – typically a smaller “secondary” image within a
large “primary” background. When a menu control or slidebar is present, press
toggle the current function to affect the other image.
to
NOTE: Disable PIP and Best Switching for Interlaced sources > 35 kHz.
Shutter
Shutter
Shutter
NOTE: There is no shutter in these products. However, pressing the
key will
blank the display (turns it black), while maintaining access to projector functions.
Press the key again to restore the image..
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Section 3: Operation
Func
Function Key
Func
IF WITHIN A MENU: Using the
for special tasks within the menu system is noted
Func
with the appropriate topic elsewhere in Section 3. For example, press
Channel Setup menu to enable deletion or copying of a channel.
in the
Func
IF WITHIN A PRESENTATION: Press
followed by a 2-
digit number to enable a specific color or colors in the
Func
6
4
display (see right). For example,
will display
Func
6
7
only red and green data,
will display all color
data. Eliminating one or more colors can help with certain
diagnostics and setups, such as when accurately overlaying
one image on top of another when stacking projectors.
DEFINING OTHER USES: Through ASCII messaging on a PC, you can also create
Func
special user functions for keys 1 – 5 and 7 – 9 and others. For example,
programmed to trigger RTEs (Real Time Events) or to display custom menus. Refer to
the separate Christie Serial Communications publication.
can be
Proj
Projector
Proj
Press
to access a specific projector within a group of projectors or to confirm if
the local projector is listening. The number in the “Enter Number” window indicates
which projector is currently listening to commands, and will match the projector
number that has been defined in the Menu Preferences menu.
The “Projector” checkbox (read-only) shows whether or not the projector physically
connected to a keypad is listening to commands from that keypad. A checkmark
means that connected projector is listening; if there is no checkmark, you are
communicating with a different projector.
To control a specific projector with the keypad, enter the 3-digit number assigned to
the projector you want to use. If you switch to a projector other than the one you are
currently using, the checkmark will disappear.
Proj
Proj
To broadcast to multiple linked projectors, press
and then
again without
entering a projector number. Keypad commands will then affect all projectors in the
chain.
NOTES: 1) The “Broadcast Keys” option in the Communications menu must be
selected for only one (any) projector in a serial network. The keypad in use must be
OFF (disabled) for the remaining projectors. See also 2.14 Remote Keypad Protocols
and Conversion, and 3.6, Adjusting System Parameters and Advanced Controls.
Enter
Press
to select a highlighted item, to toggle a checkbox, or to accept a parameter
adjustment and return to the previous menu or image.
Exi t
Exit
Exi t
Press
to return to the previous level, such as the previous menu.
Exi t
NOTE:
does not save changes within text editing boxes (including number
editing of a slidebar value) or within pull-down lists. It acts as a “cancel” in these
cases.
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Section 3: Operation
Arrow Keys
Use the
keys to change a slidebar value or to select a different option
within a pull-down list without having to first scroll through options. These keys also
jump to the next page in long menus. See also Editing Text later in Section 3.
Use the
keys to navigate within a menu, pull-down list or text box. Use in
combination with power, shutter and OSD keys to force the corresponding state. See
details provided on the back of the remote keypad.
Focus
Zoom
Lens H
Lens V
Lens Focus, Zoom and Lens H, Lens V
,
,
,
There is no function when these keys are pressed – they require a motorized lens
mount. Focus, zoom and lens offsets are manually adjusted in this projector.
In general, focus is adjusted by adjusting the rings on the projection lens and zoom,
horizontal and vertical offsets can be achieved by adjusting the 6-axis adjuster. Refer
to the Installation Guide provided with your projector for adjustment details.
Laser
Press
to activate the laser pointer on the
remote. This feature is useful when making
presentations - just point the remote at the
screen to highlight an area of your presentation.
The closer you are to the screen the brighter
thelaser beam appears. The laser pointer works
best in an environment where ambient lighting
can be controlled.
CAUTION
LASER RADIATION
DO NOT STARE INTO BEAM
LASER DIODE
Wavelength 670nm
Max Output 1mW
CLASS II LASER PRODUCT
NOTE: Leave batteries in the wired remote keypad for the
key to work.
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
3.3
Navigating the
Menus
Menu
at any time to display this Main
menu.
On the remote keypad, either enter the
number corresponding to the function
menu you wish to access, such as
Figure 3. 3. Entering the Menu
System
2
for
the Image Settings menu. Or use the
keys on any keypad to highlight the desired option, then press
. The
corresponding function menu or pull-down list of further options will then appear.
With a function menu displayed, navigate in a similar manner—enter a menu option
number for any numbered option, or use the
keys to highlight the desired
option, then press (Enter). Extra long menus have a scroll bar on the right—use
the arrow keys to access the remainder of the menu. Locked items or items that do not
pertain to the current action or condition appear dimmed and cannot be selected.
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NOTES: 1) If there is no signal present, all source-dependent adjustments are
disabled. 2) After 15 minutes of inactivity, the projector leaves the menu system and
returns to the presentation. 3) The Status menu is read-only.
When finished with a function menu, do one of the following:
Exit
•
•
Press
Press
to return to the previous screen
Menu
to leave the menu system and return to the presentation
Help
'
If at any time you are uncertain what to do next, press
to display summary
Help
information about the current menu or highlighted option. Press
again to exit. In
addition, a line of “hint” text is included at the bottom of some menus.
Help
From presentation level, press
to access general Help Topics. Scroll as necessary
to return to your presentation.
Exit
Help
within a topic. Press
or
Figure 3.4. Accessing General Help Topics
If a slidebar, menu, or message is displayed, you have limited time in which to make a
Time-outs '
Help
keypad entry before the projector returns to presentation level
and the graphic
disappears. These time-outs may vary depending on what is displayed.
Menu options that include this icon apply universally to any incoming signal.
The Global Icon '
The PIP Icon '
Menu options that include this icon apply to PIP (secondary) images only.
Most of the function menus allow you to change settings by using slidebars,
checkboxes, and pull-down lists. To select a slidebar, toggle a checkbox status, or
view a pull-down list, do one of the following within the function menu:
Using Slidebars '
And Other Controls
•
Enter the menu option number corresponding to the setting you wish to change
1
3
(for example, press
the Size & Position menu).
to select Vertical Stretch in
from the main menu
•
•
Or move the highlight to the option desired and press
(Enter).
to adjust
Or move the highlight to the option desired and press
immediately.
•
•
Or bypass the menus entirely and use a single key to immediately access an
adjustment during your presentation NOTE: applies only to options having
their own key, such as Contrast, Brightness, Gamma, etc.
For “blind” access, hide the entire menu system (see OSD key, above) and/or
direct slidebars activated by their own key (such as Contrast, Brightness, etc.).
Control by using the proper keypress or numerical sequence of key presses.
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•
When using PIP images, use
key to adjust the other image.
Once selected, change the settings as desired (see below). Changes take effect
immediately and are saved upon exit from all menus, or after 15 minutes.
Slidebars in menus – The current value for a given parameter,
such as size or vertical stretch, appears to the left of its slidebar
icon (adjustment window). This number often expresses a percentage, or it may have
units associated with it (such as pixels, degrees Kelvin, etc.), depending on the
specific option. Press
to gradually adjust the setting up or down—both the
number and the length of the bar change accordingly. Hold for continuous adjustment.
Or press
then press
to activate a slidebar text box for specific number entry via the keypad,
Exi t
to save (or press
to cancel).
“Direct” slidebars - For quick access, you access Gamma, Brightness, and Contrast
Cont
slidebars without traveling the menu system. For example, simply press
to
immediately display the same contrast slidebar accessed with the Contrast option in
the Image Settings menu.
Use the arrow keys to adjust a direct slidebar, or press
number from the keypad, then or or to save (or
to return to your presentation.
and enter a specific
Exit
to cancel). When
Exit
you are done, press
NOTES: 1) You can still adjust a direct slidebar as usual if the display is turned off
OSD
(see
or Menu Preferences menu) — the slidebar just won’t be visible. 2) A direct
slidebar disappears if it is not used within 5 seconds.
Checkboxes - Conditions are present if its adjacent
checkbox contains a checkmark. To toggle the checkbox,
simply highlight and press
, or highlight and use
to check and to uncheck. If a checkbox is numbered, simply enter its number to
immediately toggle the checkbox.
Pull-down lists – To see a pull-down list of options available for a given parameter
labeled with a ▼, you can:
•
•
Highlight it and press
(Enter)
Or enter the menu option number.
Use
or
keys to navigate up and down within the list (the current choice is
noted with a small '). Press
to choose an option from the list, if desired.
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Figure 3.5. Example of Pull-Down List
NOTES: 1) Press
or
to jump between pages in an extra long pull down list.
Exit
2) Press
while in a pull-down list to cancel any change.
ACTIVATE THE EDIT WINDOW: To enter or edit text, highlight the desired parameter
'
(such as a channel name) and press
to activate its adjacent edit window. Any
previously entered text is displayed with its first character highlighted in a square
cursor, signifying that this character is ready for editing.
NAVIGATE WITHIN THE EDIT WINDOW: Press
to move the cursor forward or
to move the cursor backwards as desired.
EDIT A CHARACTER: To edit a highlighted
character, use and to scroll
through the alphabet, numbers, spaces and
punctuation available. When the character
you need appears, press
to select it—
the cursor will move to the next character of
current text, if present. Note that you can
also enter a number directly from the
keypad—it will be accepted and the cursor
will move on.
Figure 3.6. Entering Text
ADD OR DELETE A CHARACTER OR SPACE: To insert a space at the cursor location,
Func
Func
press
. To delete a highlighted character (or space), press
.
PRESS
(ENTER) WHEN FINISHED: To accept edits and leave the edit window,
press
(Enter).
Exit
NOTE: Press
at any time to cancel changes and return to the previously-defined text.
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Section 3: Operation
Enter numbers directly from the keypad in order to specify numbers representing
projectors, channels (source setups), or slots. As each digit is entered, it is displayed
and the cursor moves on. Note that channel numbers are defined with 2 digits—for
example, if you enter only a single digit (such as “7”) for a channel number, the
channel will automatically be defined as “07”. Enter “07” to utilize this channel.
Editing Numerical Values '
NOTES: 1) Once you enter the first digit, this digit replaces all old digits. 2) If you
press any non-numbered key, the number entered up to that point is accepted and
Exit
updated as the new value. 3) Press
to cancel editing of numerical values.
NOTE: See Section 2, Installation and Setup, for a full explanation of how to connect
sources to the projector.
3.4
Using Inputs
and Channels
The projector stores and automatically recalls up to 50 different channels (source
setups) for a variety of inputs. This memory feature allows you to define and
conveniently use a wide variety of customized setups rather than having to repeatedly
re-configure the projector for different presentations. Depending on what you have
defined, each physical source connection (i.e., input at the projector) can have several
different channels associated with it.
Input 3
Input 1
Input 2
'
Or a Channel?
INPUT – An input is a source physically connected at the projector.
,
,
,
Input 4
Input 5
, or
describes the source signal according to which input slot it is connected.
SWITCH TO AN INPUT IN EITHER ONE OF TWO WAYS – Pressing the appropriate direct
Input 3
Input 4
Input 5
Input 1
Input 2
key —
one of the five inputs connected to the projector. Or, if the “Numbers Select Main
numbers 1-5 on the keypad
,
,
,
, or
— is a quick and seamless way to display from
Image” option found in the PIP menu is enabled, press
With either method, 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. In general, the
default fills the screen as fully as possible. This and other default image settings
depend on the incoming source.
If you used the source once before and changed a display parameter such as
contrast, V-Position, etc., then a channel was automatically created and still exists
in projector memory (see below).
If more than one channel exists for the input, the image will be displayed
according to the setup parameters for the first channel with matching
characteristics.
If PIP is enabled, an input key changes the PIP (secondary) image only. To switch
the main input, use the keypad number keys with “Numbers Select Main Image”
activated.
NOTES: 1) For more information on Numbers to Select Main Image, see 3.7,
Working with PIP or Seamless Switching.
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CHANNEL - A channel is a collection of measurements, locations and settings that
tailor the display of a signal to your specific needs. Since source types and
applications can vary greatly, you will likely want to adjust and define a wide variety
of parameters, such as brightness, contrast, size, etc., in order to customize and
optimize the display from or for a particular source. For example, the display settings
you choose for a VCR source may be very different from those you choose for a high
resolution computer source, or one signal may simply vary from another signal used
previously through the same input location. Once you have adjusted a display
parameter, such as pixel tracking or contrast, all current settings are collectively stored
in the projector’s memory as a unique 2-digit channel, such as
You can have
.
numerous distinct channels available for the same input, any of which can be selected
Channel
by using the
key on the keypad followed by the 2-digit channel number.
Shown at right is a sample channel list as would
Channel
be available from
. This is typically called
the channel list.
Channel
NOTE: The
key may display a channel list
or not, depending on what you have defined for
“Display Channel List” (see Menu Preferences
later in this section).
Channel
In order to access channels by using
on the
keypad, you must first create the channels. See
below.
Channel List
To use a new source with the projector, a new channel must be added to projector
memory so that the projector will respond properly to an input signal from that source
in the future. A new channel can be created automatically, as described here, or it can
be copied from an existing channel and then edited as necessary (see Copying or
Deleting Channels later in this section).
'
Channel
– AUTOMATIC –
Input 3
Input 4
Input 5
Input 1
Input 2
When you select a direct input (
,
,
,
, or
), the projector’s
existing channels are searched for matching input and signal parameters. If no match
to the incoming input signal is found, a new channel is temporarily created based on
factory-defined defaults for this type of signal. The channel number assigned is the
lowest available number from 1-50.
NOTES: 1) An automatic channel will be discarded unless one or more of its
parameters are changed, and will not appear in the channel list (see below). 2) If two
channels have the same distinguishing source characteristics except for the reversal
of sync connectors (i.e., H-sync and V-sync, are switched), they are still defined as
distinct channels. 3) You cannot define a new channel without an incoming signal.
If the incoming signal does match an existing channel, the image will be set up and
displayed as usual according to the parameters currently defined for that channel.
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Section 3: Operation
USING A CHANNEL: You
can normally select a
channel at any time by
Channel
pressing
(see right). If
you want to prevent a
channel from appearing in
this list, you must edit the
channel as described in
Channel Edit later in this
section. Such a channel can still be selected by entering its number as shown at right.
NOTES: 1) The current channel is highlighted upon entering the channel list, or, if
this channel is not displayed here, the first channel in the list is highlighted. 2)
Channels created automatically do not appear in the channel list unless a parameter
for the channel has been changed.
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.
Menu
From the presentation level press
Channel Setup menu, press
to display the Main menu. To display the
, or move the highlight to the Channel Setup option
”3”
. The Channel Setup menu will appear (see sample at right), with the
and press
active channel highlighted.
WHAT APPEARS IN CHANNEL SETUP MENU? This menu lists all channels defined so
far and indicates where they connect on the projector’s rear input panel. The far left
column lists channel numbers currently defined. The values
in the far right columns indicate horizontal and vertical
frequencies—if a user has defined a name for this channel,
it appears here instead. Remaining columns contain details
pertaining to each channel setup, such as its switcher
number (always 0 = projector), slot location (01-08), a
variety of icons indicating access to each channel, and an abbreviated description of
each signal type. See Editing a Channel Setup for details.
NOTE: If you have more than a handful of channels, use
and
to see the
remaining channels not visible in the initial display of channels.
Channel
SIGNAL TYPE — Either channel list, whether the
key list or the Channel Setup
menu, identifies signal types in a shortened form as defined below. These descriptors
indicate what signal information the projector uses to identify a match for a given
channel, and are preceded by either an “i” (interlaced signals) or “p” (progressive
signal“). See Table 3.2.
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Section 3: Operation
Table 3.2. Abbreviations for Signal Type
Abbrev. Signal Type
4WH
4WV
SG
Composite (4 wire) on HC input
Composite (4 wire) on V input
Sync-on-green
Separate H,V
5W
5WR
SVid
CVid
Dig
Separate H,V swapped
S-Vid
Composite Video
Digital
FUNCTIONS WITHIN THE CHANNEL SETUP MENU —To copy, delete or edit a channel,
highlight the desired channel in the Channel Setup menu and do one of two things:
Func
•
•
Press
if you want to copy the selected channel or delete this or other
channels. See Copying or Deleting a Channel below.
Press if you want to edit channel setups (i.e., non-image related
parameters) for the selected channel. See Editing a Channel Setup, below.
TO COPY A CHANNEL, highlight the desired channel in the Channel Setup menu, then
Copying or '
Deleting Channels
Func
press
to go to the Channel Copy/Delete submenu. Select “Copy” and press
—a new channel will be created. It is identical to original, which still remains,
but it is identified with the next available number from 01-50. If you change your
Exi t
mind and do not want to copy the current channel, press
to cancel and return to
the previous menu. Copying channels is a quick method for creating numerous
channels, each of which can then be edited and adjusted for a variety of presentations
in the future.
Figure 3.7. Copying A Channel
TO DELETE A CHANNEL, highlight the desired channel in the Channel Setup menu,
Func
then press
press
to activate the Channel Copy/Delete submenu. Select “Delete” and
—a confirmation window will appear to make sure that you really want to
delete this channel.
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Section 3: Operation
Figure 3.8. Deleting a Channel
TO DELETE MULTIPLE CHANNELS, highlight any channel in the Channel Setup menu
Func
and press
to go to the Channel Copy/Delete submenu. Select “Delete Unlocked
to delete all unlocked channels. Or select “Delete All Channels”
Only” and press
to delete all channels, even those that are locked. In either case, the current channel
will remain but will be redefined from projector defaults.
NOTE: For any deletion, a confirmation box appears to make sure that you really
want to delete. Select “Cancel” if you don’t want to delete after all.
The basic setups that describe how and where a channel can be accessed are listed in
the Channel Setup menu. These channel setups can be edited at any time in the
Channel Edit submenu.
'
Menu
CHANNEL EDIT — STEP 1
CHANNEL EDIT — STEP 2
From the presentation level press
to display the main menu. To display the
Channel Setup menu, press “3”, or move the highlight to the Channel Setup option
and press . The Channel Setup menu will appear.
To edit parameters shown in the Channel Setup menu, select the relevant channel and
press
3.9.
. The Channel Edit menu will appear similar to the sample shown in Figure
Figure 3.9. Channel Edit Menu (SAMPLE)
CHANNEL EDIT — STEP 3
If desired, review and/or edit the following channel setups in the Channel Edit menu:
•
•
CHANNEL NAME: An alpha-numeric label can be defined and/or changed here.
Channel names can be up to 12 characters in length.
CHANNEL NUMBER: A 2-digit channel number can be changed here. NOTES: 1) If
you enter a channel number that already exists, a dialog message appears
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Section 3: Operation
indicating that this number is already in use–assign a different channel number.
2) You can define 50 channels.
•
•
INPUT: 1-5, corresponding to where on the projector’s input panel the source is
connected.
IN MENU: If checked (default, except for automatically defined channels with
unchanged parameters), this defined channel will then appear in the list available
Channel
the
key is pressed. If unchecked, the channel must be accessed via
Menu
when
“3” on the keypad or via the Auto Source function.
channel setup menu
NOTE: On-screen display of the channel list is an option that must be set in the
Menu Preferences menu.
•
•
AUTO SOURCE: If checked, (default), the projector can automatically locate this
channel when an incoming input signal matches. If not checked, the projector can
Channel
locate the selected channel only when it is directly selected via
on the
keypad—and a change in input signal will not result in a channel change.
LOCKED: If checked, all of the image settings for this channel are disabled. If
unchecked (default), all available image settings can be adjusted as desired. You
cannot use Auto Setup with a locked channel.
•
•
PREVIOUS CHANNEL: Select this option to see or change Channel Edit settings for
the previous channel in the Channel Setup list.
NEXT CHANNEL: Select this option to see or change Channel Edit settings for the
next channel in the Channel Setup list.
The most commonly used options for image adjustments are accessed through two
menus: Size and Position and Image Settings, both of which appear in the Main menu.
From either of these two menus, you can change settings affecting the image from the
3.6
Adjusting the
Image
current channel by working with the appropriate slidebars, checkboxes and pull-down
Exi t
lists.
will return to the previous menu (or to the presentation, if from the Main
menu) and accept any changes you may have entered. Settings are saved with the
current channel.
From your presentation, you can access any of the individual options in these menus
Menu
by pressing
followed by the appropriate two-digit number representing their
Menu
2 3
location in the menu system. For example, press
to quickly access the
“Gamma” option in the Image Settings menu.
Note that for certain options, you may prefer to use a “direct key” from presentation
level to go directly to a particular option without traveling through the menu system
Contrast
(note: available for certain display parameters only). For example, press
access the “contrast” slidebar immediately. Press
to
Exi t
to return to your presentation.
NOTES: 1) To hide these “direct” slidebars, disable the” Display Slidebars”
checkbox in the Menu Preferences menu. 2) To hide the entire menu system from
OSD
view, turn off the on-screen display by pressing
.
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Section 3: Operation
Before You Begin '
Auto
Use Auto Setup (
For a good and efficient
first step in perfecting the
)
Auto
image, press
. This
initiates an automated
process in which the
projector quickly
optimizes critical display
parameters for unlocked
channels such as size,
position, pixel tracking,
etc., based on the type of
incoming source data
detected. An Auto Setup
Figure 3.10. All Channels Appear in the
Channel Setup Menu
can save considerable setup time, and you can still modify the adjustments as desired
using menu options described below.
In the Size and Position menu, you
can increase or decrease the size of
your main image, change its
proportion (aspect ratio), move the
image to a specific area of the
screen, and refine other related
parameters. Use Size and Position
controls to match the image
precisely to the screen used at the
site.
Size and Position Menu '
Refer to “Using Slidebars and
Other Controls” (earlier in this section) if you need help using any of the options and
controls. Changes made in the Size and Position menu are applied immediately and
Exit
Menu
are saved when you exit the menu (press
or
).
Resize Presets
Select a Resize Presets option
to quickly display an image in
its native resolution or to
automatically resize an image
to closely fill the projector’s
native resolution of 1400 x
1050, or to optimize the width
or height of your display. Size,
Position and Blanking
parameters will automatically
adjust accordingly. Or, if Blanking is set first, which defines an Active Input Area,
Resize Preset scaling will occur in this region of interest only. Resizing options are
explained in detail below.
WHAT IS THE RESIZING DEFAULT? By default when displaying a new source, your
image will utilize as much of the projector’s display area (1400 x 1050) as possible for
the type of incoming source data. See Select “Default” below.
WHEN “CUSTOM” APPEARS: The “Custom” re-size descriptor automatically appears in
the Size and Position menu when any of the values for Size, Vertical Stretch, H-
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Section 3: Operation
Position, V-Position or Blanking do not correspond to those for a preset. It is not a
choice in the Resize Presets pull-down list.
• Select “DEFAULT” for most sources (factory default). The image will be centered
and displayed as large as possible depending on the type of source, as described
below:
ꢀ A 5:4 graphic image will enlarge to fill the screen height, and be centered
between narrow black side bars.
ꢀ A video image or 4:3 graphic image will enlarge to fill the screen width.
ꢀ An HDTV (16:9) image will fill the width and be centered between black bars
on top and bottom.
• Select “NO RESIZING” to display the image in its native resolution, which may be
smaller than the projector’s 1400 x 1050 resolution. For example, for a source with
a native resolution of 800 x 600, “No Resizing” will center a small image within a
black border—the black border areas are unused areas. See below.
• Select “FULL SCREEN” to use all
pixels (1400 x 1050) for
displaying the image, regardless
of source or original aspect ratio.
Incoming source material having
a different aspect ratio than the
projector will be stretched for
display.
• Select “FULL WIDTH” to fill the
projector’s display from left-to-right
without changing the original aspect
ratio of the image. Depending on the
source, data at the top and bottom
may be discarded (cropped), or the
display may have black borders at
the top and bottom (called
“letterboxed”).
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Section 3: Operation
• Select “FULL HEIGHT”
to fill the display from
top-to-bottom.
Depending on the
source, this may create
borders.
• Select “ANAMORPHIC” to display an anamorphic image
in its native 16:9 aspect ratio. The image will fill the
screen from side-to-side, and be centered between
narrow black bars on top and bottom. This is used for
DVD players that output widescreen images compressed
into 4:3 NTSC format.
Size
“Size” controls both the image width and height in tandem, maintaining the current
aspect ratio (proportion) of the displayed signal data.
Vertical Stretch
“Vertical Stretch” adjusts the height of the image while keeping the width constant.
Use “Vertical Stretch” to change the aspect ratio of the display.
Pixel Track
Steady flickering or several soft vertical stripes or bands across the entire image
indicates poor pixel tracking. Proper pixel tracking helps ensure that the image quality
is consistent across the screen, that aspect ratio is maintained, and that pixel phase can
be optimized (described below). Tracking determines the frequency of the pixel
sampling clock, indicated by the number of incoming pixels per line, so that all pixels
generated by a particular source are sampled.
NOTE: By default, the projector samples at the correct frequency for most sources.
For best results, use a good test pattern such as a smooth gray consisting of a clear
pattern of black and white pixels, or a similar “half on, half off” graphic image, such
as the Windows 2000 shutdown screen. Adjust the slidebar until the vertical stripes
broaden to the point where one large stripe fills the image. If the image still exhibits
some shimmer or noise, adjust Pixel Phase (below).
Pixel Phase
NOTE: Adjust “Pixel Phase” after “Pixel Tracking”.
Adjust pixel phase when the image (usually from an RGB source) still shows shimmer
or “noise” after pixel tracking is optimized. Pixel phase adjusts the phase of the pixel
sampling clock relative to the incoming signal.
For best results, use a good test pattern such as a smooth gray consisting of a clear
pattern of black and white pixels, or a similar “half on, half off” graphic image, such
as the Windows 2000 shutdown screen. Adjust the slidebar until the image stabilizes
and each pixel is clearly defined. You may notice that you can stabilize the image at
more than one point—i.e., you may find that the image appearance at “11” is identical
to the image appearance at “38”, thus you can use either setting.
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Section 3: Operation
If some shimmer from a video or HDTV source persists, use the “Filter” control to
remove high-frequency noise from the signal.
H-Position
This option moves the image right or left within the area of available pixels.
NOTE: The value shown represents where the approximate center of the image lies in
relation to the total number of pixels available horizontally. This varies widely
according to the signal—watch the image while adjusting.
V-Position
This option moves the image up or down within the area of available pixels.
NOTE: The value shown represents where the approximate center of the image lies in
relation to the total number of pixels available vertically. This varies widely
according to the signal—watch the image while adjusting.
Advanced Size and Position — SUBMENU
This submenu consists of the
following options:
ACTIVE INPUT WINDOW: This read-
only value indicates the current
size (i.e., area) of your displayed
data or “region of interest” as
defined by the blanking controls.
By default, the projector
automatically determines what
portion of its full resolution to use,
and pixels in the surrounding borders are turned off. You can also specify a specific
active input window size by adjusting one or more “Blank” settings. For example, if
you have blanked (cropped) 100 pixels from both the left and right edges of an
incoming source of 1400 x 1050, the remaining active input window will be reduced
to 1200 x 1050. When using SD or HD or a decoded video source at INPUT 3 or INPUT
4, the default blanking of “0” defines an active input window of 720 x 483.
BLANKING (TOP, BOTTOM, LEFT, and
RIGHT): Crop the image as desired so
that unwanted edges are removed from
the display (changed to black—see
right). Blanking defines the size of the
Active Input Window, or area of interest.
Range of adjustment depends on the
source resolution and other factors.
After adjustment of blanking it may be
necessary to perform a source switch.
NOTE: Blanking a PIP image
resembles zoom (Figure 3.12). For
example, left Blanking zooms the right
side of the PIP image; Right Blanking
Figure 3.11. Blanking of a Primary Image
zooms the left side. There are no black
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Section 3: Operation
bars.
Figure 3.12. Blanking of a PIP Image
PLUG & DISPLAY (EDID): By default, a Plug & Play
(EDID) source outputs a signal according to the EDID
information provided by the projector. To override this
information and display in a different format (for
example, if your Plug & Play [EDID] device does not
support the projector’s resolution and/or frequency),
select the desired Plug & Play (EDID) resolution from
the list.
Any daisy-chained projectors will also display
according to the chosen Plug & Play (EDID) format.
EDID = Extended Display Identification Data standard.
Use options in the Image
Image Settings Menu '
Settings menu to alter your
main image without affecting
its size or position. Changes
made to the Image Settings
menu are applied immediately
and are saved when you exit
Menu
Exi t
the menu (press
or
).
Options not available for the
projector model or source are
disabled and appear dim
(gray).
Contrast
Contrast
(SHORT CUT: Press
and adjust the slidebar.)
“Contrast” increases or decreases the perceived difference between light and dark
areas of your image (0-100). For best results, keep close to 50. If contrast is set too
high, the light parts of the image lose detail and clarity. If set too low, the light areas
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Section 3: Operation
will not be as bright as they could be and the overall image will be dim. For best
results, start with a low value and increase so that whites remain bright but are not
distorted or tinted, and that light areas do not become white (i.e., are “crushed”).
NOTE: If the environment lighting changes, an adjustment of Gamma is
recommended (see below).
Brightness
Bright
(SHORT CUT: Press
and adjust the slidebar.)
“Brightness” increases or decreases the amount of black in the image (0-100). For best
results, keep close to 50. Start with a high value and decrease so that dark areas do not
become black (i.e., are “crushed”). Conversely, high brightness changes black to dark
gray, causing washed-out images.
NOTE: Adjust brightness before adjusting contrast, since the brightness setting will
have an affect on contrast.
Gamma
Gamma
(SHORT CUT: Press
and adjust the slidebar.)
“Gamma” is a global setting that determines what gray shades are displayed between
minimum input (black) and maximum input (white) for all signals. A good gamma
setting helps to optimize blacks and whites while ensuring smooth transitions for the
“in-between” values utilized in other colors.
Thus, unlike “Brightness” and “Contrast”
controls, the overall tone of your images can
be lightened or darkened without changing
the extremes, and all images will be more
vibrant while still showing good detail in
dark areas.
Gamma is used to fine tune the gamma table currently in use, ranging from 1 – 3 (2.5
= default). If excess ambient light washes out the image and it becomes difficult or
impossible to see details in dark areas, lower the gamma setting to compensate. This
will improve contrast while maintaining good details for blacks. Conversely, if the
image is washed out and unnatural, with excessive detail in black areas, increase the
setting. In high ambient light conditions, lower gamma may produce better results
than higher gamma. Gamma of 2.5 (default) indicates the gamma table has not been
adjusted. For more information, refer to Advanced Image Settings, Gamma Table
submenu. Again, good gamma improves contrast while maintaining good details for
blacks.
Filter
The proper filter setting is automatically set for virtually all
signals, and rarely needs to be changed. It applies a low pass
filter for noise reduction in the incoming input signal, particularly
for HDTV or SDTV. Applied in the analog domain before
sampling, this filtering removes high frequencies and thus
reduces pixel phase noise (note this also reduces signal bandwidth). Override only if
standard pixel tracking and phase adjustments do not adequately clear up a “noisy”
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Section 3: Operation
video signal, or if a graphics signal appears overly “soft”. Both instances indicate that
“Filter” may be set to the wrong option.
Detail
“Detail” adjusts the sharpness of a video image so that edges remain clearly defined. It
can be particularly useful if a significant “Noise Reduction” adjustment has caused the
image to appear too soft. Adjust until the display is as sharp as desired, keeping in
mind that because “Detail” adds some high frequencies back into the image, it can
also re-introduce a certain degree of noise.
Noise Reduction
“Noise Reduction” is similar to the “Filter” control, but operates in the post-sampling
digital domain with a more subtle effect. Higher settings are most useful for clearing
up noisy RGB images such as those from a PC. Adjust as desired, keeping in mind
that reducing noise (which reduces high frequencies) may also soften the image.
Color Space
“Color Space” determines how the color components of an analog
input signal are decoded for accurate color in the display.
Selecting a color space option is useful only for analog signals
and certain digital sources connected to INPUT 1, INPUT 2, or
INPUT 5. Although color space for these analog signals is
automatically determined by the projector, in some circumstances you may wish to
override this and manually set a specific color space.
NOTE: For many digital signals or for signals connected to INPUT 3 or INPUT 4, the
color space function is entirely automatic and the pull-down list disabled.
Enter
The current color space appears in the Image Settings menu. Press
to select a
different option:
•
•
•
Select RGB unless you are using component video at INPUT 1, 2, or 5.
Select YPbPr (Video) with a standard definition televised signal (SDTV).
Select YPbPr (HDTV) with a high definition televised signal (HDTV).
NOTE: When certain RGB signals are first connected, the projector may not initially
recognize them as RGB and will incorrectly decode their color information as YPbPr
(video). These signals can include:
•
•
•
RGB signals in NTSC, PAL, SECAM frequency ranges
Scan-doubled sync-on-green.
Scan-quadrupled sync-on-green.
For these signals, change the Color Space to RGB, then define a new channel for
future use.
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Section 3: Operation
Video Options — SUBMENU
This submenu is used with video
sources only (INPUTS 3 or 4).
ENABLE DECODER AGC: Automatic
Gain Control (AGC) affects decoded
video images only. Enter a checkmark
(default) in most instances—this
activates the decoder’s AGC circuit to
ensure properly bright images. Delete
the checkmark if a decoded video image exhibits strange color artifacts such as stripes
in highly saturated colors, indicating an incompatibility between this source and the
AGC.
VIDEO STANDARD: For all but the more unusual video standards
available in the world, the projector automatically detects the
incoming horizontal and vertical frequencies and sets the projector’s
processing of this signal to the corresponding standard. The current
video standard name appears in the Video Options submenu, and
includes an “A” if it has been auto-detected. Press
to view or
select a different video standard from those available to the
projector—any that are disabled have frequency characteristics that
differ from those of the incoming signal. Selecting a specific
standard forces the projector to process the signal according to this standard.
NOTE: Best results are obtained with defined channels. Otherwise, switching from
one video source to another can sometimes cause slight disturbances in the display,
indicating that the Auto function is struggling. Recover by briefly selecting a different
video standard, then going back.
Table 3.3. Regions and Video Standards: Summary
Standard Where Used (SUBJECT-TO-CHANGE)
NTSC N. America and Japan
NTSC 4.43 A tape-only standard for partially-translated hybrid signals
PAL Most of Europe, China, Australia, some of S. America, some of Africa
PAL-M Brazil
PAL-NC Argentina, Chile, other Latin American countries
PAL 60
SECAM France, Eastern Europe, most of Africa
NOTE: Generally, use “Auto” for all instances EXCEPT: 1) a poor quality input
signal or 2) a black-and-white video signal. In order to detect and display such
signals, select the relevant standard from the list.
INPUT VIDEO BLACK: This control
compensates for incoming elevated black
levels present in certain video signals, and
ensures that blacks in the display are
neither crushed (i.e., where dark grays appear black) nor excessively elevated (i.e.,
where blacks appear dark gray). By default, the projector automatically determines the
best setting according to the type of incoming video signal:
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Section 3: Operation
•
•
0 IRE – Used for DVD output with “enhanced black”, SECAM, most PAL
standards, and Japanese NTSC.
7.5 IRE – Used for most NTSC video signals.
For some types of video, you can override the setting. The control is disabled for other
types of video (and all graphics sources). Generally, if black appears crushed when
brightness = 50, choose “0 IRE”. If black appears excessively elevated, use “7.5 IRE”.
COLOR: This slidebar adjusts the color saturation level, i.e. the amount of color in a
video image. Lower settings produce less saturated colors — for example a setting of
“0” produces a black and white image. If the color level is too high, colors will be
overpowering and unrealistic.
TINT: This slidebar adjusts the red/green color hue for true color reproduction of video
and HDTV signals connected to Input 3 or 4. For best results, adjust tint while
displaying an external test pattern—otherwise, it is recommended that tint remain at
its default setting.
DECODER LUMA DELAY: This control affects any incoming composite or S-video
signal, delaying the luma signal (intensity) in relation to the chroma (color). In the
image, increasing the luma delay will move luma (seen as a shadow where colors
overlap) to the right slightly, with colors remaining in place. Decreasing this delay
will move the shadow slightly to the left. If necessary for your current source, adjust
so that no shadows occur with adjacent colors.
Input Levels — SUBMENU
NOTES: 1) Because the projector automatically optimizes input levels for all but the
most unusual of sources, it is recommended that only experienced users use the Input
Levels submenu. 2) Before beginning, check that overall contrast and brightness
settings are near 50 and that color temperature is properly set up on an internal
grayscale test pattern. 3) There must be at least 2 consecutive white pixels present in
the image for proper “Auto Input Level” function. Leave this control off after use.
Good RGB or input levels—
that is, the drives and
blacklevels for each of the
three colors, red, green and
blue—ensure that images
from analog sources other
than decoded video have
maximum contrast without
crushing black or white. By
default (and in an “Auto
Setup”), the projector
automatically determines the
best input levels by
monitoring image content and adjusting the controls appropriately—further
adjustment is typically not required to obtain proper blacks or whites. NOTE: This
automatic adjustment requires at least 6-12 consecutive white pixels in the image.
Without these pixels, input levels may produce skewed colors, particularly in non-
video images.
However, for a very unusual source exhibiting one or more overly high blacklevels
(typically caused by a noisy source causing blacklevel spikes), an experienced user
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Section 3: Operation
may prefer to use the Input Levels menu (shown above). These adjustments, which
together serve as a calibration process compensating for differences in sources and
cabling, enable an experienced user to perfect the source image input levels and
eliminate the “overshoot” and “undershoot”. Note that Input Levels are of limited use
with digital signals, but do offer some ability to tweak poorly mastered source
materials.
NOTES: 1) Input levels apply for the current source only, but for any color
temperature used. 2) Assuming that color temperature has been set up based on the
internal test patterns, you can then set up input levels for a given source so that it
matches the color temperature of the internal test patterns.
AUTO INPUT LEVEL – Temporarily enter a checkmark only if you are an experienced
user and you have an unusual source that you feel needs further color temperature
and/or input level adjustment. This compensates for incoming out-of-range drives
(white) and blacklevels (black) that would cause “crushing” of light and dark colors in
the image. After entering a checkmark, wait for the six slidebar values to stabilize,
then delete the checkmark and exit. The Auto Input Level is automatically turned off
upon exiting the Input Levels menu.
BLACKLEVELS AND DRIVES – To check your image levels and adjust these controls:
1. Make sure overall “Contrast” and “Brightness” settings are both set to near
50. NOTE: Not required for “Auto” adjustment.
Contrast
•
•
= 50 (approx.)
= 50 (approx.)
Bright
2. Check the color temperature setup using an internal grayscale test pattern,
making sure to obtain a neutral grayscale. NOTE: Not required for “Auto”
adjustment.
3. Confirm that you are using an analog source not connected to INPUT 3 or
INPUT 4, as Input Levels are not applicable for digital sources or sources
going through the decoder. A grayscale is recommended.
4. If the blacks and/or whites appear OK, input levels do not need adjustment. If
black levels are too high (and/or whites are too low, which is rare), you likely
have a noisy source that is producing skewed input levels. Continue with Step
5.
5. Temporarily enable “Auto” in the Input Levels submenu. Wait for all 6 values
to stabilize. Alternatively, do not use “Auto”—reduce blacklevels manually
instead. Judge by eye and change one or more of the six levels as necessary to
obtain proper blacks and whites. You may want to see only a certain color
while adjusting—use the “Color Enable” option (described below).
6. Delete the “Auto” checkmark and leave the Input Levels menu.
IMPORTANT: Do not use Input Levels to adjust color temperature. This will distort
Contrast and Brightness functions as well as color temperature.
AUTO COLOR ENABLE – When a checkmark is present, selecting a specific blacklevel
or drive to adjust will automatically enable the corresponding color in the display.
Delete the checkmark to see all colors, or to enable a different specific color through
the Color Enable Control.
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CLAMP LOCATION – This option (formerly known as sync tip
clamping) can brighten the image produced from certain high-
resolution high-frequency graphic sources. For almost all sources,
the best clamp location is automatically selected by the projector.
Use the normal Back Porch location if the image is either sufficiently bright or overly
bright. Select Sync Tip if the image appears unusually dim, if there are horizontal streaks
across the image, or if there is significant color drift. This moves the clamping pulse
from the normal backporch location (which is likely too short) to the tip of the
horizontal sync pulse. Tri Level is typically needed for an HDTV source.
COLOR ENABLE – Select which color or colors you want to see in the display, useful
while working with color temperature white levels or input levels.
PEAK DETECTOR – The Peak Detector is a tool to assist with defining individual input
levels, enabling you to accurately set the Input Levels for any particular source with
the appropriate image. Enabling the Peak Detector activates a special operating mode
for detecting only pixels that are considered black or white—all other levels are
displayed as a mid-level gray. When used with a smooth grayscale pattern in which
black and white are known to be at opposite edges of the image, you can watch these
isolated areas while adjusting individual blacklevels and input drives until both black
and white edges are just visible and distinguished from neighboring pixels. Images
from this source will then display correct blacks and whites without crushing.
See Figure 3.13. Adjusting Input Levels Using the Peak Detector:
1. Display a 16-level grayscale test pattern from the desired external source, and
enter a checkmark in the Peak Detector checkbox. NOTE: The “Peak
Detector” will initially render the grayscale as a uniform gray field before
adjustment or extreme crushing.
2. Display one primary color. NOTE: Selecting Auto Color Enable ensures the
correct color is displayed for each setting.
3. For the current color, adjust its corresponding “Blacklevel” slidebar just until
a single band of black appears at one edge of the screen. This band represents
the first band of the grayscale pattern, which should be 100% black. Do not
adjust too far.
4. With the same color still active, adjust its corresponding “Input Drive”
slidebar just until a single band of color appears at the opposite edge of the
screen. This band represents the last band of the grayscale pattern, which
should be 100% white (or the current color, if a certain color is enabled). Do
not adjust too far.
5. It may be advantageous to go back and check the black band—adjust the
blacklevel slidebar if necessary. NOTE: Readjusting blacklevels at this point
affects the gain; only readjust when absolutely necessary.
6. Repeat Steps 3-5 with the other two remaining primary colors. When each
primary color shows one optimized black band and white (or colored) band,
the input levels for this source are correctly set. Upon exiting the Input Levels
menu, the Peak Detector checkbox will clear.
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Figure 3.13. Adjusting Input Levels Using the Peak Detector
(RED EXAMPLE SHOWN)
Advanced Image Settings — SUBMENU
Use the Advanced Image Settings
submenu to make the adjustments
necessary for lesser-used but more
specialized applications on your
projector.
GAMMA TABLE: This control applies a
default video or graphics gamma
table or “curve” to your images,
controlling the intensity of midlevel
colors and producing maximum
contrast, brightness and color
performance. As shown at right, the
graphics curve is a simple power curve
while the video curve has a linear
segment near black to compensate for
increased blacklevels typical of video
signals. Although the projector
automatically applies either the graphics
or video curve according to what type
of incoming signal is detected, in some cases you may wish to override this default
and use graphics gamma for a video source or video gamma for a graphics source.
Alternatively, if neither default is ideal, you may prefer to apply a user-defined
custom gamma curve that has been created externally, named, and downloaded to the
projector (requires separate PC-based Arbitrary Gamma and KoRE Librarian software
applications). If any of these special user curves have been installed, their names will
appear in the Gamma Table pull-down list.
Keep in mind that any Gamma Table choice sets the related Gamma value (shown in
the Image Settings menu) to a 2.5 default, where it can be fine-tuned as desired.
Different values (1-3) here indicate that the original gamma table has been adjusted
with either the Gamma slidebar or direct key.
NOTES: 1) If no user curves have been defined and downloaded to projector memory,
only the “2.5, Graphics/Video Normal” default gamma curve is available here –
adjust as desired using gamma in the main Image Settings menu. 2) Some graphic
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Section 3: Operation
material will look best with the video setting while some video material is best with
the graphic setting.
SELECT COLOR ADJUSTMENT: In “Select Color Adjustment”,
choose an overall color palette for all images. The “Max
Drives” factory default simply drives all 3 colors at their
maximum level so that they are fully on and cannot be
changed. The two other pre-defined color adjustment
choices—SD Video and HD Video—apply a color gamut
optimized for video sources (standard or high-definition).
Alternatively, you can specify a color temperature. This
enables the adjacent Color Temperature slidebar and applies
its current setting (default = 6500K). If none of the pre-defined “Select Color
Adjustment” options or color temperatures suit your application, select one of four
color gamuts previously defined by a user (User 1, 2, 3, 4). A “User” option applies a
customized color performance in which the user has precisely set the hue and intensity
of each color component in the Color Adjustment by X/Y or Color Saturation
submenus. It is most often needed with multiple-projector applications. Select the
color adjustment producing the best color accuracy for your application and
installation.
To configure a “User” color adjustment (gamut), use either the Color Adjustment by
X/Y or Color Saturation submenu.
NOTES: 1) “Color Temperature” defaults to 6500K until changed. All four “User”
options default to SD Video unless they have been redefined by the user. 2) Factory-
defined color primaries, which ensure consistent color gamut from projector-to-
projector, can be calibrated in the Service menu only. If you suspect alteration, the
factory settings can be recovered with selection of Reset to Factory Defaults? in the
Color Primary Settings submenu within the Service menu (password-protected).
COLOR TEMPERATURE — Adjust to apply a specific and accurate color temperature to
all displays. Color temperatures are expressed in degrees Kelvin (3200-9300K), and
utilize different combinations of the projector’s original native color primaries to
produce a “coloration” or cast (reddish or bluish) in images—the lower the
temperature, the more reddish the cast; the higher the temperature, the more bluish the
cast. Note that the slidebar is enabled only if you have a source connected and have
selected “Color Temperature” in the adjacent “Select Color Adjustment” pull-down
list in the Advanced Image Settings menu.
RESERVED — No function.
WHITE BOOST — White boost is a source dependent setting that enables you to
recapture some of the lost light from the transition between segments in the color
wheel as it’s spinning. For NTSC, HDTV, PAL and SECAM signals the white boost
defaults to “2” and for graphic signals or when a test pattern is selected it’s “10”.
When white boost is set to zero, it is off and the option grays out in the menu. As you
increase the value of white boost you will notice that the image becomes increasingly
brighter and a little less saturated.
NOTES: 1) White Boost is automatically disabled (grayed out in menu) when you
enable Brightness Uniformity, Edge Blending or select a color adjustment (Select
Color Adjustment) other than “Max Drives”. The grayed out value you see is the last
value loaded before being disabled. 2) White Boost can also be adjusted specifically
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for internal test patterns. However, once you switch back to a source, the White Boost
settings will reset to the value set for that source.
Simulation 3D — SUBMENU OF ADVANCED IMAGE SETTINGS
This submenu allows you to adjust
the timing between the input signal
and its appearance on screen. This is
most useful in applications where you
want to match the timing of the
projector to other equipment, such as
a video recording device in
broadcasting environments.
FRAME DELAY MONITOR — This
Figure 3.14.
value changes as it monitors the
latency between input and output. The value should remain fairly constant and close
to the value of the Frame Delay, indicating that timing of input and output frames is
locked; the Frame Delay Monitor value should stay within 5-10 lines or so of the
Frame Delay setting. If a frame is lost or “dropped”, the values will change
significantly, indicating that the frame input is no longer equal to the output.
FRAME DELAY — Set the number of lines delayed between the input signal and its
appearance on screen, keeping in mind that projector processing always adds one
frame of delay to the frame delay setting. For applications, where the feeling of “real
time” image response is a priority, a minimum setting is usually preferable. If set too
high or low, frame locking will not be possible—most sources require approximately
50 lines of delay to ensure frame locking.
FRAME LOCK ENABLE—When checked, the output image frame rate is locked to the
input signal frame rate when possible. When the images are not locked, the input and
the output will run as close to the same rate as possible, but frames may occasionally
be duplicated or dropped.
By default, this option is checked.
Advanced Image Settings continued — SUBMENU
MOTION FILTER — This control is most useful for smoothing out moving images from
interlaced sources. In most cases the proper Motion Filter setting is
automatically determined according to the type of incoming source
signal. However, if your source is jittery and/or tearing you may wish
to “force” a setting to ensure stable processing for this source—if
desired, override the default “Auto” setting by selecting the appropriate
motion filter:
1. AUTO: The projector will automatically use the correct motion filter according
to the incoming signal.
2. STILL: For static images with no motion, such as graphics from a CD.
3. MOTION: For video images that did not originate from film, or for moving
computer-generated images.
4. FILM: For video images that originated from film. This will optimize image
quality and stability.
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FILM MODE THRESHOLD — This setting determines how sensitively the projector can
detect if an incoming video signal originated from film or not. It should not require
adjustment.
DETAIL THRESHOLD — Use “Detail Threshold” to define at what frequency level the
“Detail” control will begin to magnify high frequencies, which adds details back into
the image. Raise the threshold to ignore more of these high frequencies, and lower the
threshold to magnify more of these frequencies. A setting of “0”, for example, means
no noise will be ignored and all will be magnified. An ideal detail threshold is one in
which high frequencies that are causing objectionable noise are not magnified when
using “Detail”, but frequencies which can help sharpen an overly-soft image are
magnified.
Use the Configuration
menu to define general
operating parameters
and communications
with other projectors
and equipment, and to
access other advanced
processing and image
adjustments affecting
overall performance. In
addition, the
3.6
Adjusting
System
Parameters and
Advanced
Controls
Configuration menu
provides access to
diagnostics, calibration
tools and the Service
submenu (password-protected).
Keep in mind that settings in the Configuration menu (and its submenus) are typically
“global” settings applied regardless of the type of source your are using. This
characteristic is identified with the (globe) icon alongside the option.
NOTE: The Configuration menu is recommended for experienced users/technicians
only.
The first six options in the Configuration menu are explained below:
System Configuration '
— GENERAL —
Language
Choose from available languages to use in the projector’s menus. The change will
take effect immediately.
Image Orientation
Set the orientation of the image according to the orientation of your projector. If the
setting is incorrect, projected images will be reversed and/or upside down.
Auto Power-up
Enter a checkmark to enable the projector to automatically power up after losing
power due to a power failure or due to unplugging the projector during operation.
Note that unsaved display adjustments may be lost.
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Set Date & Time
Enter/read the current year-month-day and hour-minute-second. Changes here reset
the projector’s real-time clock.
Menu Preferences — SUBMENU
Adjust the appearance, content
and/or location of on-screen
menus and messages.
LARGE MENU FONT — Enter a
checkmark to enlarge menus and
their text. You may have to adjust
“Menu Location” to accommodate
the increased menu area.
MENU LOCATION — Use the pull-down list to choose a pre-defined default or
customized location for the display of all on-screen menus.
To create a custom menu location quickly, choose a preset that is closest to the desired
location. Then adjust “Horizontal Shift” and “Vertical Shift” slidebars to move the
menu to the desired location. Avoid locations too close to a corner or edge to prevent
cropping of larger menus.
HORIZONTAL SHIFT AND VERTICAL SHIFT — Shift your menus as desired, creating a
customized menu location.
DISPLAY CHANNEL LIST — Enter a checkmark if you want to see a scrollable channel
Channel
list whenever you press
from your presentation. Channels marked with a list icon
in the Channel Setup menu will appear here. The “Display Channel List” option
Input
also enables on-screen feedback when using the
key. If you prefer to hide the
channel list and input dialog box while switching channels and sources during a
presentation clear the checkbox.
NOTE: The Channel List and input dialog box cannot be hidden during use of the
menus.
DISPLAY SLIDEBARS — Enter a checkmark to superimpose a small slidebar over the
current image whenever an adjustable parameter is selected directly with a key such as
Contrast
Bright
or
If “Display Slidebars” is unchecked, these slidebars can still be
.
accessed, but will be hidden during adjustment. This option does not affect slidebars
in menus.
DISPLAY ERROR MESSAGES — Choose how you want to be notified of errors detected
in either the incoming signal or projector. Select “Screen” or “All” (default) to see
brief on-screen messages. This is particularly recommended during setup or testing of
the projector. Or select “RS232” to receive messages via RS232 (or RS422) serial
communication only. To hide error message displays, such as during shows and
presentations, select “Off” or “RS232”.
SPLASH SCREEN SETUP —Use the Splash Screen to choose when you would like to
display a special introductory splash screen image, such as your company logo,
graphic or message.
•
Always Off = A splash screen never appears
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•
Always On = A splash screen is always on behind the current display
image, similar to wallpaper.
•
•
Startup Only – The splash screen logo appears at projector startup only.
Startup And No Signal – A splash screen appears at startup only if there is
no source signal.
To replace the default “Christie logo” splash screen (or other) with one of your own,
use KoRE Librarian to download the desired .bmp to the projector. This will
overwrite the current splash screen content in projector memory.
Settings in the Communications
submenu define and control how
single or multiple projectors are
linked with each other and with a
controlling device.
System Configuration '
— COMMUNICATIONS —
Baud Rates
The baud rate setting determines
the speed of communication to
and from the projector on the
RS232 or RS422 links. The
maximum rate for the RS232 is
Figure 3.15. Communications
115200; for RS422 it is 19200.
Set the baud rate to match that of your controlling device, such as your PC. If you are
unsure about what baud rate to choose, refer to the documentation for the controlling
device. In an existing network of projectors, if you discover that a projector has a
different baud rate, make sure to use the pull-down list and select the correct baud rate
using the
key—do not just scroll this control with
or
keys. Serial
communication is always 8 data bits, no parity.
Projector
Enter a three-digit number (such as “001”) to assign or change a number to the
projector currently in use. If the current projector already has a number assigned, that
number will appear here (for example, “004” in Figure 3.15, above). Numerical
identity for projectors enables you to communicate with a single projector within a
Proj
multiple-projector application (see also
key in 3.2, Using the Remote Keypad). If
Ex it
you make a mistake in assigning or changing the projector number, press
cancel.
to
Network Routing
NOTES: 1) Not applicable for stand-alone projectors or simple serial networks with
only one type of controller and linking.
SEPARATE: Select “Separate” (factory default) to keep RS232, RS422 and Ethernet
messages on their respective paths instead of being broadcast to the other types of
ports. In Figure 3.16A, RS422 controls only the projector to which it is connected. In
Figure 3.16B, either RS232 or RS422 will control the network.
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Figure 3.16. Using the “Network Routing” Option
RS232 AND RS422 JOINED: Messages originating from an RS232 or RS422 controller
will be relayed to all RS232or RS422 ports. Any Ethernet communication, however,
will not.
RS232 AND ETHERNET JOINED: Messages to and from the RS232 ports will also be
relayed to the Ethernet port, and vice versa. Any RS422 communications will be
isolated.
ALL JOINED: All messages reach all ports, regardless of type.
Ethernet Settings – SUBMENU
NOTES: 1) Recommended for network administrators only.
DHCP: Enable this checkbox if you want a DHCP server to automatically change the
projector’s default IP address (0.0.0.0) to one that is valid and unique for use on the
current Ethernet network. On networks without a DHCP server, or to simply override
the automatic DHCP server function, delete the checkmark and enter the new “IP
Address” settings desired. Remember that only a 0.0.0.0 address will trigger the
DHCP addressing service, and only when the DHCP checkbox is enabled.
IP ADDRESS: Enter a valid and unique IP address for use on the network to which the
projector is currently connected. This address will overwrite any previous IP address
such as the projector’s factory-defined default (0.0.0.0), or one that has been assigned
by a DHCP server or other user. It takes approximately 10 seconds for the projector to
respond at its new address.
PORT: On some Ethernet networks, firewall restrictions may require that the port
number of the projector be changed from its default of 3002. If so, enter a new valid
port number here.
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Broadcast Key
Enter a checkmark if you want keypad commands sent to one projector to be relayed
Proj
to all projectors in a serial network. Note that the
key will temporarily “override”
the effect of a broadcast setting and allow you to control a specific projector when
necessary. Disable the setting for all but one (any) projector in a network.
Backlight
Toggle to turn the built-in keypad backlighting on and off.
Front IR / Back IR
As needed for your application, set to “on” so that the front and/or rear IR sensor
locations on the projector respond to the IR keypad. Set to “off” to disable.
To disable both IR sensors, you cannot use the IR remote keypad to select the second
OFF setting. This safeguard prevents accidentally disabling an IR keypad while you
are using it. Instead, use either the built-in keypad or a wired remote (optional) to set
the remaining active sensor to OFF. The projector will no longer respond to an IR
remote keypad.
Wired Keypad
The wired keypad is ON by default to when connected to the rear of the projector. The
projector will then respond to incoming commands from this port. To disable the
wired keypad, you must use a different keypad—the built-in or an IR remote
keypad—to select “off”. This safeguard prevents you from accidentally disabling the
wired keypad during use.
In the Configuration menu, select
the Geometry and Color submenu
when you need to modify overall
color performance and/or image
geometry for all sources.
System Configuration '
— GEOMETRY & COLOR —
Test Pattern
Choose the desired internal test
pattern, or select OFF to turn off a
test pattern. Alternatively, use the
Test
key for cycling through test patterns.
Keystone
Use to correct a keystoned image shape in which both sides of your image are inclined
toward the top or bottom edge. Keystone is typically caused by tilting the projector in
relation to the screen, so that the lens surface and screen are no longer parallel to each
other.
Figure 3.17. Keystone Adjustment
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Brightness Uniformity — SUBMENU
Brightness Uniformity provides further refinement of displays already matched for
their primary colors and overall light output. Use Brightness Uniformity to create an
exceptionally smooth image in which no area appears brighter and/or more red, green
or blue than another. In the Brightness Uniformity menu, enable the “Uniformity
Enable” checkbox to access a multitude of adjustments for critical color light output
control in specific areas throughout the image. Your settings apply as long as the
“Uniformity Enable” checkbox is enabled and you are using a “User” color
temperature defined by the Brightness Uniformity controls. To disable the Brightness
Uniformity function, delete the “Uniformity Enable” checkmark.
NOTE: See also 3.10, Using Multiple Projectors for the complete step-by-step
procedure for achieving uniform brightness in adjacent displays.
Edge Blending — SUBMENU
The Edge Blending submenu provides a range of controls for smoothing together the
overlapping bright edges of multiple adjacent projected images to create a single
larger “seamless” image. These controls, which primarily affect whitelevels, are
typically used in conjunction with mechanical lens blinders (optional), which are
installed on the front of the projector and which primarily affect blacklevels. NOTE:
There is a center line (both horizontal and vertical) in the Edge Blending test pattern.
The intersection of these lines is the true center of the projector’s display area.
NOTE: See also 3.10, Using Multiple Projectors.
Color Adjustments by X/Y, and Color Saturation — SUBMENUS
NOTES: 1) For defining or changing a User 1, 2, 3, or 4 color performance or
“gamut”. Sometimes known as Comprehensive Color Adjustment™. 2) Factory-
defined primary color levels, which ensure a specific color performance from
projector-to-projector, can be calibrated in the Service menu only. If you suspect
alteration of these defaults, the factory settings can be recovered with selection of
“Reset to Factory Defaults?” in the Color Primary Settings submenu accessed via
the Service menu (password-protected).
From the factory, the projector can utilize
any of the 3 pre-defined color performance
settings identified at right (default=Max
Drives), or colors can be driven on the
basis of color temperature. For most
applications, one of these gamuts will
produce accurate and realistic colors from
a variety of sources. They can be applied at
any time in the Advanced Image Settings
menu (“Select Color Adjustment”), and are
not adjustable.
Figure 3.18. Color Gamut Choices
DEFINING “USER” COLOR GAMUTS: In some cases, you may find that none of the pre-
defined “Select Color Adjustment” options exactly suit your needs. For example, you
may require a unique color gamut (range) for a single projector or application, or you
may need to precisely match colors across multiple adjacent displays. In such cases,
use the Color Adjustments by X,Y or Color Saturation submenu to define the precise
hue of each primary color component (red, green, blue, and white) used to generate
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Section 3: Operation
the millions of colors produced in displays. You can create up to four custom color
gamuts (User 1, 2, 3, or 4) with these adjustments.
Note that the two menus differ only in their user interface, so use whichever menu
best suits your needs and application. A color meter can help with adjustments.
•
•
Color Adjustments by X,Y — Enter known x/y coordinates from the
chromaticity graph.
Color Saturation — Adjust color slidebars and judge image color by eye or
meter.
A user-defined color “adjustment” can be applied by selecting it in the Advanced
Image Settings menu (“Select Color Adjustment”).
COLOR ADJUSTMENT BY X,Y: Use
this submenu if you want to create,
alter or copy a color gamut (i.e.,
“color adjustment”). Controls in
this menu define the precise hue of
each primary color component (red,
green, blue, and white) used to
generate the millions of colors
produced in displays. The x/y
coordinates for each color define its
location on the standard CIE
chromaticity graph (see Figure
3.19)—changing either or both of
these numbers will change the hue
of the color, and relocate the
Figure 3.19. Customize Color
“triangle” for possible colors. For
example, changing the x/y
coordinates for red may move the color closer to orange or closer to violet, which will
in turn affect all displayed colors having a red component. Adjust the slidebars or
enter new specific coordinates as desired to define or change up to four “User” color
gamuts needed for your environment and applications. Apply at any time in the
Advanced Image Settings menu.
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Figure 3.20. CIE 1931 Chromaticity Diagram
NOTE: Keep new x,y coordinates within the original color gamut triangle shown
here.
PROCEDURE FOR X,Y ADJUSTMENTS: See 3.10, Using Multiple Projectors.
COLOR SATURATION: Use this
submenu if you do not have
specific color coordinates in mind
and will simply judge color
performance by eye or meter. Like
the Color Adjustment by X,Y
submenu, each color control
actually defines new x/y
coordinates for that color and
changes its hue—it is just a
different interface.
Adjust the hue of each primary
color (red, green, blue, and white)
by using more or less of it in
relation to the other colors.
Figure 3.21. Customize Color
NOTE: A Color Saturation adjustment defines the corresponding x/y coordinates
shown in the Color Adjustment by X,Y submenu. These x/y coordinates will remain
stable for this User gamut until they are changed again via either menu. Values
displayed in the Color Saturation menu, however, will likely fluctuate as you use the
projector, and will be different when you return to this menu at some point in the
future. These floating changes do not affect the x/y coordinates or gamut.
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System Configuration '
DIAGNOSTICS / CALIBRATION
Test Pattern
Choose the desired internal test
pattern to display, or select OFF
to turn off a test pattern.
Test
Alternatively, use the
key
for cycling through test patterns.
NOTE: There is a center line
(both horizontal and vertical) in
the Edge Blending test pattern.
The intersection of these lines is
the true center of the projector’s
display area.
Test Pattern Grey Level
Set the desired level of grey for displaying in the full gray field test pattern.
Freeze Image
Enter a check mark to freeze (stop) an image on a single frame. This diagnostic tool is
useful if you need to examine in detail a still version of an incoming image that cannot
be “frozen” at the source. For example, in moving images it is sometimes difficult to
observe artifacts such as external deinterlacing/resizing and signal noise. Remove the
checkmark to return back to normal.
Color Enable
Select which color or colors you want to see. This is useful while working with color
temperature, input levels or other special setup parameters. Colors can also be
enabled/disabled by entering the corresponding function code listed on the back of the
standard remote keypad.
Odd Pixel Adjustment
NOTES: 1) Factory-set and rarely required by user. 2) Source must be >90 MHz.
When using certain RGB sources, you may need to adjust the normal gain or offset of
odd pixels in relation to even pixels. This will smooth out very narrow (1-pixel wide)
“checks” or vertical stripes that indicate adjacent “on” and “off” pixels. Using the
Level Detector simplifies this process (see Figure 3.22):
1. Use an external analog native-sized continuous grayscale test pattern with at
least 256-levels.
2. Turn “Level Detector” on.
3. Set “Level Value” to ~200. The image should now be black-and-white (or
black-and-one color, if you use “Color Enable” function).
4. Adjust offset. Half of the pixels will move, the other half will not.
5. Adjust until the two transition regions overlap. The stripe of noise will be
minimized, defined by the value in the slidebar.
6. Set “Level Value” to ~800. The image should now be black-and-white.
7. Repeat Steps 4 and 5, but adjusting gain.
8. Repeat Steps 3-7 for all remaining colors. Your RGB source should now be
OK.
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Two sets of values are automatically saved with these controls—one value for Input
#1, and one for Input #2 (analog). The current set of values depends on which source
is in use. This enables a source to be processed correctly via 2 different inputs.
Figure 3.22. Using “Odd Pixel Adjustment”
NOTES: 1) Adjust offset before gain, since offset affects gain. 2) A value of 128
represents no change in normal odd pixel offset or gain. 3) Odd Pixel Adjustment
eliminates “1 pixel on, 1 pixel off” artifact only, not any type of larger artifacts.
Color Wheel Calibration — SUBMENU
The Color Wheel Calibration submenu allows you to set the timing of the color wheel
in the projector. It is important the color wheel is correctly calibrated for the colors
and shades in the displayed image to appear the same. Incorrectly calibrated, the
colors will appear in various unmatched shades throughout the image. This adjustment
is typically only required when the color wheel is replaced.
To calibrate a color wheel, do the following:
1. Select the Color Wheel Calibration submenu. NOTE: The display
automatically changes to the red/blue ramp pattern, which shows the
difference in shades of color between two corners most prominently.
2. Move the “Color Wheel Delay” slidebar in either direction until opposite
corners of the display are matched.
3. Verify this setting by selecting a new color through “Color Enable” –
corners should remain well matched.
4. Perform a final calibration check, by displaying white. The display should
appear without any hint of red, green or blue.
Peak Detector
The “Peak Detector” is a fast method for defining individual input levels, and can
improve the accuracy of input levels set by the Auto Input Level function. Enabling
the “Peak Detector” activates a special operating mode for detecting only pixels that
are considered black or white—all other levels are displayed as a mid-level gray.
When used with a 16-step grayscale pattern in which the two black and white bands
are known to be at opposite edges of the image, you can watch these isolated areas
while adjusting individual blacklevels and input drives until both bands are just
visible. Images from this source will then display correct blacks and whites without
crushing or washing out.
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NOTE: If using Peak Detector with PIP, both images must have the same color space.
Level Detector
The “Level Detector” checkbox enables specific thresholds for blacks and whites—
input levels that fall below a specified Level Value (see below) are displayed as black,
and all others are displayed as white. It aids in Odd Pixel Adjustment. To use:
1. Enable “Level Detector” and display a continuous grayscale.
2. Set “Level Value” to near black (such as 200).
3. Adjust Offsets to minimize area of black stripe.
4. Set “Level Value” to near white (such as 800).
5. Adjust Gains to minimize area of white stripe.
Level Value
Level Value defines the value to be used by the Level Detector in recognizing blacks
and whites. See Level Detector, above.
System Configuration ' The single “Option Card” entry in the Configuration menu identifies which optional
OPTIONAL INPUT MODULES
input module (a.k.a. cards) is present at INPUT 5 (Option 1). If the option slot is
empty, the corresponding read-only menu entry does nothing. If there is a module
installed, the corresponding menu entry may activate a submenu of further options
pertaining to that module.
For example, if the Dual SD/HD-SDI module is installed at INPUT 5 (Option 1). The
Option 1 Card submenu provides controls for configuring the various connections on
this multi-input, multi-output module. As desired for your application, you can define
1) which physical input loops through to which output, and 2) which functional input
(main or PIP signal) loops through to which output.
PIP (Picture-in-Picture) and Seamless Switching are independent but related projector
3.7
Working with
PIP or
Seamless
Switching
features that both utilize two image processing paths within the projector. In the case
of Picture-in-Picture, this double processing enables you to display two different
images simultaneously – typically a smaller “secondary” image within a large
“primary” background. In a seamless switch, the double processing essentially occurs
between displays so that a full image relayed from one source can smoothly transform
into a full image from another source. This change can be virtually instantaneous, or
slowed as desired so that the current image appears to dissolve or “fade” into the new
image.
Options for enabling and controlling PIP and Seamless Switching all reside in the
same menu. Note however, that because both features utilize the projector’s double
processing capability, PIP and Seamless Switching cannot be used together. For
example, fading a pair of PIP images into a new display from a different source is not
possible.
For best PIP or Seamless Switching results, use two different signal types* as defined
below. Do not mix two signals of the same type.
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Signal Type Description (Input Location)
#1
#2
#3
5 BNCs (RGBHV or YPbPr)
DVI - I (analog or digital)
Decoded signals (Input 3, Input 4, Composite video, S-Video, or any video
signal via Input 1 BNC connectors or via an analog option card).
Analog Option Cards
#4
#5
#6
Digital Option Cards
Digital Option Cards
* HD interlaced sources are not recommended for the PIP window.
Other PIP or Seamless Switching tips to keep in mind include:
•
When using 2 digital signals or 1 analog and 1digital, each must be ≤ 165
megapixels.
•
•
•
When using two analog signals, each must be ≤ 90 megapixels.
Avoid using an interlaced source in the PIP window
Seamless switching may affect image quality in some cases
NOTE: To control the primary image, access all picture controls through the Main
menu. To control the secondary (PIP) image, access picture controls through the
Picture-in-Picture and Switching menu.
Working with PIP '
Use the first of six
options in the PIP
and Switching menu
to enable and define
how you want to use
PIP.
Swap Main and PIP Image
Toggle the current picture-in-picture relationship so that the primary (main) image
becomes secondary (PIP), and the secondary image becomes primary. Swapping is
available only when PIP is enabled.
NOTE: There may be a slight delay when swapping the Primary and Secondary
images.
PIP Enable
Short cut: Press
on the
remote.
Toggle to display from two
sources at once (Picture-in-
Picture) or the primary source
only. This checkbox turns the
secondary source on and off.
NOTE: Disable PIP and Best Switching for Interlaced sources > 35kHz.
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Section 3: Operation
PIP Size and Position – SUBMENU
Most controls in the PIP Size and
Position menu adjust the PIP
(secondary) image in the same
fashion as their counterparts in the
main Size and Position menu
adjust the main image—see 3.5,
Adjusting the Image for details.
Exceptions are:
POSITION PRESETS –Set the
location of the PIP (secondary)
image in the display.
ASPECT RATIO PRESETS – Choose the desired aspect ratio for your PIP window. A
“Default” aspect ratio matches that of the projector, whereas “Anamorphic” will be a
widescreen window. Choose according to your incoming source material.
PIP Image Settings — SUBMENU
Adjust the PIP (secondary image) without affecting the size or position. The primary
image remains unchanged. See 3.5, Adjusting the Image for details
PIP Border Width
Set the desired line thickness for your PIP window border.
PIP Border Color
Select the desired color for the PIP window border.
NOTES: 1) Numbers 7 and 8 on the Picture-in-Picture and Switching submenu
control switching parameters. 2) Disable PIP in order to work with Seamless
Switching. 3) Disable PIP and Best Switching for Interlaced sources > 35kHz.
Working with Seamless '
Seamless Switching is the ability to instantly and/or smoothly switch sources, and is
controlled with options 7 and 8 in the PIP and Switching menu. To use Seamless
Switching, PIP must be disabled.
Tips for best source switching:
•
•
•
•
Make sure a channel has been configured for each source.
Progressive digital and analog sources are recommended.
Set Image Optimization to Best Switching (see below).
For best results, use the same frame rate and gamma setting for each.
NOTE: Avoid using two Interlaced sources.
Image Optimization
Choose whether to use Best Switching or whether you prefer to optimize image
quality, whichever best suits your needs. When Best Switching is selected, sources are
switched almost instantaneously without a dark state in between images. Eight-bit
processing is used to maximize the opportunity for a seamless transition. Best
Switching is recommended only when seamless switching is necessary. Best Quality
maximizes allocated resources to maintain image quality by using 10-bit processing
and a single source only. If selected, there may be a brief dark state between images.
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NOTE: Disable PIP and Best Switching for Interlaced sources > 35kHz.
Fade Time
Set how long (in seconds) it takes to gradually dissolve one image into another for a
source switch when Image Optimization is set to Best Switching. NOTE: PIP must be
disabled for Fade Time to take effect. Also, the PIP window must be closed to activate
it.
Numbers Select Main Image
Use Numbers Select Main Image to use the
numeric keys #1-8 as input keys. This remapping
of the keypad (see right) can be particularly useful
with PIP displays, providing a convenient shortcut
for changing the primary (background) image
without first having to return to the Main menu.
To use the keys in this manner all of the time,
even with single displays, select Always. For
normal keypad function, select Never (default).
Set to PIP Only to use activate number keys only
when PIP is in use.
NOTE: Numbers Select Main Image keypad
functionality works only when menus are closed.
Use the options in the Lamp menu when you want to view lamp specific, read-only
information, such as lamp status, serial number and lamp hours or to select lamp
specific operation and power modes.
3.8
Working with the
Lamp
LAMP MESSAGE – Enter a checkmark to enable the display of a warning message
when the lamp reaches the user-specified lamp limit. NOTE: This message will only
Exit
appear upon powering up the projector. You can press
to temporarily cancel it,
but it will appear the next time you power up or until a new lamp is installed. It is
strongly recommended this option remain enabled.
Delete the checkmark if you do not wish to receive these messages. Lamp status and
the number of lamp hours should be monitored manually.
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LAMP LIMIT – Enter the number of hours you expect to log on the current lamp before
replacing it. NOTES: 1) If you change modes over the life of a lamp, the lamp limit
you originally expected may no longer be possible. 2) Turning the lamp on and off can
reduce lamp life significantly, as will other factors.
LAMP MODE - Use the pull down list to select the Lamp
1. Max Brightness
2. Power
Mode (power level) of the projector. This option gives you
the ability to control the light output of the projector.
Although there are some exceptions, typically the life span
of the lamp is shortened the higher you set the light output or power setting of the
projector.
•
Max Brightness: Select this option when you want the lamp to always burn as
brightly as possible. The Power option (slidebar) in the Lamp menu will read
as 120W in Single or Dual Lamp mode. Keep in mind that the maximum
brightness for any lamp gradually diminishes with age and the image becomes
dimmer over time.
•
Power: Select this option to set the amount of power (in watts) supplied to the
lamps (single or both). The power level remains constant throughout the life
of the lamp.
POWER – Use the Power slidebar (Figure 3.23.) to set the power level (in watts) that
will be applied to each of the lamps during operation. Power can be set at 100W –
120W for each of the lamps. When you are operating in Single Lamp mode, power is
increased or decreased incrementally for the selected lamp. In Dual Lamp mode,
power changes for alternating lamps (also in increments) until the desired power level
is reached for both lamps. The power level you select will remain constant throughout
operation. In general, dimmer images are produced when power levels are low.
Specifying the maximum power level (120W) in this mode is the same as operating in
Max Brightness mode.
Figure 3.23.
LAMP OPERATION - One of the key features of the projector is that it can be operated
with one or two lamps on. From the pull down list, select the lamp operation mode
you want to operate the projector in. Dual Lamp is the default.
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Section 3: Operation
Figure 3.24.
•
•
Dual Lamp – Select this option to operate the projector with both lamps on. In
this mode, you can achieve maximum brightness output by the projector. If
one lamp fails in this mode, the projector automatically switches to the single
lamp mode of operation for the lamp that is still operational. This transition in
lamp operation modes does not interrupt the current presentation, but creates
an immediate dimming of the image. If both lamps fail at the same time, an
error is reported and the projector automatically turns off.
Single, Lamp #1 or Single, Lamp #2 – Select either one of these options if you
want to operate the projector with only one lamp on and the other lamp in
“reserve”. If a lamp fails in this mode, the projector automatically responds by
switching to the other single lamp mode of operation. In this case, continuous
operation is maintained. When you access the Lamp menu, the Lamp
Operation option reads that of the new lamp.
NOTES: 1) By default, the projector is set for Dual Lamp mode. 2) The projector
automatically shuts down if it detects that both lamps have “failed” (this includes
lamp not installed). 3) Once the “failed” lamp is replaced, the lamp operation
mode does not automatically change back to the previous mode. It must manually
be selected. 4) It takes several seconds for a lamp to reach full brightness when it
is first turned on.
Figure 3.25. Relation between Lamp Operation Modes and Brightness
A Note About Switching Lamp Operation Modes
The projector is designed with two lamps so that it can potentially maintain
constant light on the wall. It automatically detects a failed lamp and responds
by switching lamp operation modes and turns the other lamp on. You may see
a brief period of no light on the wall until the new lamp is ignited and a
gradual increase to full brightness.
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Section 3: Operation
When you manually select a new lamp operation, the lamp turns off only after
the new lamp has successfully been turned on. On rare occasions, a lamp will
not strike on the first attempt. The projector, in this instance, has been
designed to attempt a re-strike of the lamp. With the current lamp still on, the
projector waits 30 seconds before initiating another lamp strike. During this
time, on-screen messages will appear until the lamp is successfully turned on.
The projector attempts to re-strike a lamp up to 3 times after the initial change
in lamp operation modes. With the 30-second wait period in between each
attempt, the projector may seem like it is not responding for up to a total of
two minutes. You can press any key during this time to cancel and return to
the original lamp operation mode. If you cancel the operation or the attempts
to strike the lamp have failed, the lamp is declared, “failed to strike” and the
projector remains in the original mode.
The same occurs if you are attempting to switch from Single to Dual lamp
mode; the projector reverts to the single lamp mode for the lamp that is
working.
More, Lamp 1 or More, Lamp 2 – SUBMENU
There are two separate lamp submenus that can be accessed from the Lamp menu.
Each submenu is dedicated to one lamp – you can view specific lamp information,
such as lamp hours, lamp history and the current status of the lamp. You can also
record a new serial number for a new lamp and change lamp operation modes. (Figure
3.26.)
Figure 3.26.
LAMP HOURS – This read-only information indicates the number of hours logged on
the current lamp. Whenever you record a new lamp serial number, this value
automatically resets to “0”, where it begins to log time for the new lamp. NOTE: You
can also check Lamp Hours in the Status menu.
LAMP S/N – This read-only information displays the serial number recorded for the
current lamp. When you install a new lamp and enter its serial number (9-digits), the
number will appear here in the Lamp menu.
LAMP 1 (OR 2) STATUS – This read-only information displays the current status of the
lamp (1 or 2). An extremely valuable piece of information for troubleshooting, the
Lamp Status can be any one of the six following states: “Good”, “Cooling Fan #3
Failed”, “Cooling Fan #5 Failed, “Interlock Tripped”, “Failed to Strike” and
“Turned Off Unexpectedly”. You can view the status of a lamp anytime during
operation by accessing its submenu.
LAMP 1 (OR 2) HISTORY - Select this numbered item to access a
smaller dialog box with read-only information about the history
previous lamps installed and recorded. The serial number and
number of hours logged for each lamp is displayed. The Lamp
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History is automatically updated whenever the serial number for a new lamp is
recorded. The information for the new lamp is added to the bottom of the list.
NOTE: If you remove lamps from the projector it is important to replace them back
into the compartment from which they were removed. This ensures accurate lamp
information is maintained. Each lamp compartment is labeled Lamp 1 and Lamp 2.
CHANGE LAMP – Select this option to record a serial
number of up to 9 digits/characters for every newly
installed lamp. When selected, a Lamp S/N window
appears. Use the number text entry keys to record the new
Enter
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.
NOTES: 1) Enter a serial number only if you have just installed a new lamp. This will
help ensure the lamp timer is not reset on an old lamp and that the number of hours
logged on the lamp will be accurate. 2) Lamp serial number can be found on the lamp
itself.
IMPORTANT
Always record the serial number of a NEW lamp.
LAMP OPERATION – This option is the same as in the Lamp menu. It appears again in
the submenu for convenience.
The read-only Status menu lists a variety of details about the standard and optional
components currently detected in the projector. Refer to the Status menu for versions
of hardware and software installed, the type (size) of lamp, the hours logged in total
and for a specific period (such as a rental period), and for your projector model name
and serial number. In addition, the Status menu identifies the current channel, its
location, its frequencies and other details.
3.9
Status Menu
Scroll the full Status menu using
. Use
for page up/down.
When an installation requires multiple projectors, you can use the RS232 serial ports
to daisy-chain the units together and control the group with a single keypad or a
computer/controller connected to the first projector. In such a network, you can
Proj
3.10 Using Multiple
Projectors
choose to broadcast commands to the entire group, or use the
limit responses to an individual projector.
key as desired to
Alternatively, you may want to add projectors to a hub on an Ethernet network. See
2.6, Connecting Multiple Projectors for full routing details.
NOTE: Refer back to 3.6, Adjusting System Parameters and Advanced Controls for
complete information about communicating with multiple projectors.
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Section 3: Operation
In a multiple-projector wall, you will likely want to precisely match color and intensity
from image-to-image so that the full wall is as uniform as possible. This matching is
typically done in conjunction with brightness uniformity and edge blending.
Matching Colors '
In Multiple Screens
Preliminary Calibration
As a final part of the manufacturing process, all primary colors in the projector are
precisely set to pre-established values to ensure that overall color performance is
optimized and is as accurate as possible (refer back to Figure 3.20). Upon installation
at a site, however, lighting and other environmental factors may slightly change how
these colors appear on your screen. While the change is negligible in most cases, you
may prefer to recover the originally intended color performance before trying to
match colors from several projectors. Or you may be renting a projector in which the
colors were corrected for use at its previous site, but are not ideal for yours.
The recommended first step in achieving such consistency is to use a color meter to
measure the native primary colors—red, green, blue, and white—as they appear at the
screen and record these as Color Primary Settings in the Service menu (password-
protected) for each projector. On the basis of these new values, which are stored in
memory, each projector will then automatically calculate any necessary corrections to
reproduce the original factory colors under the current environmental conditions. This
essentially calibrates a projector to its surroundings, compensating for factors such as
screen type, lamp and/or ambient lighting that can alter the final color characteristics
on-screen, and will improve color accuracy and consistency in a group of projectors. It
ensures a good starting point for further customizing and matching; however, is not
critical for all installations.
To return to the factory-set color primaries, such as when a projector is moved to
different site, you must access the Service menu (password-protected). Select the
Reset to Factory Defaults? option in the Color Primaries submenu. Then repeat the
calibration process describe above, if desired, and continue with matching of colors.
Color Adjustment Procedure
Once the Color Primary Settings are calibrated for the site (see above), use the Color
Adjustments by X,Y or Color Saturation menu to further refine each projector’s
fundamental colors so that the hue and intensity of each color appears the same from
one display to another. Once matched, you will have created a single new shared
range of colors or “color gamut” that all of your projectors can produce. This
palette—named User 1, 2, 3 or 4—can be applied or disabled for a source at any time
throughout a bank of adjacent displays, simplifying both the setup and maintenance of
a “seamless” wall.
1. Set up and optimize all projector settings. You can ignore color temperature, since
you will be redefining color performance in this procedure, but do optimize each
projector in every other aspect. Closely align all screen edges.
2. Assign projector numbers to make communications easier. Use desired keypad.
3. Use the same lamp mode for all projectors, and do the following:
ꢁ
ꢁ
ꢁ
Set Select Color Adjustment to “Max Drives”
Display a full white test pattern
Adjust lamp power and Optical Aperture until adjacent white fields appear the
same brightness.
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4. Display the Color Adjustments by X,Y menus for all projectors. Each menu shows
the x/y coordinates defining the “Max Drives” color gamut for this projector. Jot
down the values shown in one (any) of the displays. See Figure 3.27. Or use the
“Copy From” function to copy them into a “User” gamut in one projector.
Figure 3.27. Jot Down a Set of ”Max Drives” X/Y Values
5. In each projector, select a “User” color adjustment (1-4) to enable Color
Adjustments by X,Y changes. Then enter your recorded x/y values into each menu
(Figure 3.28).
Figure 3.28. Copy X/Y Values into All Projectors
6. In each projector, judge by eye and adjust x/y coordinates slightly in the following
manner:
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ꢁ
ꢁ
ꢁ
To match reds, decrease “Red
X” until full field red screens
match.
To match greens, decrease
“Green Y” until full field
green screens match.
To match blues, increase both
“Blue X” and “Blue Y” until
full field blue screens match.
NOTE: For speed, enable the
“Auto Color Enable” checkbox.
Each color coordinate you select will then automatically trigger a full field display
of the corresponding color.
Alternatively, use the Color Saturation menu for these adjustments or to fine tune.
These coordinate adjustments move the three color points closer together (refer back
to the chromaticity chart shown in Figure 3.20.) to establish a “shared” gamut
attainable by all projectors in your group. Adjust only as necessary to ensure that the
resulting color palette is as large as possible. When done, you may need to adjust lamp
power slightly.
7. All screens should now be color-matched and the will remain matched upon exit
from the menus. Apply this new “User” gamut to a source at any time by selecting
it in the “Select Color Adjustment” list accessed in the Advanced Image Settings
menu.
Using the Color Saturation Menu for Color Matching
You may prefer to use the
Color Saturation menu to
match colors across
multiple screens. In the
three Color Adjustment
submenus (Red, Green,
Blue—see right), set all
main values to 100 and
the secondary values to 0.
Then judge by eye and
adjust the slidebars as
needed. Note that
adjustments here define
new x/y coordinates in the
Color Adjustments by X,Y
menu.
For best results, use this
menu after doing the color
adjustment procedure.
Figure 3.29. Color Matching Using
Color Saturation Menu
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Section 3: Operation
WHAT IS BRIGHTNESS UNIFORMITY? When used to refine screens already matched for
their primary colors (see Matching Colors in Multiple Screens, above) and overall
light output, proper adjustment of Brightness Uniformity can create an exceptionally
smooth screen in which:
Achieving Brightness '
•
•
•
no area of the screen appears more red, green or blue than another
no area of the screen appears brighter than another
color and light output from one screen closely matches adjacent screens
Although the Brightness Uniformity control can be used for a stand-alone projector, it
is particularly useful for setting up and maintaining tiled images that form a cohesive
display wall in which the color “cast” and light output appear uniform throughout
each image as well as throughout the entire wall. The procedure provided here
assumes a multiple-screen application.
Before You Begin
Read through the entire procedure before attempting to adjust Brightness Uniformity
controls, and keep in mind the following checklist of prerequisites and guidelines:
ꢁ
ADJUST COLORS FIRST—Always adjust the primary colors as described in the
“Matching Colors in Multiple Screens” procedure (above) before attempting to
work with Brightness Uniformity. This ensures that primary colors, color
temperature, and maximized light output are all well-matched from one screen
to another. These matches are needed before you can achieve good Brightness
Uniformity results.
ꢁ
ꢁ
RUN LAMP FOR 100 HOURS—Light output and Brightness Uniformity can vary
significantly during the first 100 hours of lamp use. For best results with new
lamps, either set up Brightness Uniformity after this period, or do an initial
setup and re-check at 100 hours.
SET LAMP POWER—Make sure each “Lamp Power” setting is as high as
possible for your application while still maintaining a good overall match of
light output from screen-to-screen. By nature, achieving a uniform brightness
will require a slightly reduced overall brightness—this reduction will help
ensure that you have enough range of adjustment when examining brightness
variables more closely from screen-to-screen, and will help prevent premature
“maxing out” when trying to match to a certain color, zone or projector.
ꢁ
ꢁ
USE A “USER” COLOR TEMPERATURE—Always adjust Brightness Uniformity
for a User color temperature defined when you matched primary colors, and
continue to use it for all sources displayed on the wall. Your other color
temperatures will not necessarily be matched from screen-to-screen.
WHITE UNIFORMITY SLIDEBARS—White Uniformity slidebar values may not
reduce to “0”. Each slidebar adjusts overall light output in a specific screen
zone, but the value shown represents the current setting for green in this zone.
When other “hidden” values (red or blue) are lower than green, during
adjustment in the White Uniformity menu their values will reach “0” first,
causing the slidebar to stop earlier than expected.
ꢁ
JUDGE BY EYE OR USE A METER—Good brightness uniformity can be achieved
with either.
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Step 1: General Setup
1a) Adjust primary colors (see Matching Colors in Multiple Screens) to ensure
matched overall color temperatures and light output between screens.
IMPORTANT
Double-check that all WHITES and LIGHT OUTPUT are well-matched.
1b) Enable the
Brightness
Uniformity
checkbox. This will
enable access to the
uniformity controls
and will apply the
settings to your
image.
1c) Select the 13 Point test pattern for display.
This pattern provides 9 screen “zones” with
13 targets.
FOR BEST RESULTS: Rather than examining
the CENTER of each zone when assessing
Brightness Uniformity adjustments, focus on
extreme EDGES as indicated in the
illustration at right.
1d) In either Color Adjustments menu, select a “User” color. Then:
•
•
If you have created a “User 1” color gamut (recommended) for a well-
matched wall, continue to Step 1e.
If you prefer maximum brightness rather than a particular color
temperature, select “Max Drives”.
IMPORTANT
Do not change User 1 Color Adjustment
in color-matched applications!
1e) In the White Uniformity
menu, set the “Overall”
output level to 50.0 and all
remaining slidebars to 0.0.
This decreases the light
output just enough
throughout the screen so that
any color level can then be
increased later as necessary
for matching light output
from zone-to-zone. Do not
exceed 50.0 for “Overall”—a higher level will likely interfere with achieving
brightness uniformity and is not recommended.
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Ensure that overall light output remains well-matched from one screen center
to the next. Where necessary, increase or decrease Lamp Power slightly to
recover center matches.
Step 2: Adjust Color (level of red/green/blue) in 8 Zones
NOTES: 1) At this point, ignore the brightness of individual zones. 2) Always ignore
menu colors.
2a) On each screen, compare the color temperatures in the 8 target zones (4 edges
and 4 corners) to that of the color temperature of the center. Compare using a
white field only, and take note of any areas that do not match the center. Also
decide if any screen exhibits a more obvious color shift than other screens—
begin with this screen in Step 2b.
2b) Return to the Brightness Uniformity menu. Beginning with the screen that exhibits
the most obvious color shift(s), for each edge that exhibits a noticeably different
color temperature from the center, select the corresponding Uniformity adjustment
menu—Left, Right, Top or Bottom. For example, if any part of the left side is too
blue, too red or too green, go to the Left Uniformity menu and adjust the colors
(i.e., change their light output) until all portions of the left side closely match the
center color temperature. Adjust an edge first (focusing on its center), then adjust
its corners. See Figure 3.30.
Figure 3.30. Match Zones to Center Color Temperature
Repeat the color adjustment of sides and corners for each edge of the screen that does
not yet match the center (note that each corner is adjustable in either of its two
adjacent “side” menus). When done, all areas of a given screen should match. Repeat
Steps 2a & 2b for all remaining screens.
Step 3: Adjust Light Output in 8 Zones
3a) For each screen, compare the light output of each edge and corner to that of the
center. If any of the areas differ, use the White Uniformity menu to match edges
and corners to the center as described below (see Figure 3.31). Begin with the
screen exhibiting the most obvious variations in light output.
•
Adjust edge White Uniformity first—note that each edge adjustment also affects
the rest of the screen slightly. Keep all edges just slightly lower than the center
light output rather than matching light output precisely. Otherwise, it may not be
possible to brighten the corners (typically the dimmest areas of the screen)
enough. I.e., the best uniformity is a compromise between the brightest and
darkest areas of the screen.
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Section 3: Operation
•
•
Adjust corner White Uniformity last—each corner adjustment affects only this
quadrant.
Repeat for each screen.
Figure 3.31. Match Zones to Center Light Output
Step 4: Readjust Color Temperature (level of red/green/blue) in 8 Zones
4a) Return to Steps 2a & 2b and, if necessary, fine tune the zones so that they all
still exhibit a single color temperature.
Canceling Brightness Uniformity
If you do not want to use or apply Brightness Uniformity settings, delete the
checkmark from the “Uniformity Enable” checkbox at the top of the Brightness
Uniformity menu.
Christie Edge Blending is an innovative set of software functions that can quickly and
easily blend the edges of multiple adjacent full screen images to create a single
seamless larger image.
'
What is a Blend?
In simple terms, a blend appears as a gradient strip
along an edge of a projected image. It is darkest along
the extreme edge of the image, and lightens nearer to
the rest of the image (see right). This area runs along
the edge of the projector’s internal DMDs (display
area); it cannot be located on interior pixels.
Figure 3.32
How Are Blends Used?
In multiple-projector walls,
complementary blends between
neighboring images can
compensate for the extra
“brightness” or intensity where
these edges overlap. By
controlling blend width and other
properties, you can achieve
uniformity across the group of
images. Visible overlaps will
Figure 3.33. Edge Blending Concept
(NOTE: TILING DONE AT SOURCE)
disappear as illustrated in Figure 3.33.
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Section 3: Operation
For best results, use the same projector model and type throughout your display wall.
In addition, avoid high-gain screens whenever possible—the optical performance of
such screens demands minimal image offset, thus projectors must be located very
close to one another. Note too that the requisite tiling of the image—with data
repeated along internal edges that will overlap—must be correctly done by your
source.
Standard edge blending software controls are located in the 2-page Edge Blending
submenu access via Configuration menu, then Geometry and Color submenu, then
Edge Blending. The More option opens the second page of the Edge Blending
submenu.
Main Functions
Use standard edge blending controls to set the precise width, shape and midpoint you
need to blend overlapping edges together smoothly.
ꢁ
Blend Width determines how much area is used for blending along an
overlapping edge. Slidebar values represent the number of 8-pixel steps used
for the blend. For example, a setting of “3” creates a blended edge 24 pixels
wide. A setting of “0” signifies no blending. For best results in most
applications, use a blend width of 16-48 steps (128-384 pixels).
Ranges: 0-80 horizontal, 0-60 vertical.
ꢁ
Blend Shape determines the rate of
roll-off across the blend width, i.e.
how quickly the white levels
across the blend change from light
and dark. Increasing the Blend
Shape setting accelerates the rate
of change at both extremes so that
less of the region appears mid-
gray (see Figure 3. 34).
Decreasing the Blend Shape
setting slows the rate of change so
Figure 3. 34. “Shape” Examples
that more of the region appears
mid-gray. For most applications, this subtle control is best left close to 50.
ꢁ
Blend Midpoint determines the white
level at the blend midpoint (the point
equidistant between the beginning
and end of the blend). Increasing the
Blend Midpoint setting creates a
blend that appears brighter than the
rest of the image. Decreasing the
Blend Midpoint setting creates a
blend that is darker than the rest of
the image. A setting of 50 means the
midpoint is approximately 50%
Figure 3. 35. “Midpoint” Examples
black—for best results in most
applications, keep fairly close to this default.
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Section 3: Operation
ꢁ
Show Blending Overlap turns your
defined blend width area to solid
gray so that two adjacent images can
be seamlessly aligned simply by
overlapping their gray bars, if
needed. Toggle the Show Blending
Overlap off to reactivate the blend
effect.
Other Functions
For convenience, the Edge Blending
submenu also includes related options for
enabling a specific color and/or test pattern,
or for working with colors or the lamp. Such
functions duplicate those provided elsewhere
in the menu system.
Edge Blending Procedure
BEFORE YOU BEGIN: Make sure your source
hardware and/or software can supply a tiled image
for the number of projector in use, and that the tiling
includes overlapping data of approximately 12.5-
25% along shared edges (see Figure 3.36). Tiling not
a projector feature.
Physically align the projectors and images from
your intended external source, then match colors
and Brightness Uniformity.
Figure 3.36. Tiling Example
IMPORTANT
For a shared edge, the following Blend procedures and
settings should be identical on BOTH projectors.
1. Start with 2 full-screen projector images overlapped by approximately 12/5%-25%
each. Display full white field test pattern from both.
2. In the Edge Blending submenu, enable the top checkbox to activate all controls.
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Section 3: Operation
3. SET STARTING POINTS FOR ADJUSTMENT:
ꢁ
ꢁ
Set all blend widths to 0.
Go to “More” and set everything in the Edge Blending (2) menu to 50.
Figure 3.37. Set Starting Points for Each Projector
4. SET BLEND WIDTH: On one projector, increase the Blend Width for an overlapping
edge (for example, if the projector’s image is on left, its right edge overlaps the
adjacent image—adjust Right Blend Width). Use the same setting on the second
projector for this shared edge.
5. Re-adjust width (both projectors) until the overly bright band at the midpoint of the
overlapping blends disappears or just changes to very light gray. For the shared
edge, use the same Blend Width setting on each projector. If the best effect appears
to be between two settings, choose the wider setting for both projectors.
6. CHECK BLEND: If the blended region appears too dark or light in relation to the rest
of the image:
ꢁ
Increase Blend Midpoint in both projectors to “lighten” the overall blend,
decrease to “darken” the overall blend.
ꢁ
Adjust Blend Shape in both projectors to fine-tune change the amount of mid-
gray intensity (as opposed to black/white) in the blend.
7. Repeat with remaining projectors / overlaps.
8. Check completed display wall with the desired external signal.
9. Adjust mechanical alignment if necessary to maintain perfect pixel-on-pixel
alignment over time.
In applications where you are projecting only white or light images, the Blend Width
may be slightly higher—set according to how much overlap you have between
images.
As an alternative to using a keypad, most projector functions can be controlled
remotely, typically at a controller such as a PC, via 1) simple bi-directional ASCII
messaging on an Ethernet or serial communication link or 2) a web interface or
“ChristieNET” on an Ethernet network.
3.11 Remote Control
of the Projector
VIA ASCII MESSAGING — Connect a serial link between your controller and the RS232
or RS422 port (recommended), or open an Ethernet socket (i.e., Telnet) between your
controller and the valid projector address. Valid ASCII codes and messages are
documented in the Christie Serial Communications document available at the Christie
website.
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Section 3: Operation
VIA WEB INTERFACE — Connect your PC to the projector’s Ethernet port. In your web
browser (Internet Explorer, for example), enter the IP address of the projector you
wish to control. This will start a password-protected ChristieNET application—enter
the factory default “ccm7” login and password to open the program. If the projector is
powered up, you can access assorted menu options and slidebars.
Repeat for remaining networked projectors as desired. Keep in mind that multiple
units can be controlled from one PC, but each unit will be in its own ChristieNET
interface (web browser) at the PC. Likewise, you can make up to five separate web
locations to a single projector.
The default login provides access to security settings, where you can define other
users with the same or fewer rights. Use “unlimited” rights for most applications. For
all logins, the Service menu is still protected with its own password.
NOTES: 1) Any proxy server settings that interfere with this type of link should be
disabled for using ChristieNET. Disable through Internet Explorer’s < Tools>
<Internet Options> <Connections> <LAN Settings>. 2) Your PC must be Java-
enabled to v1.4.2 or higher to run ChristieNET. 3) Depending on your projector
model, certain controls provided through ChristieNET are non-functional.
Occasionally the projector will encounter an error condition that can interrupt normal
operation. Such a condition can be caused by a simple invalid keypad entry, an input
signal error (most common) or a system error. The manner in which users are to be
notified of error conditions is set in the Menu Preferences menu:
3.12 Error
Conditions
•
•
•
•
To see error messages displayed on-screen, select the “Screen” or “All” option.
To be notified via a serial communication only, select the “RS232” option.
To receive both types of notifications, select “All”.
To disable error messages (except for “invalid user key entry”, which can’t be
hidden), select “Off”.
Note that a two-digit error code appears in the status LED display window located on
the input panel (Electronics Module). Normal operation is indicated by the “0n” status
code.
User Errors '
Invalid User Entry
A keypad entry not recognized by the projector triggers a short on-screen error
message identifying the problem. For example, if you specify a channel number that is
not available, the message “Invalid Channel will appear. Or if you try to enter the
Exi t
wrong password, you’ll see “Invalid Password”. Press
or
to clear the
message and try again.
NOTE: On-screen display of “Invalid User Entry” messages cannot be disabled, even
if Display Error Messages has been set to “Off”.
An input signal error message occurs if you are in presentation level (i.e., there are no
menus present) and have selected an input on which the projector detects a problem.
While menus remain operational and any key press will temporarily remove any
displayed error message, you must resolve the signal problem in order to permanently
eliminate the message.
Input Signal Errors '
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Section 3: Operation
No Signal
The message “No signal” occurs when there is no source signal detected at the
selected input—both HSYNC and VSYNC are inactive and the screen background is
black. Connect or correct the signal, or try another input.
Bad Sync
The message “Bad Sync” occurs when HSYNC or VSYNC are active but the signal
cannot be displayed. Such a condition occurs when only one of the two sync signals is
present or when either sync signal is unstable or of the wrong frequency. Correct the
signal or select another input.
Other Signal Error Messages
In addition to the common “Bad Sync” and “No Signal” errors, you may encounter a
signal error message indicating that HSYNC and/or VSYNC are either too fast or too
slow. When such a message appears, check the frequencies shown in the Status menu.
If they are correct, then the signal is not recognized by the projector. On some PCs
you may be able to change the settings to generate a compatible signal. If the
frequencies shown in the Status menu are incorrect, check the cabling to see where the
problem might originate.
System Warnings / Errors '
When the projector encounters a system malfunction, either a System Warning
message or a System Error message may appear. Both types of messages are
accompanied by a numerical error code on the status LED display. A system
Exi t
Exi t
malfunction can be cleared with
from presentation level, but may indicate
the need for service by a qualified service technician.
NOTE: System messages appear on-screen only if Display Error Messages has been
set to “Screen” or “All”.
System Warnings
A system warning indicates that a system malfunction has been detected (see Status
LED Codes, below). A system warning message replaces any input signal message
and disappears when the input signal status changes. While the projector will remain
operational, the message indicates the presence of a potentially serious problem that
Exi t
Exi t
should be investigated. You can press
results you should reset the projector—power the projector down and up again with
the (power) key.
to remove the message, but for best
System Errors
A system error message indicates that a serious malfunction has been detected and
must be investigated as soon as possible (see Status LED Codes, below). The projector
will no longer operate and must be reset—power the projector down and up again
with the
(power) key.
Status Display
If the status window shows one of the following values, you have encountered a likely
system error requiring the attention of a qualified service technician (see System
Warnings and System Errors, above). Acknowledge and clear the error with
Exi t
Exi t
from presentation level, or try resetting the projector by powering it off and on again,
cooling when necessary. Consult Table 3.5 and contact your dealer if the problem
persists.
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Section 3: Operation
The specific code number identifies the source of the error detected, and is
particularly useful in cases where the projector is far away. For example, the code
“27” means the lamp could not be turned on. Error codes for this projector are listed in
Table 3.5 below.
Table 3.5 Error Codes
Code Description
GENERAL
12
13
14
15
16
17
18
Software bug. Contact dealer/factory.
CRC error in flash ROM. Download new software.
Engineering-only programming is complete. Call Christie, replace TIPM.
Attempting to download code without being in boot mode
Invalid interrupt. Power off/on. If it persists, contact dealer/factory.
User forced system to stay in boot mode
Jumper for programming boot not installed
LAMP FAILURES
20
24
26
27
28
29
2C
2E
31
32
33
36
Lamp on before enabled
Both lamps failed
Lamp 1 Interlock: lamp door open, lamp not installed
Can’t turn lamp on
Lamp turned off unexpectedly
Lamp ballast overheated
Lamp 1 driver UART communication failure
Unable to read valid Lamp ID
Lamp 2 not installed
Unable to turn Lamp 2 on
Lamp 2 shut off unexpectedly
Lamp 2 driver failure
POWER AND COOLING
4C
51
53
54
55
56
Projector shutdown due to critical error
TIPM fan failed (Fan 1)
Lamp 1 fan failed (Fan 3)
Lamp 2 fan failed (Fan 4)
DMD fan failed (Fan 5)
Optional auxiliary fan failed (Fan 6)
TIPM (Image Processor)
60
61
62
63
64
65
66
67
68
Boot code CRC failed
Unable to program DigMux PLD
Unable to program Control PLD
Unable to program BUBKS PLD
Unrecognized ROM type
Write to flash ROM failed
TIPM failure
Downloaded code will not fit
Scaler communication problem
BUILT-IN KEYPAD
70
71
Unable to access EEPROM on the built-in keypad
EEPROM memory re-initialization on the built-in keypad
PANEL DRIVER AND FORMATTER
80
81
82
83
84
85
86
Unrecognized Panel Driver
Unable to program device on Panel Driver
TI flash download failure
TI flash download failure
TI flash download failure
TI-I2C write failure
Communications failure
MISCELLANEOUS
A0
A1
A2
A3
Unable to program the optional module
Unable to power the optional module
Unable to program the Dual Slot Backplane Module (DSBP)
Unable to program the optional Post Processing Module (Warp module)
Exi t
Exi t
Clear system errors with
. If necessary, try resetting the projector by powering it off and on
again (cooling if necessary). For detailed information, monitor the RS232 IN port. Contact dealer/factory
if error persists. Codes omitted from this table should not appear in your projector.
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Section 4
Maintenance
The projector is an international regulatory agency approved product designed for safe
and reliable operation. To assure complete safety at all times it is important to
acknowledge the following precautions while operating the projector.
4.1
Warnings and
Safety
Guidelines
WARNING
NEVER look directly into the projector lens.
The high brightness of this projector
could cause permanent eye damage.
WARNING
For protection from ultraviolet radiation,
keep all projector shielding intact during
operation.
Installation should be performed by qualified
personnel.
Observe and follow all warnings and instructions marked on the projector.
Labels and Markings '
The exclamation point within the equilateral triangle alerts the user to
important operating and maintenance (servicing) instructions in the
literature accompanying the projector.
The lightning flash and arrowhead symbol within the equilateral
triangle alerts the user to uninsulated “dangerous voltage” within the
projector’s enclosure that may be of sufficient magnitude to constitute
a risk of electric shock.
Read all operating instructions prior to using the projector.
Instructions '
Operate the projector in an environment, which meets the operating range specified in
Projector Location '
Section 6 – Specifications.
◊
◊
Do not operate the projector close to water, such as near a swimming pool. Do not
operate in extremely humid environments.
Do not place the projector on an unstable cart, stand or table. A projector and cart
combination should be used with care. Sudden stops, excessive force and uneven
surfaces may cause the projector and cart combination to overturn.
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Section 4: Maintenance
You will notice a significant change in the performance of the lamp when it is nearing
the end of its life. It is important that the changes in lamp performance are noted and
the number of hours the lamp has been in use is considered to effectively maintain the
continuous operation of your projector. If a lamp reaches its end of life or has failed
during operation it should be replaced as soon as possible.
'
WARNING
It is strongly recommended lamp replacement occur after
the projector is powered down and the lamp is cool.
Never attempt lamp replacement soon after shutdown.
The lamp is under great pressure when hot and may
explode causing physical injury and/or property
damage. Always allow the lamp to cool completely
before handling.
During a hot swap, it is strongly recommended power be
cut to the lamp that requires replacement – this requires
switching lamp modes.
Never look or stick hands inside an empty lamp
compartment while the other lamp is still ON to prevent
injury from U.V. light and heat.
Use only the lamps specified and supplied by the
manufacturer.
Use only the attachments and/or accessories recommended by the manufacturer. Use
of others may result in the risk of fire, shock or personal injury.
Power Cord '
and Attachments
Use only the AC power cord supplied by the
manufacturer. Do not attempt operation if the AC supply
is not within the specified voltage and power range.
◊
Do not set or rest items on the power cord. Locate the projector in an area where
the projector cord cannot be abused or damaged by persons walking on it or by
objects rolling over it.
◊
◊
Operate the projector at the specified voltage only. Do not overload power outlets
and extension cords as this can result in fire or shock hazards.
The projector is equipped with a three-wire plug having a third grounding pin.
This is a safety feature – if you are unable to insert the plug into an outlet contact
an electrician to have the outlet replaced. Do not defeat the safety purpose of this
grounding-type plug. NOTE: The power cord supplied with the projector is
approved for North American use only. An appropriately rated power cord with
IEC320 type plug is required for European and other countries.
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Section 4: Maintenance
Slots and vents in the projector provide ventilation. Never block or cover these
Ventilation '
openings. This ensures reliable operation of the projector and prevents overheating.
◊
◊
Do not place the projector over a radiator or heat register. The projector should
not be placed in an enclosure unless proper ventilation is provided.
Do not “poke” objects into the ventilation openings of the projector. They may
touch dangerous voltages or short-out components resulting in a fire or shock
hazard. Do not spill liquids of any kind into the projector. Should an accidental
spill occur, immediately unplug the projector and have it serviced by a qualified
service technician.
If any of the following conditions exist, immediately unplug the projector from the
power outlet and ask a qualified service technician to look at it.
'
◊
◊
The power cord has been damaged.
The internal cooling fans do not start operating when the projector is first turned
on. (NOTE: Fans in the lamp ballast will start once lamp is ignited.)
◊
◊
◊
Liquid has been spilled into the projector.
The projector has been exposed to excessive moisture.
The projector is not operating normally or its performance has significantly
deteriorated in a short period of time.
◊
The projector has been dropped or the shipping case (if applicable) has been badly
damaged.
Do not attempt to service the projector yourself. All
servicing must be performed by manufacturer accredited
service technicians.
Use replacement parts that are manufacturer-approved
only. Use of any other part other than the ones specified
by the manufacturer can result in fire, electric shock or
risk of personal injury and irreparable equipment
damage.
The projector itself requires little or no cleaning if it is operated in an environmentally
controlled environment. However, if you find that the projector may need some
cleaning based on its performance call a qualified service technician.
4.2
Cleaning and
Maintenance
The table below provides cleaning instruction for those items on the projector that
may require periodic cleaning.
Always power down and unplug the projector before any
cleaning or servicing.
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Section 4: Maintenance
Table 4.1. Maintenance Guide
Part Description
Frequency
How to clean
As required
Clean if absolutely necessary. A small
amount of dust on the lens has very little
affect on picture quality.
Lens
To clean: Apply a solvent such as Acetone,
Alcohol or Vinegar sparingly to clean, lint-
free lens tissue. Wipe in single sweep across
the surface of the lens. Do not scrub or rub
tissue in circular motion, this will scratch the
lens. Do not reuse tissue. Do not use cleaning
tools treated with Ether. If particles still
appear on the lens, try using compressed air
to remove.
Clean as required Clean if absolutely necessary. Never touch
the glass surface of the lamp. Any oil (left by
fingerprints) will seriously degrade lamp
performance or cause “hotspots” which can
lead to an accumulation of intense heat in the
touched area and cause the lamp to shatter.
To clean: Wait until lamp is cool. Moisten a
clean, lint-free cotton cloth with isopropyl
alcohol and gently rub the surface of the
Lamp (cleaning)
glass in a circular motion until clean.
As required
Since the projector can be operated in several
lamp modes – lamp replacement intervals
may vary. If you notice a significant change
in the projector’s performance over a short
period of time check the lamp hours and
status of your lamps. See “Lamp
Lamp (replacement)
Replacement” later in this section for more
details and a complete procedure on lamp
replacement.
As required
As required
Remove dust and debris using a clean. lint-
free cloth.
Adjuster
Clean dust from external module covers
using a clean, lint free cotton cloth as
required. NOTE: Before cleaning the
modules, it is recommended that you install
the lens cap. This will keep dust particles
from settling on the glass surface of the lens.
Exterior Module
Covers
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Section 4: Maintenance
The optional IR remote uses two AA size, 1.5V alkaline batteries. To replace the
batteries simply turn the remote over and push out the cover using the finger groove,
as shown in (1) Figure 4.1.
4.3
Replacing
Remote
Batteries
Remove and properly discard the old batteries. Insert new batteries in the proper
positive/negative orientation as shown etched in the bottom of the compartment (2).
Replace the cover by inserting the tabbed end into the opening and snapping the
opposite end into place.
Figure 4.1. Replacing remote batteries (underside of keypad shown)
The projector uses two identical 100W UHP (Ultra High Pressure) lamps and can be
operated with both lamps ON (Dual Lamp Operation mode) or with one lamp ON
(Single Lamp Operation mode). One of the projector’s main features is that it
automatically switches modes, if possible, to maintain continual operation. It is really
important to be aware of your projector’s status to effectively maintain continuous
operation. Another feature of the projector is that you can replace an expired or faulty
lamp without having to power the projector down or disrupt your current presentation
– this is called “hot-swap”.
4.4
Lamp
Replacement
For more information on the lamp operation modes and other options in the Lamp
menu, see 3.7 Working with the Lamp.
WHEN SHOULD LAMPS BE REPLACED?
Typically, aging lamps decrease slightly in their intensity. You can check the number
of hours each lamp has been in use by checking Lamp Hours in individual lamp
submenus. From the Lamp menu, you can also set a Lamp Limit and enable the
projector to send a lamp replacement, warning message when it’s powered on.
At anytime during operation, you can check the status of a lamp by checking the
Lamp Strike Status in individual lamp submenus – More, Lamp 1 or More, Lamp 2.
You will see one of six states: “Good”, “Cooling Fan #3 Failed”, “Cooling Fan #5
Failed, “Interlock Tripped”, “Failed to Strike” and “Turned Off Unexpectedly”. A
status of “failed to strike” or “turned off unexpectedly” indicates a failure that requires
further investigation and may or may not be directly related to the lamp.
If you have ruled out the cause being an aged lamp or another component in the
projector, it may indicate that your lamp has prematurely burned out or failed for
some other reason (check status LEDs and/or error codes through RS-232, if
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Section 4: Maintenance
possible). Burned out lamps or lamps that have failed due to some characteristic flaw
should be replaced, as soon as possible.
In general, monitor the performance of your projector and replace lamps as needed.
About the Lamp Hot-Swap Feature
A single lamp can be replaced without having to power down the projector. In this
case, it is strongly recommended that you cut power to the lamp you want to replace
by switching to the single lamp mode for the lamp you are not replacing. For example,
if you want to replace Lamp 1, switch to Single Lamp 2 operation mode. When the
lamp is successfully turned on you can proceed with replacement. It may take a
minute for the lamp just turned on to reach full brightness, but your presentation will
not be interrupted.
NOTE: When a lamp is removed the safety interlock is “open”. As an added safety
feature, a lamp (functional or not) must be installed within two minutes of removing
an old lamp, otherwise the projector will automatically power down.
CAN “LIVE” LAMPS BE REPLACED?
Live lamps (lamps that are still on) can be hot-swapped out of the projector. However,
this is not common practice and it is strongly recommended that you cut power to the
lamp you are about to replace by switching Single Lamp modes, as described above.
If you still want to continue with replacing a “live” lamp it is important to
remember that when the lamp is removed the power supply for that side of the module
is still active. Do not stick your hands in the empty lamp compartment!
NOTE: If you pull the only “live” lamp out in Single Lamp mode, the projector
automatically tries to turn the other lamp on. If this lamp was previously declared as
a failed lamp, then the projector automatically powers down.
Before you proceed with lamp replacement.
◊
Read, and make sure you understand the Lamp Replacement procedure before you
begin.
◊
◊
Do not stick hands into an empty lamp compartment while the projector is
still plugged into an AC outlet.
Use caution when handling lamps. Lamps, even those that have been through a
cool down period, are still hot due to the temperature emitted by the other
operational lamp.
◊
Do not touch the glass surface of the lamp. Handle the lamp by its handle
only. Intense heat can accumulate in areas where fingerprints exist. These
“hotspots” can lead to an accumulation of intense heat, which may result in the
lamp exploding. Wearing clean cotton gloves when handling the lamp will
prevent getting fingerprints on the glass surface.
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Section 4: Maintenance
Replacing a Lamp:
Step 1 '
Turn the projector off – If your presentation allows, it is strongly recommended
Power
*
that you power down the projector prior to replacing a lamp. Press
to power
down the projector. The projector fans will continue to operate for a short cool-down
period. It is recommended that you wait approximately 5 minutes to allow lamps to
cool before replacing.
WARNING
It is strongly recommended that you allow the lamp to cool before
replacing – approximately 5 minutes.
HOT-SWAP ALTERNATIVE
Read About Lamp Hot-Swap on the previous page before proceeding.
If you choose to replace a lamp without disrupting the current presentation, it is
recommended that you switch to the Single Lamp mode for the lamp you are not
going to replace. Then proceed with Step 2. NOTE: The projector will not
automatically return to its original Lamp Mode after lamp replacement. This must
be done manually, if desired.
Step 2 ' Open lamp compartment – Loosen the two screws on the lamp door you want to
open. Swing the door open. (Figure 4.2.) NOTE: Each lamp door is spring-loaded and
needs to be held open during lamp replacement.
CSP70 – To access the lamp in these
units, first remove the rear access
panel.
Figure 4.2.
Step 3 '
Remove lamp – Loosen the two screws securing the lamp in the lamp module.
Holding the lamp door open with one hand, grasp the lamp handle and pull straight up
to remove the lamp. (Figure 4.3. and Figure 4.4) (The lamp disconnects from the
terminal block much like unplugging something from an outlet.)
Figure 4.3.
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Section 4: Maintenance
WARNING
DO NOT touch the glass surface of the lamp. Set it aside
for proper disposal once it has cooled down.
Figure 4.4.
WARNING
Never look or stick hands inside an open lamp
compartment while the other lamp is still ON. Power is
still present in the lamp module and the heat and U.V.
light from the remaining operational lamp could cause
physical injury.
Step 4 '
Insert new lamp
a) Hold the new replacement lamp above the lamp compartment. Align the two
holes on the lamp module with the locating pins located on the edge of the
lamp compartment. See Figure 4.5.
b) Slide the lamp all the way down until it is fully seated into the compartment.
See Figure 4.6.
c) Tighten the two screws on the lamp module just until snug to hold it in place.
DO NOT over-tighten lamp screws as it could potentially damage the
lamp module.
Figure 4.5
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Section 4: Maintenance
Figure 4.6. Inside the Lamp Compartment
Step 5 '
Close lamp door – Once the lamp is inserted, carefully close the spring-loaded
lamp door and lock it by tightening the two lamp door screws.
Watch your fingers! The lamp door is spring-
loaded and will snap close. Keep fingers clear from
the lamp compartment opening when closing the
lamp door.
Step 6 '
Turn the Projector on (if applicable) or Switch back to the original Lamp
Power
*
Operation Mode – Press
to turn the projector on. If you performed a hot-
swap, use the Lamp menu to return to the original lamp operation mode you were in.
' Reset Lamp Hours – Access the Lamp menu (item 5. in Main Menu) and select the
submenu for the lamp that you are replacing – More, Lamp 1 or More, Lamp 2. From
the submenu, select the Change Lamp option. Enter the new serial number in the
Lamp S/N text box. When the new number is recorded, the lamp timer will
automatically reset to “0” hours and begin to log time.
NOTES: 1) Once entered, the new lamp serial number is also automatically added
to the Lamp History submenu (read-only). 2) Lamp life data is required for
warranty claims.
IMPORTANT
If you fail to enter a serial number the lamp timer will not automatically
reset to “0” and inaccurate lamp hours will be shown in the Status menu.
The lamp life limit may then expire prematurely.
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Section 5
Troubleshooting
If the projector does not appear to be operating properly, note the symptoms present and use the following guide to
assist you. If you cannot resolve the problems yourself, contact your dealer for assistance.
NOTE: A qualified service technician is required when opening the projector to diagnose any “probable cause”.
5.1
Power
Symptom '
The projector is on but there’s no display...
CAUSE / REMEDY:
1. Was a lens cover accidentally left on? Remove lens cover.
2. Is the lamp ignited? Check for interlock problems such as an open lamp door OR
check for light spillage out the back.
3. Is the correct input selected? Check cable connections.
4. Check if menus appear on screen.
5. Can you access test patterns? Make sure there is not a full black test pattern
Menu
selected for display—press
with
to access test patterns, then cycle patterns
keys. Check your source connections again.
6. Is there an error code present? An internal system error can prevent the projector
from operating. Check the status display for an error code. If the problem persists,
contact a qualified service technician.
Symptom '
The projector does not respond to the IR remote keypad…
CAUSE / REMEDY:
1. Check keypad batteries.
2. Make sure the transmission path between the IR remote and projector is not block
in any way.
3. Keep ambient lighting to a minimum.
Proj
4. Make sure the keypad has not been disabled for use with this projector. Press
to broadcast to all projectors.
Symptom '
The projector powers down unexpectedly…
CAUSE / REMEDY:
1. Check status display for an error code.
2. Have the lamps reached their end of life? Check lamp hours using the RS-232
command. Replace lamp(s) if necessary.
3. Ensure lamp fans are operational. Lamps will shut down if a fan fails during
operation. Check status display for any error code.
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Section 5: Troubleshooting
4. The projector will power down if the lamps were installed incorrectly or have
failed. If the projector powers down during lamp replacement, it likely indicates
the interlock has been in the open state for more than the allowed 2-minute time
frame. During a hot swap, make sure to install a lamp (good or bad) back into the
lamp compartment within 2 minutes otherwise the projector will power down.
5.2
Displays
Symptom '
Image appears “squeezed” or vertically stretched into center of screen
1. Check your Resizing selection.
CAUSE / REMEDY:
Symptom '
The display is jittery or unstable…
CAUSE / REMEDY:
1. If the display is jittery or blinking erratically, ensure that the source is properly
connected and of adequate quality for detection. With a poor quality or
improperly connected source, the projector will repeatedly attempt to display an
image, however briefly.
2. The horizontal or vertical scan frequency of the input signal may be out of range
for the projector. Refer to Section 6, Specifications for scan frequency ranges.
3. The sync signal may be inadequate. Correct the source problem.
Symptom '
The display is faint…
CAUSE / REMEDY:
1. Brightness and/or contrast and/or gamma may be set incorrectly.
2. The source may be double terminated. Ensure the source is terminated only once.
3. The source (if non-video) may need a different sync tip clamp location.
4. Check if the lamp operation mode has changed. Check RS-232, status display and
lamp status for an indication of whether a lamp failed, or if a fan failed.
Symptom '
Turning White Boost ON appears to dim image…
CAUSE / REMEDY:
1. For all new sources, perform Auto Setup (Main menu) and enable Auto Input
Levels before applying White Boost. Auto Setup should automatically optimize
your Input Levels for the most common sources. Only trained technicians should
modify Input Levels if further adjustment is required.
Symptom '
The display suddenly went dim…
CAUSE / REMEDY:
1. Check to see if the lamp operation mode changed from Dual Lamp to Single lamp
– this could be due to a lamp failure, fan failure or if the lamp has expired.
Symptom '
The upper portion of the display is waving, tearing or jittering…
CAUSE / REMEDY:
1. This can sometimes occur with video or VCR sources. Check your source.
Symptom '
Portions of the display are cut off or wrap to the opposite edge…
CAUSE / REMEDY:
1. Resizing and/or blanking may need adjustment.
2. The horizontal or vertical scan frequency of the input signal may be out of range
for the projector. Refer to Section 6, Specifications for scan frequency ranges.
Symptom '
The display appears compressed …
CAUSE / REMEDY:
1. The frequency of the pixel sampling clock is incorrect for the current source.
2. Resizing, vertical stretch and positioning options may be improperly adjusted for
the incoming source signal.
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Section 5: Troubleshooting
Symptom '
Data is cropped from edges
CAUSE / REMEDY:
1. Check settings for Blanking.
2. If incoming data is still missing from the image, reduce the image size to within
the display area available in the projector.
Symptom '
Display quality appears to drift from good to bad, bad to good…
1. The source input signal may be of low quality.
CAUSE / REMEDY:
2. The H or V frequency of the input may have changed at the source end.
Symptom '
The display has suddenly frozen…
CAUSE / REMEDY:
1. It’s possible that excessive voltage noise on the AC or ground input has
interrupted the projector’s ability to lock on to a signal. Power down the projector
and disconnect from AC. Then plug in again and power up as usual.
Symptom '
Colors in the display are inaccurate…
CAUSE / REMEDY:
1. Try Auto Setup.
2. The color, tint, color space, color temperature and/or other settings may require
adjustment.
3. Ensure signal connections are correct.
4. Make sure you are using the proper channel for this source.
Symptom '
Values in Color Saturation slidebars vary over time…
CAUSE / REMEDY:
1. Once defined, Color Saturation slidebar values fluctuate over time and will likely
be different upon subsequent visits to this menu. This is normal and should be
ignored, as these changes do not redefine the x/y coordinates or color gamut.
Symptom '
The display is not rectangular…
CAUSE / REMEDY:
1. Check leveling of the projector. Make sure that the lens surface and screen are as
parallel to each other as possible.
2. Is the vertical offset correct? Adjust as necessary using the vertical offset knob.
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Section 5: Troubleshooting
Symptom '
The display is “noisy”…
CAUSE / REMEDY:
1. Display adjustment at your input source may be required. Adjust pixel tracking,
phase and filter. Noise is particularly common on YPbPr signals from a DVD
player. (If using a PC source, adjust using a high-frequency test pattern with one
pixel on/off throughout.)
2. The video input may not be terminated. Make sure the video input is terminated
(75Ω). If it is the last connection in a loop-through chain, the video input should
be terminated at the last source input only.
3. The input signal and/or signal cables carrying the input signal may be of poor
quality.
4. If the distance between the input source device and the projector is greater than 25
feet, signal amplification/conditioning may be required.
5. If the source is a VCR or off-air broadcast, detail may be set too high.
Symptom '
The display suddenly went dim…
CAUSE / REMEDY:
1. Lamp operation mode switched from Dual Lamp to Single Lamp – check the
Lamp menu to confirm lamp status and operation mode. A lamp may require
replacement.
1. Make sure the Ethernet settings are valid for your site—all network devices
5.4
Ethernet
should have the same subnet mask and unique IP addresses.
2. Make sure to save any address change, and re-boot to implement.
If you still have trouble establishing communications with a projector added to an
existing Ethernet network, the projector’s IP address is likely in conflict with
another address already in use. Contact your network administrator.
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Section 6
Specifications
NOTES: 1) Due to continuing research, specifications are subject to change without notice. 2)
Specifications apply to all models unless otherwise noted.
6.1 Specifications
'
Display Resolution
SXGA+ resolution, 1400 x 1050 pixels
Brightness (typical)
Product
Lamp
Mode
100W UHP
120W UHP
Standard
Mode
Boost Mode
Standard
Mode
Boost Mode
Single
Dual
315 lumens
630 lumens
54 cd/m2
450 lumens 375 lumens
900 lumens 750 lumens
550 lumens
1100 lumens
94 cd/m2
RPMSP
77 cd/m2
64 cd/m2
Single
Dual
CSP70 (Wide
Angle Screen
102-106001)
108 cd/m2
154 cd/m2
129 cd/m2
189 cd/m2
Contrast Ratio
1100:1 full field on/off
Gray Scale and Color Resolution
8 bits resolution
16.8 million displayable colors
Color Temperature
Default
White Boost ON, 100% white 5500K 500K
White Boost OFF, 100% white 5300K 500K
Range of adjustment
3200K – 9600K
Brightness Uniformity (dual lamp mode)
RPMSP
ꢂ 90%, adjustable to 100% uniformity
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Section 6: Specifications
Wide Angle Screen (102-106001)
CSP70
Horizontal viewing angle
180° viewing range,
½ gain angle, 35°
180° viewing range,
½ gain angle, 35°
0.82 0.1
Vertical viewing angle
On-axis peak gain
Type
Surface finish
Fresnel/Lenticular (black bead)
Low reflective
Picture Offset and Adjustment Range*(6-axis)
Horizontal (side to side)
Vertical (up/down)
+1.0”/-1.0” from zero 0.05”
+0.85”/-0.85” from zero .006”
Translation (toward/away from screen) +1.2”/-1.2” from zero 0.05”
Yaw (horizontal keystone)
Pitch (vertical keystone)
Roll (image tilt)
+3.0°/-3.0° from zero 1/4°
+5.0°/-5.0° from zero 1/4°
+5.0°/-5.0° from zero 1/4°
*Note: Zero position is factory set.
'
Analog RGB (interlaced or progressive scan formats)
Horizontal frequency range
Vertical frequency range*
Scan format
15 – 120 kHz
23.97 – 150Hz
Interlaced or progressive
13 – 210 MHz maximum
Pixel clock rate
Input Levels
R, G, B – with sync
R, G, B – without sync
Pb, Pr
1.0Vp-p 2dB (0.79Vpp-1.26Vpp)
0.7Vp-p 2dB (0.56Vpp-0.88Vpp)
0.7Vp-p 2dB (0.56 Vpp-0.88Vpp)
2V
DC Offset
Nominal Impedance
75 ohms
*Specifies rate for non-interlaced sources and field rate for interlaced sources. Frame/field rates higher
than the maximum refresh rate of the panels will be displayed at a lower rate. (i.e., frames will be dropped)
Sync (interlaced or progressive scan formats)
Horizontal frequency range
Vertical frequency range*
Scan format
15 – 120 kHz
23.97 – 120Hz
Interlaced or progressive
Sync Types
Separate H and V
Composite (bi-level,tri-level, XOR)
Sync-on-green/luma (bi-level, tri-level)
MarcoVision
Polarity**
positive or negative
Input Level**
0.5Vp-p – 4.0Vp-p
75 ohms
Nominal Impedance**
Horizontal Sync Duty Cycle
3% min, 20% max
* Specifies rate for non-interlaced sources and field rate for interlaced sources. Frame/field rates higher
than the maximum refresh rate of the panels will be displayed at a lower rate.
** Does not apply to sync-on-green/luma
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Section 6: Specifications
Composite Video and S-Video
Signal Formats
Composite (CVBS), S-Video (Y/C)
NTSC, NTSC 4.43, PAL, PAL M,
PAL N, PAL60, SECAM
Video Standards
Input Levels
Composite-video
1.0Vp-p 3dB (incl. sync tip)
1.0Vp-p 3dB (incl. sync tip)
630mV nominal (burst)
2V
S-video luma (Y)
S-video chroma (C)
DC Offset
Nominal Impedance
75 ohms
Maximum return loss (VSWR)
20dB min (1.2:1 max) @ 6 MHz
DVI Analog
Input Characteristics
The same as Analog RGB except as
noted :
Formats
RGB or YPbPr – video signal cannot
be routed to the decoder
Sync Types
Separate H and V, direct or swapped
Bi-level – TTL levels only
Composite (XOR, OR)
Sync on green
Serrations and/or Equalization pulses
MacroVision for standard &
progressive video
Analog Sync Input Impedance
1kΩ
DVI Digital
Signal Characteristics
Meets the DVI specification
Max cable length
Max pixel rate
EDID
5m
165 Mpix/s
supported
supported
HDCP
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Section 6: Specifications
Built-in Status Display
Control Signal
'
Display
Twin 7 segment display
Remote Control (with laser)
Type
IR with wired ability
38kHz
Carrier frequency
Range
30 m
Number of sensors
Laser Pointer
1 (located below lens)
included
Battery Type (2 required)
AA, 1.5V Alkaline
Wired Control Input
Wired connector type
Input Levels
3.5mm plug
High 2.2V min, Low 0.9V max.
Serial Ports
RS232
1 male DB9 connectors (RS232 out)
1 female DB9 connector (RS232 in)
1 female DB9 connector
RS422
Networking
Ethernet
1 RJ45 connector
Power Requirements '
General
Voltage Range
Line Frequency
Inrush current
Current rating
100 – 240 VAC nominal
50Hz – 60Hz nominal
68 A max
One lamp ON
2.5A @ 100V (typical), 1.1A @
240V (typical)
Two lamps ON
4.0A @ 100V (typical), 1.7A@
240V (typical)
Power Consumption
One lamp ON – 250W nominal
Two lamps ON – 400W nominal
Line Cord
North American
heavy duty 10’, 125VAC 15A
NEMA 5-15P
Plug
North American
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Section 6: Specifications
Type
100/120W UHP
Lamps '
Power
100/120 Watts
5 minutes
Warm up to full brightness
Operating position
20 degrees tilt from horizontal
plane
0.7:1 for RPSMP (38-GFX010-01) and CSP70 (102-002001)
1.16:1 for RPMSP (38-GFX011-01)
Lens '
Type
4 segment (R, G, B, W)
Color Wheel '
' Operating
RPMSP
Temperature
6°C to 35°C
Humidity
Altitude
Storage
20% to 80% non-condensing
0 to 3000 meters
-20 to 50°C, 20% to 80% relative
humidity, non-condensing
CSP70 with Wide Angle Screen
Temperature
17°C to 31°C
Humidity
Altitude
Storage
40% to 60% non-condensing
0 to 3000 meters
-20 to 35°C, 35% to 65% relative
humidity, non-condensing
RPMSP
Size & Weight '
Weight
< 77lb.
(Unpacked without lens and including adjuster)
Size
(includes lens, adjuster and mounting rails – lens horizontal position shown)
CSP70
Weight
220 lbs
(without screen, top cover, pedestal or packaging)
Stacking Limit - Vertical
4 max – NOTE: External support
necessary to ensure stability and prevent
tipping.
Size
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Section 6: Specifications
'
Safety and Regulatory
CAN/CSA C22.2 No. 60950-00
ANSI/UL 60950 3rd Edition
UL 1950 3rd Edition
EN60950, 2000 European Norm, Safety of Information Technology Equipment
China Compulsory Certificate (CCC)
Electro-Magnetic Compatibility (E.M.C) Emissions
FCC Code of Federal Regulations, Title 47, Part 15, Conducted and Radiated
Emissions, Class A
EN55022 (CISPR 22) for Information Technology Equipment, Conducted and
Radiated, Class A
EN61000-3-2 Induced Harmonic Distortion
EN61000-3-3 Induced Voltage Fluctuations (Flicker)
Electro-Magnetic Compatibility (E.M.C) Immunity
EN55024 specific to Information Technology Equipment (all parts), under which are;
EN61000-4-2 ESD,
EN61000-4-3 Radia7ted Immunity
EN61000-4-4 Fast Transient/Burst Immunity
EN61000-4-5 Surge Immunity
EN61000-4-6 Immunity to Conducted Disturbances
EN61000-4-8 Magnetic Field Immunity
EN61000-4-11 Voltage Dips, Short Interruptions and Voltage Variations Immunity
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Section 6: Specifications
Optional Accessories ' Optional Interfaces
• RGB 500 Input Module (38-804606-xx)
• RGB 400 Active Loop Thru Input Module (38-804607-xx)
• RGB 400 Buffered Amplifier Input Module (38-804610-xx)
• PC250 Analog Input Module (38-804609-xx)
• Serial Digital Input Module (38-804602-xx)
• Digital HDTV Input Module (38-804611-xx)
• Video Decoder Module (38-804600-01)
• Dual SD/HD/SDI (38-804656-01)
RPMSP
User’s Kit
102-108001
(includes user and installation manuals, setup tools, and IR remote keypad)
CSP70
70” Wide Angle LG Screen
Pedestal
Pedestal Side Panel Kit
Top Cover Kit
Eyebolt Kit
102-106001
102-107001
102-104001
102-105001
38-804839-01
102-108001
User’s Kit
(includes user and installation manuals, setup tools, and IR remote keypad)
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Appendix A
Glossary
This appendix defines the specific terms used in this manual as they apply to this projector. Also included are other
general terms commonly used in the projection industry.
The time, inside one horizontal scan line, during which video is generated.
Active Line Time '
The ability of a screen to reflect ambient light in a direction away from the "line of
best viewing". Curved screens usually have good ambient light rejection. Flat screens
usually have less ambient light rejection.
Ambient Light Rejection '
The video output of most computers and videotape machines. Analog video can
generate a large number of colors.
Analog Video '
Anamorphic '
Having or requiring a linear distortion, generally in the horizontal direction.
Anamorphic lenses can restore a ‘scope’ (CinemaScope) or ‘flat’ format film frame to
the correct wide-screen appearance by increasing its horizontal proportion.
The American National Standards Institute is the organization that denotes the
measurement standard for lamp brightness.
ANSI '
The ratio of the width of an image to its height, such as the 4:3 aspect ratio common in
video output. Can also be expressed as a decimal number, such as 1.77, 1.85 or 2.39.
The larger the ratio or decimal, the wider and “less square” the image.
Aspect Ratio '
The ability of the projector to automatically recognize and synchronize to the
horizontal and vertical scan frequencies of an input signal for proper display.
Auto Source '
Bandwidth '
The frequency range of the projector's video amplifier.
The speed (bits-per-second) at which serial communications travel from their origin.
Baud Rate '
The time inside one scan line during which video is not generated. The blanking time
of the input signal must be equal to or greater than the retrace time of the projector.
Blanking Time '
In projection, brightness usually describes the amount of light emitted from a surface
such as a screen. It is measured in foot-lamberts or candelas per square meter.
Brightness '
Unit of measure for measuring intensity of light.
Candela or Candle '
Channel '
A collection of measurements stored by the projector for a given input source,
including frequencies, pulse width, polarity, syncs, channel number and location, user-
adjustable display settings, etc. Use channels to switch between a variety of setups
quickly, automatically recalling previously defined display parameters.
A list/menu of previously-defined channels available in projector memory.
'
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Appendix A: Glossary
Channel Number '
A number that uniquely identifies a specific channel retained in projector memory.
The projector can retain up to 50 channels.
A menu item that indicates whether an option is currently in effect (checked) or not
(unchecked).
'
Chrominance '
'
The signal representing the color information (hue and saturation) when the image is
represented as separate chrominance and luminance. Same as “chroma”.
The range of colors allowed in a specific system, as defined within a triangular area
located on the CIE color locus diagram whose corners are the three primaries defined
in the system. Also known as color space.
A change in the tint of a white field across an image.
'
The coloration (reddish, white, bluish, greenish, etc.) of white in an image, measured
using the Kelvin (degrees K) temperature scale. Higher temperatures output more
light.
Color Temperature '
See YCbCr or YPbPr.
Component Video '
Composite Video '
The output of video tape players and some computers, characterized by
synchronization, luminance and color signals combined on one output cable.
The degree of difference between the lightest and darkest areas of the image.
Contrast (ratio) '
Convergence '
The alignment of the red, green, and blue elements of a projected image so that they
appear as a single element.
A projection screen which is slightly concave for improved screen gain. Curved
screens usually have screen gains, which are greater than 1 but viewing angles much
less than 180°. Curved screens are not recommended for use with this projector.
Curved Screen '
The Display Data Channel VESA standard enables communication between PCs and
monitors, and is based on E-EDID protocol.
DDC '
DDI '
A “direct digital interface” signal can be supplied to the projector via an optional
digital input module installed in INPUT 5. For example, you can input an SMPTE-
259M signal using a Serial Digital Input Module or input an SMPTE-272M signal
from a Digital HDTV Serial Input Module.
DMD
Digital Micromirror Devices used in this projector for processing red, green, and
'
blue color data.
Located at INPUT 3 and INPUT 4, this device converts NTSC 3.58, NTSC 4.4, PAL,
Decoder '
PAL-N, PAL-M, or SECAM to RGB video.
The sharpness of a display from a video source.
Detail '
A type of rear-projection screen which spreads the light striking it. Screen gain is less
than 1 but audience viewing angles are increased.
Diffused Screen '
An adjustment that affects the display of an image. Such display settings include
contrast, brightness, tint, blanking, size, offsets, and others.
'
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Appendix A: Glossary
The maximum frequency of the pixel clock. Also known as pixel clock rate.
Dot Clock '
E-EDID '
The Enhanced Extended Display Identification Data standard, established by VESA,
enables properties (such as resolution) of a display device to be detected by the
display card in a controlling device such as a PC. The PC, in turn, can then output in a
matching format to fill the display. Some sources used with the projector are VESA E-
EDID reported.
A very rapid variation in image brightness caused by a frame rate that is too slow.
Flicker '
(See Interlace) See also Lamp Flicker.
The intensity of visible light per square foot.
Foot-candle '
'
The luminance (brightness) which results from one foot-candle of illumination falling
on a perfectly diffuse surface.
The frequency at which complete images are generated. For non-interlaced signals,
the frame rate is identical to the vertical frequency. For interlaced signals, the frame
rate (also known as field rate) is one half of vertical frequency.
Frame Rate '
The ability of a screen to direct incident light to an audience. A flat matte white wall
has a gain of approximately 1. Screens with gain less than 1 attenuate incident light;
screens with gain more than 1 direct more incident light to the audience but have a
narrow viewing angle. For example: An image reflecting off a 10 gain screen appears
10 times brighter than it would if reflected off a matte white wall. Curved screens
usually have larger gain than flat screens.
Gain or Screen Gain '
General Purpose Input Output, used for remote control of a limited number of
programmable functions by direct signal or dry-contact connection.
GPIO '
'
High-definition Television (1035, 1080 and 1125 lines interlace, and 720 and 1080
line progressive formats with a 16:9 (i.e. 1.77) aspect ratio.
A display of help information regarding the current task or presentation.
'
The frequency at which scan lines are generated, which varies amongst sources. Also
called horizontal scan rate or line rate.
'
The difference between the center of the projected image and the center of the
projector lens. For clarity, offset is often expressed as the maximum amount of the
image that can be projected to one side of the lens center without degrading the image
quality. Horizontal offset ranges can be affected by the type of lens in use, and
whether or not the image is offset vertically at the same time.
'
A circular area of a screen where the image appears brighter than elsewhere on the
screen. A hot spot appears along the line of sight and "moves" with the line of sight.
High gain screens and rear screens designed for slide or movie projection usually have
a hot spot.
'
A physical connection route for a source signal, described by a 2-digit number
representing 1) its switcher/projector location and 2) its slot in the switcher/projector.
'
Signal sent from a source device to the projector.
Input Signal '
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Appendix A: Glossary
Interface '
A device, such as the Serial Digital Input Module, that accepts an input signal for
display by the projector.
A method used by video tape players and some computers to double the vertical
resolution without increasing the horizontal line rate. If the resulting frame/field rate is
too low, the image may flicker depending on the image content.
Interlace '
A small push-button device for controlling most projector settings and operation. For
Keypad '
more information, refer to 3.3, Using the Keypad.
A distortion of the image which occurs when the top and bottom borders of the image
are unequal in length. Side borders both slant in or out, producing a “keyhole” shaped
image. It is caused when the screen and lens surface are not parallel, or (in “X”
models) by poor Keystone adjustment.
Keystone '
As the lamp ages, the shape of two anodes may changes from two points to a flattened
state. When this occurs, the arc jumps across the gap from varying points. This is seen
as image flicker. Turning the Lamp Conditioning feature ON will pulse the lamp and
gradually “condition” the two anodes back to two points. Lamp Conditioning may
take seconds, minutes or hours to reach full effectiveness. NOTE: Lamp flicker can
occur at any time in the lamps life. The length of time, over which flicker may occur
varies considerably and unpredictably. This behavior is inherent in UHP lamps.
Lamp Flicker '
The reproduction of the horizontal and vertical size of characters and/or shapes over
the entire screen.
'
When light from a projector is incident on a screen, the light reflects from the screen
such that the angle of reflection equals the angle of incidence. The Line of Best
Viewing is along the line of reflection.
'
A Christie software feature where samples of output light from a projector trigger
automatic adjustments in the lamp ballast power in order to maintain a constant light
output over time. Also known as brightness tracking.
LiteLOC '
The method of feeding a series of high impedance inputs from a single video source
with a coaxial transmission line in such a manner that the line is terminated with its
characteristic impedance at the last input on the line.
Loopthrough '
(Loopthru)
The unit of measure for the amount of visible light emitted by a light source.
Lumen '
The signal representing the measurable intensity (comparable to brightness) of an
electronic image when the image is represented as separate chrominance and
luminance. Luminance also expresses the light intensity of a diffuse source as a
function of its area; measured in lumens or candles per square foot (1 lumen per
square foot = 1 footlambert). SMPTE RP 98 calls for a luminance of 12 to 22
footlamberts for theatre screens. See: Footlambert.
Luminance '
The amount of visible light per square meter incident on a surface.
'
1 lux = 1 lumen/square meter = 0.093 foot-candles
A list of selectable options displayed on the screen.
Menu '
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Appendix A: Glossary
A video output format of some video tape and disk players. There are two types of
NTSC (National Television Standards Committee) video: NTSC 3.58 and NTSC 4.43.
NTSC 3.58 is used primarily in North America and Japan. NTSC 4.43 is less
commonly used.
NTSC Video '
A type of rear-projection screen which re-directs light through the screen to increase
image brightness in front of the screen. Screen gain is usually greater than 1 but
audience viewing angles are reduced.
Optical Screen '
PAL Video '
PAL (Phase Alternating Line) video is a 50 Hz standard with 768 x 576 resolution. It
is found on some video tape and disk players (used primarily in Europe, China and
some South American and African countries).
The smallest discernible element of data from a computer-generated image.
The phase of the pixel sampling clock relative to incoming data.
Pixel '
Pixel Phase '
The frequency of the pixel sampling clock, indicated by the number of pixels per line.
'
Presentation Level '
The projector is at presentation level when an image from a source is displayed
without the presence of a slidebar, menu, pull-down list, or error message.
The distance between the projector's front feet centers and the screen. Also called
"Throw Distance”.
Projector-to-Screen '
Distance
The type of code format called “A” or “B” utilized by the remote keypad(s). The
default protocol set at manufacture is Protocol “A”. By using two different keypad
protocols, adjacent projectors can be controlled independently with their remote IR
keypads.
Protocol '
A selectable menu item that unfolds into a list of options pertaining to it.
'
QuVis '
A manufacturer of a digital video recorder/player/server, QuBit, frequently used for
providing digital cinema data. QuVis image compression uses a proprietary
technology called Quality Priority Encoding, based on wavelets, in which the user
selects a quality level based on signal-to-noise ratio. The data rate varies to efficiently
maintain that quality level. Frames are coded individually.
A translucent panel for screen projection. Incident light travels through the incident
surface of a rear screen and forms an image on the other surface.
Rear Screen '
'
The ability to manipulate through software commands the physical size, placement
and/or aspect ratio of an image.
The maximum number of alternate white and black horizontal lines that can be
distinguished on a screen when a photographic target is placed between the lens and a
light source and illuminated by that source.
Resolution (lens) '
The maximum number of pixels that the projector can display horizontally and
vertically across an image, such as 1024 x 768 (called XGA).
Resolution (projector) '
The minimum time required for a CRT projector to move the position of the scanning
spot from the right edge to the left edge.
Retrace Time '
(Horizontal)
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Appendix A: Glossary
Rise Time '
The time required by the video amplifier of the projector to increase its output from
10% to 90% of the maximum value.
The video output (analog or digital) of most computers. Analog RGB video can have
3, 4, or 5 wires — one each for red, green, and blue, and either none, one or two for
sync. For three-wire RGB, the green wire usually provides sync. (See TTL Video).
RGB Video '
A common asynchronous data transmission standard recommended by the Electronics
Industries Association (EIA). Also called serial communication.
RS-232 '
RS-422 '
S-Video '
A less common asynchronous data transmission standard in which balanced
differential voltage is specified. RS-422 is especially suited to long distances.
The output from certain video tape players and video equipment. S-Video separates
sync and luminance from color information, typically producing a higher quality
display than composite video.
The horizontal or vertical frequency at which images are generated. Also known as
scan rate or refresh rate.
'
One horizontal line on the display.
Scan Line '
Scan Rate '
'
The horizontal or vertical frequency at which images are generated.
A video output format of some video tape and disk players (used primarily in France).
SECAM (Sequential Couleur á Mémoire) signals are similar in resolution and
frequency to PAL signals. The primary difference between the two standards is in the
way color information is encoded.
A slidebar is a graphical display of an adjustable setting. The numerical setting often
represents a percentage but can be a specific unit such as degrees Kelvin.
Slidebar '
Source '
The device, such as a computer or VCR, connected to the projector for display. A
source may have numerous corresponding channels defined and recognized by the
projector. See Input.
See Channel.
'
Switcher '
A signal selector that can be connected to a projector for the purpose of adding more
sources.
This term refers to the part of the video signal that is used to stabilize the picture.
Sync can occur in three forms:
Sync '
1. "Composite sync": the horizontal and vertical components are together on one
cable.
2. "Sync-on-green": the sync is part of the green video.
3. "Separate sync" or "H.SYNC and V.SYNC": the horizontal and vertical
components of the sync are on two separate cables.
The duration of each sync pulse generated by a computer. The sync width is part of
the blanking time.
Sync Width '
TTL Video '
A type of RGB video with digital characteristics.
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Appendix A: Glossary
A wire connecting a single video source to a display device, such as a projector, must
Terminated '
be terminated by a resistance (usually 75Σ for video).
The distance between the front feet of the projector and the screen. Also called
"Projector-to-Screen Distance”. Always use the correct Christie throw distance
formula to calculate the proper throw distance (±5%) required for your lens.
Throw Distance '
Throw ratio = throw distance / screen width. Typically used to differentiate lenses.
Balance of red-to-green necessary for realistic representation of NTSC signals.
Throw Ratio '
'
The ability of a projector to synchronize to inputs with frequencies within a specified
range.
Variable Scan '
The frequency at which images are generated. Vertical frequencies vary amongst
sources. Also called vertical scan rate.
'
Vertical Offset '
The difference between the center of the projected image and the center of the
projector lens. For clarity, offset is often expressed as the maximum amount of the
image that can be projected above or below the lens center without degrading the
image quality. Vertical offset ranges depend on the type of lens in use, and whether or
not the image is offset horizontally at the same time.
The signal that is used by display devices (such as projectors) to generate an image.
This term also refers to the output of video tape/disk players and computers.
Video '
Video Decoder '
Video Standard '
Viewing Angle '
An optional device that converts NTSC 3.58, NTSC 4.4, PAL, PAL-N, PAL-M or
SECAM to RGB video.
A specific type of video signal, such as NTSC, PAL, SECAM. This projector can
automatically recognize and interpret the incoming standard and display accordingly.
Screens do not reflect equally in all directions. Most light is reflected in a conical
volume centered around the "line of best viewing". Maximum brightness is perceived
if you are within the viewing cone defined by the horizontal and vertical viewing
angles.
The color temperature of white used by the projector.
White Balance '
White Field '
The area of an image that is white only. For example, a full white field is an image
that is white everywhere. A 10% white field is a white area (usually rectangular) that
occupies 10% of the image; the remaining 90% is black.
A high-end digital component video signal.
YCbCr '
YPbPr '
A high-end analog component video signal. Sometimes called YUV, Component, or
Y, R-Y, B-Y, the YPbPr signal by-passes the video decoder in this projector.
See YPbPr.
'
The adjustment of image size by means of a zoom lens.
Zoom '
.
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Appendix B
Keypad Reference
NOTE: The IR remote is a standard component provided with the projector. Use the
extension cable also provided to convert the IR remote to a wired remote, if desired.
Refer to Section 3 for a specific description of each key and how to use them correctly.
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Appendix C
Serial Communication
Cables
A serial link of RS232 or RS422 enables ASCII communication with the projector so
that it can be controlled remotely from a PC or other controller. From a PC, connect a
standard 9-wire RS232 serial cable to the RS232 IN port. Or, for long-distance (>100
ft.) links with an RS422-compatible PC or controller, connect RS422 cable to the
RS422 port.
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Appendix C: Serial Communication Cables
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Appendix D
Auxiliary Fan Connector
About the Auxiliary Fan Connector
The auxiliary fan connector, located on the rear input panel of the Electronics Module, allows
you to connect a separate external cooling fan to the projector. This extra fan may be useful
and necessary in applications where the projector is mounted within an enclosure and more
airflow is required.
To use this fan, send the commands listed below through the serial command interface. By
sending these commands the fan will automatically be turned on or off whenever the projector
is turned on or off.
(RTE S 1 1 "(DGN 4 4 \0x0401 \0xffff)")
(RTE S 1 0 "(DGN 4 4 \0x0400 \0x0000)")
turn fan on upon projector power up
turn fan off when projector powers down
Send the following commands if you no longer require the fan to function in this manner:
(RTE ?0)
(RTE X *)
(RTE X 1)
ask for list of all RTE commands
delete all RTE entries
to delete entry one (where Number = delete
the event with the given number from list)
NOTE: Refer to the Serial Communications document on the Christie website for other RTE information.
Figure D-1 Auxiliary Connector Pin Out Details
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Appendix E
System Integration
The GPIO (General Purpose Input Output) connector located on the input panel provides a flexible
method of interfacing a wide range of external I/O devices to the projector. There are 7 GIO pins
available on the 9pin D-Sub GPIO connector, which are configurable via RS232 commands. The other
two pins are reserved for ground and power – see table below for pin identification.
GPIO
1
2
3
4
5
GPIO Pins
Pin #
Signal
6
7
8
9
1
2
3
4
5
6
7
8
9
+ 12V (200mA)
GPIO 1
GPIO 2
GPIO 3
Ground
GPIO 4
GPIO 5
GPIO 6
GPIO 7
The serial cable required for connecting the external device to the projector’s GPIO connector,
whether it’s a standard serial cable or a custom one, must be compatible with the external device.
Configuring the GPIO
The GPIO connector can be configured to automate any number of events using the serial
command code GIO. Each pin is defined as either an input or output depending on the
desired outcome. In general, configure the pin as an input if you want the projector to respond
to something the external device does and as an output if you want the external device to
respond to an action taken by the projector. For example, configure the pin as an output if you
want the lighting in a room to automatically dim when the projector is turned on.
By using the GIO command, you can also set the state of each pin as high or low. By default,
the state of each pin is high. The voltage applied to pins in the high state is + 3.3V.
Example 1. Turn room lighting on when the projector is turned off. (Assumes a
control/automation unit is configured to turn the lights on when pin 2 of it’s input goes high.)
(GIO C2 O)
(GIO 2 H)
Set pin #2 configuration to output
Set pin #2 to high (state)
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Appendix E: System Integration
Query Command
(GIO?)
Request the state and configuration of all pins
Reply of pin state and configuration
Request configuration for pin #2
Reply with pin #2 configuration as output
Request the state of pin #2
(GIO! “HHLLHLH” “OOIOOOI”)
(GIO? C2)
(GIO! C2 O)
(GIO? 2)
(GIO! H)
Reply with pin #2 state as high
Real Time Event
Use the serial command RTE to specify an action that is initiated at a particular time or based
on an external stimulus.
For General Purpose IO “G”
Parameter
Name
Value
P1
P2
P3
RTE type
I/O bit
Pin state
(1 Character)
(String)
G (Real Time I/O Event)
1-7
H = High
L = Low
“LHXXXHL” Combine multiple inputs and
trigger occurs when all conditions are met
Any valid serial protocol command for the device
P4
Commands
Example 2. Projector powers up when a switch on the external device is turned on.
(GIO C2 I)
Set pin #2 configuration as input
Power on when pin #2 set to high
Power off when pin #2 set to low
(RTE G 2 H “(PWR 1)”)
(RTE G 2 L “(PWR 0)”)
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Appendix F
Optional Input Modules
There are many optional input modules and accessories currently available for this
projector. Contact your dealer for a complete and up-to-date listing.
The RGB500 Input Module may be installed in this projector, a Marquee Signal
Switcher, or a Marquee Case/Power Supply. The module receives analog RGB input
signals from computers or other RGB source devices.
RGB500 Input Module '
RGB500 Features
◊
accepts 3, 4, or 5 wire RGB video (sync-on-green, composite sync, or
separate horizontal and vertical sync), up to 500 MHz bandwidth
accepts YPbPr, composite (on green) and Y/C (on red/blue)
BNC connectors for RGB signal inputs
◊
◊
NOTE: The audio connectors are not functional.
The RGB400 Buffered Amplifier Input Module may be installed in this projector, in a
Marquee Signal Switcher or in a Marquee Case/Power Supply. Connect three-, four-, or
five-wire RGB video signals of up to 400 MHz bandwidth, signals typically produced by
high-resolution computer or workstations. The buffering capability of the module enables
the incoming signal to be sent to a remote destination. Inputs are 75Ω terminated.
RGB400BA Input Module '
RGB400BA Features
◊
accepts 3, 4, or 5 wire RGB video (sync-on-green, composite sync, or
separate horizontal and vertical sync)
◊
◊
◊
accepts YPbPr, composite (on green) and Y/C (on red/blue)
BNC connectors for RGB signal inputs
Buffered signals to a remote destination
NOTE: The audio connectors are not functional.
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Appendix F: Optional Input Modules
The RGB400 ALT Input Module may be installed in this projector, a Marquee Signal
RGB400 Active Loop-Thru '
Input Module
Switcher, or a Marquee Case/Power Supply. The module receives analog RGB input
signals from computers or other RGB source devices. Video inputs are 75Ω
terminated. Video outputs provide buffered loop-through to another display device.
RGB400ALT Features
◊
accepts 3, 4, or 5 wire RGB video (sync-on-green, composite sync, or
separate horizontal and vertical sync)
◊
◊
◊
accepts YPbPr, composite (on green) and Y/C (on red/blue)
BNC connectors for RGB signal inputs
buffered loop-through video outputs
NOTE: The audio connectors are not functional.
The PC250 Analog Input Module may be installed in this projector, a Marquee Signal
Switcher or a Marquee Case/Power Supply. The module receives analog RGB input
signals from IBM PC compatibles or Macintosh computers. Video inputs are 75Ω
terminated. Video outputs are provided for buffered loop-through to another display
device.
PC250 Analog '
Input Module
PC250 Analog Features
◊
◊
◊
accepts VGA or MAC RGB video
15 pin D connectors for video
active loop-through video outputs
NOTES: 1) This interface does not accept VGA and MAC signals simultaneously. 2)
The audio connectors are not functional. 3) Trademarks are the rights of their
respective owners.
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Appendix F: Optional Input Modules
This module can display digital video input signals conforming to the DVI (Digital
Visual Interface) single-channel standard.
DVI Input Module '
Features
◊
◊
◊
supports Digital Visual Interface (DVI) single-channel
supports VESA Extended Display Identification Data (EDID)
provides an active-loop-through using a DVI connector (conforming to
the DVI Specification)
The module accepts a serial digital 4:2:2 component video signal (YCbCr) via a single
SERIAL IN BNC connector. The signal can loop through the SERIAL OUT BNC out to
another device (such as another projector). Inputs are 75Ω terminated.
Serial Digital Input Module '
SDI Features
◊
◊
accepts serial digital 4:2:2 component video (YCbCr)
provides both a SERIAL IN and a SERIAL OUT BNC connector
includes status LEDs for signal and error
◊
SMPTE 259M compatible
The Dual SD/HD-SDI Module enables incoming serial digital (SD or HD) data to be
tiled across multiple screen displays, overlapped for extra-bright displays, or
distributed to additional projectors for multiple, same-image screens.
Dual SD/HD-SDI Module '
Dual SD/HD-SDI Features
◊
◊
◊
◊
◊
Accepts and decodes up to two serial digital inputs
Outputs up to two 10-bit YCbCr 4:2:2 video signals
Provides input(s) to output(s) loop-through capability
Supplies interchangeable inputs as part of the Picture-in Picture display
SMPTE 259M compatible
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Index
Number, 3-13, 3-17
Selection, 3-14
Signal Type, 3-14
Using, 3-14
3
,
3-32
Channel Key, 3-4, 3-13
Channel Setup Menu, 3-14
Enter Key, 3-15
Function Key, 3-15
Channels
Creating Automatically, 3-13
Creating in Channel Setup Menu, 3-15,
3-16
A
Adjuster Mechanism, 3-2
Adjusting Input Levels, 3-28
Advanced Image Settings, Submenu, 3-29
Advanced Size and Position submenu, 3-
21
Anamorphic, 3-20
Arrow Keys, 3-8
Definition of, 3-13
Deleting in Channel Setup Menu, 3-15
Checkbox Toggles, 3-10
Clamp Tip, 3-27, 3-28
Color Adjustment, 3-30, 3-37
Color Saturation Submenu, 3-39
XY Submenu, 3-38
Color Enable, 3-40
Color Matching, 3-50
Color Space
Selecting, 3-24
Color Temperature, 3-30
Color Wheel
Calibration of, 3-41
Communications
ASCII Messaging, 3-59
Baud Rate, 3-34
ChristieNET, 3-59
Auto Input Level, 3-27
Auto Key, 3-4
Auto Setup, 3-4, 3-18
AutoSource Checkbox, 3-17
B
Bad Sync, 3-61
Baud Rate, 2-7, 3-34
Blacklevels and Drives, 3-27
Blanking, 3-21
Brightness Key, 3-5, 3-23
Brightness Uniformity
Canceling, 3-56
Definition, 3-53
Prerequisites, 3-53
Procedure, 3-53
Submenu, 3-37
Broadcast Key, 3-36
Broadcasting, 3-7
Ethernet, 3-59
Remote Control of Projector, 3-59
Submenu, 3-34
Component Video, 2-2
Components, 1-2
C
Composite Video
Connection, 2-3
Configuration Menu, 3-32
Contrast Key, 3-5, 3-22
Custom Sizing, 3-18
Cables
Serial Communication, 1
Channel
Copy/Delete, 3-15
Edit Menu, 3-16
Locked, 3-17
Name, 3-16
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Index
Gamma, Description of, 3-6, 3-23
Geometry & Color, Submenu, 3-36
Glossary of Terms, 1
D
,
3-32
Date and Time
Setting, 3-33
Decoder AGC
Enabling, 3-25
H
Help
Decoder Luma Delay, 3-26
Detail
Image Sharpness, 3-24
Threshold, 3-32
Context-sensitive, 3-9
From presentation level, 3-9
Horizontal Position, 3-21
Diagnostics and Calibration, Submenu, 3-
40
Display
Channel List, 3-33
Error Messages, 3-33
Menu Location, 3-33
Slidebars, 3-33
Dual Lamp Module, 3-1
DVI, 2-3
I
Image
Adjustments, 3-17
Orientation, 3-32
Image Settings Menu, 3-22
InMenu Checkbox, 3-17
Input
Definition of, 3-12
Levels, 3-26
Selecting/switching, 3-12
Settings, Advanced, 3-29
Input 2, 2-4
Input Level, Auto, 3-27
Input Video Black, 3-25, 3-26
Interfaces,Optional, 2-4
E
Edge Blending, 3-37
Description, 3-56
How Blends Are Used, 3-56
Main functions, 3-57
Electronics Module, 3-2
Enter Key, 3-7
,
3-32
Invalid Channel, 3-60
IP Address, 3-35
Setting, 2-8
Error Messages
Bad Sync, 3-61
IR Sensors, 3-36
H-Sync or V-Sync, 3-61
No Signal, 3-61
Resetting Projector, 3-61
System Warnings/Errors, 3-61
Ethernet
Communications, 2-5
Troubleshooting, 5-4
Ethernet Network, 2-8
Ethernet Settings, 3-35
Exit Key, 3-7
K
Keypad, 2-4, 1
Accessing Menus, 3-8
Backlight, 3-36
Enabling Wire Remote, 3-36
Guide lines, 3-4
Guidelines, 3-4
IR Remote, 3-2
Replacing Batteries, 4-5
Wired, 3-3
F
Keystone
Correcting, 3-36
Film Mode Threshold, 3-32
Filter, 4-4
Filter (Image Adjustment), 3-23
Frame Delay, 3-31, 3-32
Frame Delay Monitor, 3-31
Frame Lock Enable, 3-31
Freeze Image, 3-40
Full Height, 3-20
Full Screen, 3-19
Full Width, 3-19
Function Key, 3-7
L
Lamp, 4-4
Change Lamp, 3-49
Hours in Use, 3-48
Max Brightness, 3-46
Mode Switching, 3-47
Operation Mode, 3-46
Power, 3-46
Recording Serial Number, 3-49
Replacement of, 4-2, 4-5
Lamp History, 3-48
Lamp Limit, 3-46
G
Gamma Key, 3-6, 3-23
Gamma Table, 3-29
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Index
Lamp Mode, 3-46
Lamp Serial Number, 3-48
Lamp Status, 3-48
Language
Changing, 2-8
Entering, 3-35
Power
Lamp, 3-46
Choosing, 3-32
Power Key, 3-4
Laser Key, 3-8
Powerup, Auto, 3-32
Presets, Resizing, 3-18
Primary Colors, Adjusting, 3-50
Projection Head Module, 3-1
Projector
Level Value, 3-42
Locked Channel Checkbox, 3-17
Luma Delay, 3-26
Assigning/Changing Number, 3-34
Cleaning and Maintenance, 4-3
Error Conditions, 3-60
Number, 3-12
Projector Key, 3-7
M
Menu, 3-8
Channel Setup, 3-14
Configuration, 3-32
Image Settings, 3-22
Lamp, 3-45
Size and Position, 3-18
Status, 3-49
Pull-Down Lists, Use of, 3-10
Purchase Record, 1-2
R
Test Pattern, 3-36
Menu Font Size, 3-33
Menu Key, 3-6
Remapping Keypad. See Working with
PIP or Seamless Switching
Resizing
Default, 3-18
RGB
Connection, 2-1
RS-232
Connection, 2-4
RS-422
Menu Location on Screen, 3-33
Menu Navigation, 3-8, 3-17
Menu Preferences submenu, 3-33
Motion Filter, 3-31
Multiple Projectors
Description, 3-49
Connection, 2-5
N
Network Routing, 3-34
Network, Split. See Split Network
No Resizing, 3-19
No Signal, 3-61
Noise Reduction, 3-24
Numerical Entry, 3-12
S
Seamless Switching, 3-42. See Working
with PIP or Seamless Switching
Fade Time, 3-45
Image Optimization. See Working with
PIP or Seamless Switching
Setting RGB Levels, 3-26
Simulation 3D
Frame Delay, 3-31
Frame Delay Monitor, 3-31
Frame Lock, 3-31
O
Odd Pixel Adjustment, 3-40
Level Detector, 3-42
On-Line Help. See Help
Optional Input, 2-4
Optional Input Modules, 1
OSD Key, 3-6
Simulation 3D, Submenu, 3-31
Size and Position Menu, 3-18
Slidebars
”Direct”, 3-10, 3-17
Adjustment, 3-9
P
Peak Detector, 3-28, 3-41
PIP, 3-42
Border Color, 3-44
Border Width, 3-44
Enable, 3-43
Using, 3-10
Source Connections, 2-1
Source Setup. See Channel
Specifications, 6-1
Splash Screen Setup. See Menu:Splash
Screen Setup
Image Settings. See Image Settings
Pixel Phase, 3-20
Split Network, 3-34
Pixel Tracking, 3-20
Plug & Display (EDID), 3-22
Port Number
Split Networks
Options for Setup, 2-9
Status Display, 3-61
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Index
S-Video
Connection, 2-3
Swap Main and PIP Image. See PIP
Switcher, 3-17
U
Using the Keypad
PIP. See PIP Enable
Sync
Def. and types, 6
V
System Integration
GPIO Connector, 2-9, 1
Vertical Position, 3-21
Video Options, Submenu, 3-25
Video Standards, 3-25
T
W
Test Key, 3-4
Test Pattern Grey Level, 3-40
Text Editing, 3-11
Navigation, 3-11
Time-outs, 3-9
Troubleshooting
Ethernet, 5-4
White Boost, 3-30
Y
YPbPr, 3-24
Connection, 2-2
Power, 5-1
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