Texas Instruments Projector DW30 User Manual

DS+60/DW30/Matrix 3000

User’s Manual

013-100149-02

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Section 1

Introduction

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

projectors that use Digital Light Processing™ (DLP™) technology from Texas

Instruments to achieve bright, crisp images. With a range of available lenses, input

modules and built-in ChristieNET™ these projectors are flexible and customizable.

1.1

Projector

Overview

The compact size and native SXGA+ (1400x1050) resolution of the DS+60, and the

native 720P (1280X720) resolution of the DW30 make them ideally suited for

boardrooms, conference rooms and the like.

Also a reliable and compact SXGA+ projector, the

Matrix 3000 with its purpose built simulation

features such as RGB color matching, and gamma

controls can be used in Simulation and

Visualization applications.

Key features:

•

1-chip DLP™ technology

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

720P resolution for DW30 (1280 x 720)

Variable brightness due to use of dual lamp illumination system

Exceptional contrast ratio range

Two user replaceable lamps - 300W P-VIP®

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

10-bit image processing

24-bit RGB display

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

Memory for up to 50 custom channels (source setups)

Intuitive on-screen menu system

Picture-in-Picture and Seamless switching

Optional ChristieTWIST™ image warping module (standard in Matrix 3000)

Status LED display for projector monitoring

Multiple control options including ChristieNET™, RS-232 and RS-422

Remote controlled shutter

Motorized lens mount for smooth lens control

Field interchangeable projection lenses

See Section 6 for a complete list of product specifications.

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Section 1: Introduction

Powering ON

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

modes. As the lamps warm up, brightness will gradually increase. (No

light appears on the wall during the first 25 seconds.) On the rare

occurrence a lamp does not ignite, the projector will try again several

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

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

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

ignored.

powered down and powered back up again. This gives the lamps enough

time to cool down to a point where they can be turned on again.

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

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

Lamp Operation Modes – Auto Switching

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

mode to another to maintain light on the wall.

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

at the windows on the lamp doors.

(For more information see 3.7 - The Lamp Menu)

Lamp Operation Modes – Manual Switching

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

turned on. This allows you to view content without interruption when

switching between lamp operation modes. It takes 25 seconds for a lamp

that was just turned on to warm up and reach full brightness. When the

original lamp turns off you will notice a slight dimming, which indicates

the lamp switching operation is complete. At this point, you can perform

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

- The Lamp Menu.

Flexible Light Output Control

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

output by approximately 50%.

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

approximately 17% dimming capability.

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

increase contrast.

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

troubleshooting brightness related problems.

White Boost

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

Brightness Uniformity or making Color Adjustments. A noticeable

dimming of the display occurs. For best results, set White Boost to 10 for

data content and 2 for video.

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Section 1: Introduction

How the projector works f The light generated by the lamp(s) is then sequentially filtered into the RGB color

primaries by the spinning color wheel(s) and presented to the single chip DMD,

located in the light engine, in sequence. The reflected light from the DMD chip then

passes through the projection lens to the screen.

Figure 1.1 How the Projector Works

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

1.2

Components

•

Wireless IR Remote (with batteries)

Wired Remote Cable (10 ft.)

Line Cord (North American and European)

Computer Cable (Dsub 15 to DVI-I)

DVI-I Cable

S-Video Cable

User’s Manual

NOTE: For a complete list of optional components that can be used with your

projector, refer to Section 6 – Specifications. Call Christie or your dealer, if

required.

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Section 1: Introduction

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

You can also register your product on-line by visiting www.christiedigital.com ⇒

Service and Support ⇒ Product Registration. This will keep you in touch with all

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

Christie newsletters.

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

Christie dealer.

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Section 2

Installation & Setup

The instructions provided here are for those that are familiar with the projector and

wish to quickly set it up and use it temporarily. Refer to the remaining subsections of

this manual for a more complete setup.

2.1

Quick Setup

Step 1 f

Install a Projection Lens

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

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

Replacing the Projection Lens.

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

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

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

components.

Step 2 f

Position the Projector

Place the projector on a sturdy, level surface and position it so that it is perpendicular

to the screen at a suitable distance. In general, the further back the projector is

positioned from the screen, the larger the image will be.

If required, you can level the projector by adjusting its three feet. With the projector

positioned perpendicular to the screen the image will appear rectangular instead of

keystoned.

For more detailed instructions on positioning the projector refer to Projector Position

and Mounting later in this section.

Step 3 f

Connect a Source

Located at the back of the projector is the input panel where all source connections are

made. Each input is clearly labeled for easy identification.

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

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

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

video to INPUT 3 and S-video to INPUT 4.

NOTE: One of the available optional input modules can be installed at INPUT 5 for

additional connections. Refer to 2.3 - Connecting Sources for more details on

connecting a specific source.

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Section 2: Installation and Setup

Step 4 f

Connect the Line Cord

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

that you are using a line cord, socket and power plug that meets the appropriate

local rating standards.

Connect the appropriately rated line cord (supplied with the projector) to the AC

receptacle located on the lower right side of the projector and the other end to an AC

outlet (100-240V). Do not use a line cord or AC supply not in the specified voltage

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

Step 5 f

Turn the Projector ON

Press

for two seconds to turn the projector on. As the projector begins

initialization an active pattern of segments appear in the two-digit display located on

the built-in keypad. Wait for “ON” to appear in the display before sending any keypad

commands otherwise the command will be ignored.

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

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

Step 6 f

Select a Source

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

from that source.

Step 7 f

Perform Auto Setup on the current source

Auto

Press

to automatically initiate the optimization of critical display parameters for

the selected source, which includes but is not limited to size, position and pixel

tracking. After this process is complete, additional modifications can be made to

image settings as required.

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Section 2: Installation and Setup

Proper installation of your projector will ensure the quality of your display. Whether

you are installing a projector temporarily or permanently you should take the

following into account to ensure your projector performs optimally.

2.2

Installation

Considerations

Installation type f Choose the installation type that best suits your needs: front or rear screen, floor

mount or inverted mount.

Front Screen, Floor Mount Installation

ADVANTAGES

• Easy to set up

CONSIDERATIONS

Shares floor space with audience

•

• Can be moved or changed quickly

• Easy to access

Front Screen, Inverted Mount (ceiling) Installation

ADVANTAGES

CONSIDERATIONS

•

Does not take up audience space

Projector is unobtrusive

Projector cannot be accidentally moved

•

Installation is more permanent

It is more difficult to access the projector

Rear Screen, Floor Mount Installation

ADVANTAGES

CONSIDERATIONS

•

Projector is completely hidden

Projector is easily accessed

Usually good ambient light rejection

•

Requires additional space (separate room)

Installation cost is usually higher

Rear Screen, Inverted Mount (ceiling) Installation

ADVANTAGES

CONSIDERATIONS

•

Projector is completely hidden

Usually good ambient light rejection

•

Requires separate room

Installation cost is usually higher

Rear Screen, Floor Mount with Mirror

ADVANTAGES

Projector is completely hidden

Usually good ambient light rejection

Requires less space behind screen than

other rear screen installations

CONSIDERATIONS

Requires separate room

Installation cost is usually higher

•

Screen Type f

Front Screen Installations

In front screen installations the projector and audience are positioned in front of the

screen, which can be flat or curved.

Flat screens are most recommended with this projector. They offer a gain of about one

with a viewing angle just less than 180°. This type of screen reflects incident light

equally in all directions so the audience can see the display from various angles.

Curved screens have a gain greater than one with a viewing angle much less than

180°. This type of screen does not reflect incident light equally in all directions

instead it is concentrated in a viewing cone. The audience sitting within the viewing

cone area will see a brighter image than those sitting just outside this area.

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Section 2: Installation and Setup

Rear screen installations

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

A diffused screen has a surface, which spreads the light striking it. Purely diffused

screens have a gain of less than one. The main advantage of the diffused screen is its

wide viewing angle, similar to that of a flat screen for front screen projection. This

type of screen is suitable when a wide viewing angle is required but there is low

ambient room lighting.

Optical screens take light from the projector and redirect it to increase the light

intensity at the front of the screen. This reduces it in other areas. A viewing cone,

similar to that of a curved front screen installation is created. This type of screen is

better suited for brightly lit rooms where the audience is situated within the viewing

cone.

Screen size

Choose a screen size, which is appropriate for your lens and application. Keep in mind

that if the projector will be used to display text information, the image size must allow

the audience to recognize all text clearly. The eye usually sees a letter clearly if eye-

to-text distance is less than 150 times the height of the letter. Small text located too far

from the eye will likely be illegible at a distance no matter how sharply and clearly it

is displayed.

To fill a screen with an image, the aspect ratio of the screen should be equal to the

aspect ratio of the image (expressed as the ratio of its width to its height). Standard

video from a VCR has a 4:3 or 1.33:1 aspect ratio. For example, to display a VCR

output with a 4:3 aspect ratio onto a 10-foot (3m) high screen, the width of the screen

must be at least 13.3 feet (4m).

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Section 2: Installation and Setup

Ambient Lighting f The high brightness of this projector is well suited for locations where ambient

lighting might be considered less than ideal for projection. A typical room with ceiling

lights and windows rarely requires special attention. Contrast ratio in your images will

be noticeably reduced only if light directly strikes the screen, such as when a shaft of

light from a window or floodlight falls on the image. Images may then appear washed

out and less vibrant.

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

Other Considerations f Other considerations and tips that can help improve your installation:

•

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

projector away from heating and/or air conditioning vents.

•

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

motors and transformers. Common sources of these include slide projectors,

speakers, power amplifiers, elevators, etc.

•

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

brightness, use a screen size appropriate for the venue but not larger than required.

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

range; too large a screen can overpower a room and interfere with the overall

effect. A good rule of thumb is to be no closer than 1.5 times the width of the

screen.

Projector Position and

Mounting

Throw distance

Throw distance (also known as projection distance) is the distance measured from

your projector’s front feet to the screen. This is an important calculation in any

projector installation as it determines whether or not you have enough room to install

your projector with a desired screen size and if your image will be of the right size for

your screen.

You can quickly estimate the throw distance by taking the horizontal width of the

screen and multiplying it by the lens throw ratio. The result of this calculation tells

you roughly how far back the projector should be positioned from the screen in order

to project a focused image large enough to fill the screen. For example, if you are

going to use a 0.8:1 lens, throw distance would roughly be 0.8 X screen width.

IMPORTANT: Always calculate the precise throw distance for the lens type

and screen size you’re going to use. Refer to Appendix D for actual throw

distance formulas and quick reference charts.

NOTE: An online lens calculator is also available at www.christiedigital.com >

service and support > product downloads.

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Section 2: Installation and Setup

Figure 2.1. Estimating Throw Distance

Vertical and horizontal position

The correct vertical and horizontal position of the projector in relation to the screen

depends on the lens type and the screen size. Ideally, the projector should be

positioned perpendicular to the screen. This way, the image will appear rectangular

instead of keystoned (trapezoidal).

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

optical axis (lens center) by adjusting the fully motorized lens mount using the

keypad. The amount of vertical offset available depends directly on the lens installed

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

Vertical offset can also be expressed as the percent of half the image height OR the

number of pixels of shift from lens center. Refer to Figure 2.2 for some illustrated

examples of vertical offset.

Table 2.1 along with Figure 2.3 show the maximum vertical offset of a lens or

alternatively, how much of your projected image will appear above or below lens

center if the maximum vertical offset is applied using that lens.

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

Lens Type

Vertical Offset

(% of half height)

Maximum amount of

projected image above or

below lens center

Horizontal Offset

(% of half width)

Maximum amount of

projected image to one

side of lens center

12%

120%

Pixels

+/-63

+/-630

56%

110%

Pixels

+/-588

+/-1155

78%

Pixels

+/-748

+/-1246

0.8:1 fixed

1.2:1 fixed

1.3-1.7:1

1.7-2.5:1

2.5-4.0:1

4.0-7.0:1

+/-48

+/-546

53%

89%

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

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Section 2: Installation and Setup

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

Lens Type

Vertical Offset

(% of half height)

Maximum amount of

projected image above or

below lens center

Horizontal Offset

(% of half width)

Maximum amount of

projected image to one

side of lens center

81%

231%

Pixels

+/-292

+/-832

90%

110%

165%

Pixels

+/-652

+/-1192

31%

104%

Pixels

66%

102%

Pixels

+/-840

+/-1304

0.8:1 fixed

1.2:1 fixed

1.3-1.7:1

1.7-2.5:1

2.5-4.0:1

4.0-7.0:1

+/-200

+/-664

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

Figure 2.2. Examples of Vertical Offset

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Section 2: Installation and Setup

Figure 2.3. Lens Vertical Offsets

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

of lens center, by adjusting the fully motorized lens mount through software. The

amount of horizontal offset available depends on the lens installed and if the image

has already been vertically offset. Horizontal offset can also be expressed as the

percentage of half the image width – the number of pixels of shift to one side of lens

center. Refer to Figure 2.4 for some illustrated examples of horizontal offset.

See also Table 2.1 along with Figure 2.5 which shows the maximum horizontal offset

of a lens or alternatively, how much of your projected image will appear to one side of

lens center if the maximum horizontal offset is applied using that lens.

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Section 2: Installation and Setup

Figure 2.4. Examples of Horizontal Offset

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Section 2: Installation and Setup

Figure 2.5. Lens Horizontal Offsets

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

transport a short distance. Use the indentations on the bottom of the projector as a

guide for hand placement, which makes carrying the projector easier.

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

help.

Mounting

There are several methods for mounting the projector. Depending on your chosen

installation, one method may be more suitable than another. In typical front and rear

screen installations the projector can be mounted to a secure and level surface, such as

a table or cart. Carts are useful when moving a projector during a presentation or from

site to site. If possible, lock the wheels when it’s in position to prevent it from being

moved during a presentation.

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

using a specially designed ceiling mount fixture. This type of mounting is

recommended for fixed installations and for those that want the projector out of sight

or have a limited space for projector and audience.

Use only the CHRISTIE approved ceiling mount kit designed for

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

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

and mounted without it affecting performance. However, the side-to-side tilt limit of

the projector must not exceed +/-20 degrees. This limit is required to ensure optimal

performance of the projector and its lamps. (Figure 2.6)

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Section 2: Installation and Setup

Figure 2.6.

Adjusting projector height

You can modify the height of the

projector to remedy a slightly

uneven mounting surface by

adjusting the three feet threaded

into the bottom chassis. Turn each

foot clockwise or counter-

clockwise until the project is level

on all sides. (Figure 2.7)

Figure 2.7. Adjust Projector Height

NOTE: The front of the projector can be

raised up to 10 degrees. (Figure 2.8)

Figure 2.8. Raised Front

Folded Optics

In rear screen applications where space behind the projector is limited, a mirror may

be used to fold the optical path. See Figure 2.9. The position of the projector and

mirror must be accurately set – if considering this type of installation call your dealer

for assistance.

Figure 2.9. Folded Optics

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Section 2: Installation and Setup

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

2.10.

2.3

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. The DVI-I connector at INPUT 2 accepts digital or analog display signals from

a computer. Connect analog composite video at INPUT 3 or S-video at INPUT 4 from

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

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

5 to connect other sources.

Figure 2.10. Input Panel

NOTES: 1) See Section 6, Specifications for details regarding compatible inputs. 2)

Use only high quality shielded cables only for all connections.

RGB signals (5 BNCs) f INPUT 1 consists of five BNCs (connectors) for linking to a variety of sources. The

typical connection would be to an RGB source such as a PC, Mac, Sun, SGI and

others. This projector supports multiple sync types with RGB signals: sync-on-green,

composite sync, and separate H & V syncs.

Connect the 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 2.11.

NOTE: Depending on your source, you may need a custom adapter cable with BNC

connectors at the projector end and a different type of connector at the other (such as

a 15-pin "D" connector for some computer sources). Contact your dealer for details.

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Section 2: Installation and Setup

Figure 2.11. Connecting RGB and Sync

NOTES: 1) If for some reason the projector fails to recognize a signal as an RGB

signal, specify the Color Space option within the Image Settings menu. See 3.7,

Adjusting the Image. 2) To connect YPbPr signals–such as from DVDs or analog HDTV

sources–to INPUT 1, use the red, green and blue BNCs as described in YPbPr Signals

(below). 3) Use the computer cable provided, to connect some devices to the DVI-I

connector at Input 2.

Connect a YPbPr signal (component video) to INPUT 1 or INPUT 2 as shown in Figure

2.12.

YPbPr signals f

NOTES: 1) If, for some reason, the projector fails to recognize a YPbPr signal,

specify the Color Space option within the Image Settings menu. See 3.7, Adjusting

the Image. 2) Do not connect digital component signals (known as YCbCr) to INPUT

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

Figure 2.12. Connecting YPbPr sources

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Section 2: Installation and Setup

Composite and S-Video f INPUT 3 and INPUT 4 provide simultaneous connection of both a composite video

source (INPUT 3) and an S-Video source (INPUT 4). See Figure 2.13.

Figure 2.13.Connecting Composite or S-Video sources

DVI Digital Video f Use the DVI-I connector at INPUT 2 to connect either analog or digital video devices

to the projector. When connecting devices that transmit an analog video signal such as

VCRs, laptops, and PCs use the cable provided with the projector. Plug the DVI-I

(single link) connector end to the projector and the 15-pin VGA connector to the

device.

Use a cable with DVI-I connectors at both ends to connect devices that transmit

digital and analog video signals such as high-quality DVD players, satellite receiver

and digital cable TVs.

NOTES: 1) To ensure true digital output from devices that transmit digital signals,

connect to the DVI-I connector. 2) The DVI connector is HDCP compliant. 3) DVI

loop through is not available unless you have the optional DVI Input Module

installed at INPUT 5.

Optional input modules allow you to increase your total number of inputs and/or

accommodate different signal types, whether analog or digital. Install in the area

labeled INPUT 5. Options include:

Optional Inputs f

•

RGB 500 Input Module

RGB 400 Active Loop Thru Input Module

RGB 400 Buffered Amplifier Input Module

PC250 Analog Input Module

Serial Digital Input Module

DVI Input Module

Dual SD/HD-SDI Module

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

interface.

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Section 2: Installation and Setup

As an alternative to the projector’s keypad or remote, you may wish to communicate

with the projector using a PC or other controller. Such a device sends commands and

receives feedback via serial links (RS232 and RS422), Ethernet or GPIO

communications to the projector, all described below.

2.4

Connecting

Communications

IR Remote f As desired, direct the projector’s IR remote towards the display screen or the

projector’s IR sensors. Alternatively, connect a wired (tethered) version of the remote

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

a wired keypad must also be enabled in the Communications menu—see 3.6 -

Adjusting System Parameters and Advanced Controls for more information.

There are two types of serial ports available on the projector: RS232 and RS422. You

can connect a device with a serial interface, such as a computer to either of these

connectors (not both) and control the projector remotely by entering specific serial

communication commands.

Serial Port Connections f

Connecting RS-232

The two nine-pin DIN connectors labeled RS232 IN and RS232 OUT on the input

panel are dedicated to serial communication. Using the appropriate serial

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

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

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

Figure 2.14. Connecting RS232

Connecting RS-422

If you wish to control the projector with a computer and or other controlling device

with RS-422 capability, connect a RS-422 serial communication cable between the

computer and the RS-422 port on the projector. RS-422 is better suited for serial

communication over long distances then is RS-232 communication.

Use the RS-422 port only if your device had RS-422 capability – always consult

the literature provided with your equipment before connecting. Connecting to the RS-

422 port with incompatible equipment could damage your projector.

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Section 2: Installation and Setup

Figure 2.15. Connecting RS422

Ethernet Communications

To add the projector to an existing Ethernet network with other equipment such as

controllers and other projectors, connect standard CAT5 Ethernet cable between your

Ethernet controller (or hub) and the Ethernet port on the side of the projector.

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

than a network or hub), make sure to use a crossover Ethernet cable. Keep in mind

that an Ethernet link cannot be used for downloading software upgrades to the

projector—use RS232.

Figure 2.16. Ethernet Connection

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

0.0.0.0.0 will automatically enable the DHCP function (if available on the network) to

assign a new IP address that is valid and unique for that network. Or, if there is no

DHCP function available on the network (or if a specific static IP address for the

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

menu or via an ASCII serial command.

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Section 2: Installation and Setup

Regardless of how it is assigned, once a projector has a valid and unique address it

will respond to commands sent to this address. To determine the projector’s current IP

address, consult the Status or Communications menus.

Refer to Section 3 for further information about setting up and using a projector

connected via Ethernet.

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

communication, connect the controlling source to the RS232 IN connector of the first

projector in the network. Then take another serial communication cable and connect

one end to the RS232 OUT connector and the other end to the RS232 IN connector of

the next projector. Continue this pattern of connection with all projectors in the

network. The last projector in the network will only have a connection to the RS232

IN connector. See Figure 2.17.

Connecting Multiple f

Projectors

Figure 2.17. RS232 Network

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

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

NOTE: You must enable this combination of RS422 and RS232 in the

Communications menu. Set the “Network Routing” option to “RS232 and RS422

Joined”. See Section 3 for details.

Then chain the projectors together by connecting an 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 2.18.

Figure 2.18. Mixed Network

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Section 2: Installation and Setup

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

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

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

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

help changing the projector baud rate. In addition, set the Network Routing to “RS232

and RS422 Joined” if you want to reach all projectors.

NOTES: 1) To avoid damage, connect only properly wired serial communication

cables. See Appendix C for details. 2) It is recommended that each RS232

communication cable be no more than 25 feet in length. Use high quality cables.

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

use standard CAT5 cable to connect each projector’s Ethernet port to a hub belonging

to the network. A controller or PC must also be connected to the hub. See Figure 2.19.

Figure 2.19. Ethernet Network

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

networks, each projector’s factory default IP address of 0.0.0.0 triggers the network’s

DHCP (Dynamic Host Configuration Protocol) server function to automatically assign

an IP address that is valid and unique for use on that network. Depending on the

network, this DHCP-assigned IP address usually remains stable for a single session,

but may change with subsequent power-ups and logins. On some networks, the

address will remain stable from session to session. In all cases, the projector’s IP

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

See Figure 2.20

Figure 2.20. Setting the Projector’s IP Address

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

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

network, or if DHCP is not available on the network, the automatic DHCP server

function for supplying a valid and unique IP address to the projector is disabled.

Instead, a specific and static IP address must be defined in projector memory—enter

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

command. The IP address will be in effect until it is changed again, or until the DHCP

checkbox is re-enabled for use with a DHCP server on the network.

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Section 2: Installation and Setup

NOTES: Only the port and IP address of the projector can be changed. The subnet

mask is fixed (255.255.255.0).

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

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

new port number in the Ethernet Settings menu or include the new port# in an XIP

serial command sent to the projector.

Separating Networks f By default, communications originating from one type of serial controller—RS232 vs.

RS422 vs. Ethernet—stay on the corresponding network path. This separation is

indicated by a “Separate” setting for “Network Routing” in the Communications

menu. If you are using an RS422 controller, for example, it will communicate only

with the projector to which it is connected unless you change this setting to either

“RS232 and RS422 Joined” or “All Joined”.

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

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

configuration is useful if you are using a non-RS232 controller with the RS232 linking

available between these projectors. For example, you may want to use both an RS422-

compatible controller and an Ethernet-connected PC for working with a network of

projectors linked via their RS232 in/out ports (Figure 2.20).

Communicating to f

All Ports

Figure 2.21. All Networks

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

2.21 only projector #3 will respond to the RS422 controller. To isolate just Ethernet

communications, select “RS232 and RS422 Joined”—only projector #1 will respond

via Ethernet.

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

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

projector.

2.5

System

Integration -

GPIO

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

and how to program the various pins on the connector.

Connector

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Section 2: Installation and Setup

Plug the line cord to the AC receptacle located on the right hand side of the projector

and the three-pronged end into a grounded AC outlet (Figure 2.22). The input voltage

to the projector must be capable of 100 – 240 VAC. See also Section 6 –

Specifications for complete details on all power requirements.

2.6

Power

Connection

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

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

standards.

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

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

lamps to cool before unplugging the projector.

WARNINGS

Do not attempt operation if the AC supply and cord are

not within the specified voltage and power range.

Wait for the cooling fans to turn off before unplugging the

projector.

Figure 2.22. AC Line Cord Connection

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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.

3.1

About the

Projector

Top cover

Air vents

Built-in keypad

AC receptacle

Rear input panel

Rear IR sensor

Rear exhaust

Lamp 1 Access (Door)

Lamp 2 Access (Door)

Slot for Kensington Security Lock

Adjustable feet (3)

Projection lens

Front IR sensor

Bottom chassis

Lens release button

Figure 3.1. Projector Basics

(1) & (7) The projector’s top cover and bottom chassis form the shell of the projector.

All optical, electrical, and other miscellaneous components are housed between these

two parts.

Exterior f

Built-in Keypad f (2) The built-in keypad is located on the top, right side of the projector. It’s an

alternate method to using the IR remote for projector control. It has a few less direct

keys than the IR remote, but includes an LED display, which continually displays the

projector’s status.

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Section 3: Operation

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

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

Connection for details.

The input voltage to the projector must be capable of 100 – 240 VAC. See also

Section 6 – Specifications for complete details on all power requirements.

Adjustable Feet f (4) Located on the bottom of the projector are 3 adjustable feet. You can raise or

lower these feet to ensure the projector is level on all sides and the image displays

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

for instructions on adjusting these feet.

Lens Mount &

Projection Lenses f

(5) The projector is built with a motorized lens mount that allows for easy lens control

and adjustment. This includes such functions as adjusting vertical and horizontal

offsets, zoom and focus. The lens mount can be fitted with any one of the available

optional lenses – see Section 6 - Specifications.

•

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

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

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

manually override zoom and focus adjustments set with the remote. Turn the outer

ring on the projection lens to adjust focus and the inner ring to adjust zoom.

•

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

through the use of DC motors.

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

absolutely black when in the “on” state.

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

NOTES: 1) The projection lens is shipped separately from the projector. 2) Use the

lens cap when transporting the projector to avoid scratching and damaging the lens,

which could affect your displayed image.

Lens Release Button f (8) The LENS RELEASE button, located just below the projection lens, allows for a

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

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

(10) All source connections are made to the input panel located at the back of the

projector. Connect RGB or YPbPr sources to INPUT 1, analog or digital display signals

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

would install any of the available optional input modules.

Rear Input Panel f

There is no status display on the input panel. The only status display is part of the

built-in keypad located on top of the projector.

(9) There are numerous air vents located around the projector. It is important these

vents remain unobstructed. Allowing adequate airflow through the projector will

prevent it from overheating.

Cooling and Air Vents f

NOTE:

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

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

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Section 3: Operation

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

IR remote from up to 100 feet away. It is important to keep the transmission path to

these sensors unobstructed for uninterrupted communications with the projector. The

front IR sensor is located next to the projector’s nameplate and the rear IR sensor is

located just below the input panel.

(13) & (14) Located on the right hand side of the projector are two lamp doors that are

labeled as Lamp #1 or Lamp #2. Each door is fitted with an amber window that makes

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

check the status of the lamp before opening the lamp door. Opening a lamp door

while the lamp is still on will cause power to be cut to that lamp.

Lamp Access Doors f

(15) Use the following slot to install a standard Kensington lock to keep your

projector secure in some installations.

Kensington Security Slot f

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

directly into the beam of the remote.

3.2

Using the

Remote or

Built-In Keypad

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

•

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

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

use as a wired remote)

While each of the keypads provides complete control of the projector, they differ

slightly in their arrangement of keys and in what functions can be accessed directly

with a key press rather than requiring use of the menu system. You may find one

keypad more convenient than another for your specific installation and application.

NOTE: The IR remote has a single IR protocol. It can be converted to a wired IR

remote by connecting the cable provided with the projector to the mini stereo

connector labeled REMOTE on the input panel.

Built-in Keypad f To control the projector when

signals from an IR remote

cannot reach the projector,

use the projector’s built-in

keypad. Two nearby status

windows provide feedback

Figure 3.2. Built-in Keypad

indicating current status and activities of the projector. Because the built-in keypad

has fewer keys than the remote control, certain projector functions are accessible only

through the menu system rather than via a direct key.

Refer to the key descriptions provided for the IR remote.

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Section 3: Operation

The IR remote controls the projector by way of wireless communications from a

battery-powered infrared (IR) transmitter. Use the IR remote the same way you would

use a remote control supplied with a TV or VCR. When making key presses, direct the

keypad either toward the screen or toward the front or rear of the projector. One of the

two IR sensors on the projector will detect the signals and relay the commands for

internal processing.

IR Remote f

OSD

NOTE: To turn the OSD off you must press

and

Figure 3.3. IR Remote

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Section 3: Operation

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

the projector. Connect one end into the remote and the other to the mini stereo

connector on the input panel labeled REMOTE. The wired remote is recommended

when:

Wired IR Remote f

•

the built-in keypad is inaccessible

•

the lighting conditions are unsuitable for proper IR transmission

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

Guide to Keypads f Keep in mind the following guidelines when using the keypad:

) to work.

•

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

OSD

Shutter

Note that three keys— Power

Shutter

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.

Keypad Commands f Specific keypad commands are explained below:

Power ON/OFF

Press

for two seconds 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).

Alternatively, press to toggle from the present on/off state.

NOTES: 1) After powering down, the lamp cooling fan remains on for approximately

two minutes to cool the lamp. 2) It is a good idea to avoid turning a projector back on

until it has been off for a few minutes. Hot re-strikes of the lamp may reduce lamp life.

3) The projector enforces a 90 second wait between powering off and on again to

allow the lamp to cool down. You will notice vertical scrolling bars across the status

display during this wait period.

Test

Press

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

Test

input. If you press

and then cycle by using the

and

arrow keys, you’ll

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

Auto

Press

to initiate an automated process in which the projector optimizes critical

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

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

display, and you can modify the adjustments as desired.

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Section 3: Operation

Table 3.1. Auto Setup

What an “Auto Setup” Does

SETS TO DEFAULT:

OPTIMIZES:

Pixel Tracking

Pixel Phase

Contrast

Brightness

Size and Blanking

Vertical Stretch

Position

Auto Input Level (off)

Detail (if video source)

Filter

Input Levels

Luma Delay

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

Channel

Press

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

highlight it and press ), the display will automatically change and update

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

according to the numerous setup parameters defined for that channel. Note that a new

channel is automatically created if you adjust an image from a new source.

Channel

NOTE: Channel (

) key behavior during a presentation depends on whether or not

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

Channel

choose to use a scrollable list of channels when you press

, or you may prefer to

enter the desired channel number “blind”, i.e., without on-screen feedback. See Menu

Preferences later in this section.

Input 1

Press

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

INPUT 1.

Input 2

Input 3

Input 4

Input 5

Input 2

Press

to display from the DVI source connected to INPUT 2.

Input 3

Press

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

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

Input 4

Press

Input 5

Press

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

NOTE: If you have the new optional Dual SD/HD-SDI Module installed at INPUT 5

you can connect two inputs – A and B. Whether you are displaying from INPUT 5 or

Input 5

from another input, press

to the other input.

to display the input last used. Press

again to toggle

Input 6

No function.

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Section 3: Operation

keys until

Contrast

Press

to change the amount of white in your images. Use

you reach the desired level of contrast—for best results, start low and increase so that

whites remain bright but are not distorted or tinted, and that light areas do not become

white (i.e., “crushed”). Conversely, low contrast causes dim images. See 3.5,

Adjusting the Image (Image Settings subsection).

Bright

Brightness

Bright

Press

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

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

decrease so that dark areas do not become black (i.e., “crushed”). Conversely, overly

high brightness changes black to dark gray, causing washed-out images. See 3.5,

Adjusting the Image (Image Settings subsection).

Gamma

“Gamma” determines how gray shades are displayed between minimum input (black)

and maximum input (white) for a given amount of signal. The proper setting helps

maintain optimized blacks and whites while ensuring a smooth transition for the “in-

between” values utilized in grays. Unlike brightness and contrast controls, the overall

tone of an image can be lightened or darkened without changing the two extremes,

and your images will be more vibrant yet with good detail in dark areas.

The normal gamma setting of 2.2 is correct for most signals and conditions. If excess

ambient light washes out the image and it becomes difficult or impossible to see

details in dark areas, lower the gamma setting to compensate. This will improve

contrast ratio while maintaining good details for blacks.

OSD

Press

to enter or exit the projector’s menu system.

OSD (On-screen display)

OSD

Press

followed by

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

the menus again, do one of the following:

OSD

•

Press and hold

for a second

followed immediately by

OSD

Press and release

OSD

Press

Invisible menus are fully functional, enabling “hidden” access to numbered features

and image adjustments by entering the corresponding sequence of key-presses on the

keypad.

NOTES: 1) With OSD “on”, you can still hide error messages and slidebars by

disabling these options in the Menu Preferences menu.

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Section 3: Operation

Shutter

Press and hold

for two seconds to toggle the internal mechanical shutter blade

Shutter

closed or open with a single keystroke, or press and release

immediately by (closed) or

you are unsure of the present state). Alternatively, press

followed

(open) to guarantee the correct toggle (useful if

Shutter

to toggle from the

present on/off state. A closed shutter blanks the display (turns it to black). Close the

shutter to mute the display while maintaining access to projector functions. Opening

the shutter restores the image.

NOTES: 1) By default, the shutter is open upon powering up. 2) The LED status

Shutter

displays “5H” when the shutter is closed. 3) Response time after pressing the

key is 1-2 seconds.

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

in the

Channel Setup menu to enable deletion or copying of a channel.

Func

IF WITHIN A PRESENTATION: Press

followed by a

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

Func

display (see right). For example,

will display

Func

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 from stacked

projectors.

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

menu system.

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 three-digit number assigned

to the projector you want to use. If you switch to a projector other than the one you are

currently using, the checkmark will disappear.

Proj

To broadcast to multiple projectors, press

and then

again without entering a

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

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

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

protocol available.

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Section 3: Operation

NOTES: 1) The "Broadcast Keys" option in the Communications menu must be

selected for only one (any) projector in a serial network. The keypad in use must be

OFF (disabled) for the remaining projectors. See also 3.6, Adjusting System

Parameters and Advanced Controls.

Enter

Press

to select a highlighted item, to toggle a checkbox, or to accept a parameter

adjustment and return to the previous menu or image.

Exit

Press

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

Exit

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.

Arrow Keys

Use the

keys to change a slidebar value or to select a different option

within a pull-down list without having to first scroll through options. These keys also

jump to the next page in long menus. See also Editing Text later in Section 3.

Use the

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

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

details provided on the back of the IR remote.

Focus

Zoom

Lens H

Lens V

Lens Focus, Zoom and Lens H, Lens V

When adjusting the image for focus, zoom, horizontal and vertical positioning, use the

specific arrow keys (

) related to each function. A small

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

•

Use the “Focus”

Use the “Zoom” ”

Use the “Lens H” ”

keys to improve image clarity as desired.

keys to achieve a desired image size.

keys to position the image horizontally while still

keeping it rectangular.

•

Use the “Lens V”

keeping it rectangular.

keys to position the image vertically while still

Exit

Press

to return to presentation level.

Lens

Shift

NOTE: Use the

key (built-in keypad) with the general

keys to get the

same effect as if using the arrow keys related to “Lens V” or “Lens H” on the IR

remote.

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Section 3: Operation

Laser

Press

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

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

presentation. Keep the key depressed while

you are pointing. Release it to turn it off. The

laser pointer works best in an environment

where ambient lighting can be controlled.

CAUTION

LASER RADIATION

DO NOT STARE INTO BEAM

NOTE: The batteries must be in the wired IR

LASER DIODE

Wavelength 670nm

Max Output 1mW

remote for the

key to work.

CLASS II LASER PRODUCT

Most of the controls for the projector are accessed from within the projector’s menu

system. There are several groups of related functions, with each group selectable from

the Main menu as shown at right. Press

3.3

Navigating the

Menus

at any time to display this Main menu.

On the IR remote, either enter the number

corresponding to the function menu you

wish to access, such as

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.

Figure 3.4. Entering the Menu System

With a function menu displayed, navigate in

a similar manner—enter a menu option number for any numbered option or use the

keys to highlight the desired option, then press (Enter). Extra long

menus have a scroll bar on the right—use the arrow keys to access the remainder of

the menu. Locked items or items that do not pertain to the current action or condition

appear dimmed and cannot be selected.

NOTES: 1) If there is no signal present, all source-dependent adjustments are

disabled. 2) After 15 minutes of inactivity, the projector leaves the menu system and

returns to the presentation. 3) The Status menu is read-only.

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

Exit

• Press

to return to the previous screen

• Press

to leave the menu system and return to the presentation

Help

On-line Help f

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.

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Section 3: Operation

Figure 3.5. Context-sensitive Help

Help

From presentation level, press

to access general Help Topics. Scroll as necessary

to return to your presentation.

Exit

Help

within a topic. Press

Figure 3.6. Accessing General Help Topics

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

keypad entry before the projector returns to presentation level and the graphic

disappears. These time-outs may vary depending on what is displayed.

Time-outs f

The Global Icon f Menu options that include this icon apply universally to any incoming signal.

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 f

Other Controls

•

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

(for example, press

menu).

to select Vertical Stretch in the Size & Position

•

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 (applies only to options having their own key,

such as Contrast, Brightness, Gamma, etc.).

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

direct slidebars activated by their own key (such as Contrast, Brightness, etc.).

Control by using the proper key-press or numerical sequence of key presses.

•

When using PIP images, use

key to adjust the other image.

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Section 3: Operation

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

return to the current function menu.

to save and

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,

Exit

to save (or press

to cancel).

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

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

Cont

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

the Image Settings menu.

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

and enter a specific

Exit

number from the keypad, then

to save (or

to cancel). When

Exit

you are done, press

to save and return to your presentation.

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 ^W, you can:

•

Highlight it and press

(Enter)

Or enter the menu option number.

Use

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

to choose an option from the list, if desired.

noted with a small ∋). Press

Figure 3.7. Example of Pull-Down List

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Section 3: Operation

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

option and use

. Press

when the desired choice appears.

NOTES: 1) Press

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

Exit

2) Press

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

Editing Text f 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 3.8. Entering Text

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

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.

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

projectors, channels (source setups) or slots. As each digit is entered, it is displayed

and the cursor moves on. Note that channel numbers are defined with two digits—for

example, if you enter only a single digit (such as “7”) for a channel number, the

channel will automatically be defined as “07”. Enter “07” to utilize this channel.

Editing Numerical Values f

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Section 3: Operation

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 details on connecting 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

Do I Select an Input f

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

source signal according to which input slot it is connected.

describes the

Or a Channel?

Input 3

Input 4

Input 1

Input 2

SWITCHING INPUTS – Press the appropriate “direct” key —

Input 5

to quickly display from one of the five inputs connected. 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

image from the new source will be as large as possible without losing its aspect

ratio. This and other default image settings depend on the incoming source.

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

contrast, V-Position, etc., then a channel was automatically created and still exists

Input

in projector memory (see below). Using one of the

keys will automatically

recall this channel—and all its setup parameters—and update the display

accordingly.

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

according to the setup parameters for the first channel with matching

characteristics.

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

tailor the display of a signal to your specific needs. Since source types and

applications can vary greatly, you will likely want to adjust and define a wide variety

of parameters, such as brightness, contrast, size, etc., in order to customize and

optimize the display from or for a particular source. For example, the display settings

you choose for a VCR source may be very different from those you choose for a high

resolution computer source, or one signal may simply vary from another signal used

previously through the same input location. Once you have adjusted a display

parameter, such as pixel tracking or contrast, all current settings are collectively stored

in the projector's memory as a unique 2-digit channel, such as

. You can have

numerous distinct channels available for the same input, any of which can be selected

Channel

by using the

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

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Section 3: Operation

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).

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).

Creating a New f

Channel

– AUTOMATIC –

Input 3

Input 4

Input 5

Input 1

Input 2

When you select a direct input (

), any existing channels in

the projector are searched for matching input and signal parameters – this only occurs

if Auto Source is enabled on these channels. If no match to the incoming input signal

is found in currently-defined channels, a new channel is temporarily created based on

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

lowest available number from 01-50.

NOTES: 1) An automatic channel will be discarded unless one or more of its

parameters are changed, and will not appear in the channel list (see below). 2) If two

channels have the same distinguishing source characteristics except for the reversal

of sync connectors (i.e., H-sync and V-sync, are switched), they are still defined as

distinct channels. 3) You cannot define a new channel without an incoming signal.

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.

Channel

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

(see right). If you want to

prevent a channel from

appearing in this list, you

must edit the channel as

described in Channel Edit

later in this section.

NOTES: 1) The current

channel is highlighted upon

entering the channel list, or, if this channel is not displayed here, the first channel in

the list is highlighted. 2) Channels created automatically do not appear in the channel

list unless a parameter for the channel has been changed.

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Section 3: Operation

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.

What Channels f

Are Defined So Far?

From the presentation

level press

to display

the Main menu. To

display the Channel Setup

menu, press

, or

move the highlight to the

Channel Setup option and

Figure 3.9. All Channels Appear in the

Channel Setup Menu

press

. The Channel

Setup menu will appear

(see sample at right), with

the active channel highlighted.

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

far and indicates where they are connected on the input panel. The far left column lists

channel numbers currently defined. The values in the far

right columns indicate horizontal and vertical

frequencies—if someone has defined a name for this

channel, it appears here instead. Remaining columns

contain details pertaining to each channel setup, such as its

switcher number (always 0 = projector), slot location, a

variety of icons indicating access to each channel, and an abbreviated description of

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

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

and

to see the

remaining channels not visible in the initial display of channels.

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.

Table 3.2. Abbreviations for Signal Type

Abbrev. Signal Type

4WH

4WV

Composite (4 wire) on HC input

Composite (4 wire) on V input

Sync-on-green

Separate H,V

5WR

SVid

CVid

Dig

Separate H,V swapped

S-Vid

Composite Video

Digital

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Section 3: Operation

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

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

Func

•

Press

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

channels. See Copying or Deleting a Channel below.

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

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

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

Copying or f

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 mind and do

Exit

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 3.10. Copying A Channel

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

Func

then press

press

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

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

delete this channel.

Figure 3.11. Deleting a Channel

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Section 3: Operation

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

Func

and press

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” (default) 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.

Editing a Channel Setup f

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

, 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

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

Figure 3.12. Channel Edit Menu (SAMPLE)

CHANNEL EDIT — STEP 3

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

•

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

Channel names can be up to 12 characters in length.

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

If you enter a channel number that already exists, a dialog message appears

indicating that this number is already in use–assign a different channel number.

2) You can define up to 50 channels.

•

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

connected.

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

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

Channel

when

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

the keypad or via the “Auto Source” function. NOTE: On-screen display of the

channel list is an option that must be set in the Menu Preferences menu.

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Section 3: Operation

•

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

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

Channel

locate the selected channel only when it is directly selected via

on the

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

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

unchecked (default), all available image settings can be adjusted as desired. You

cannot use Auto Setup with a locked channel.

•

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

the previous channel in the Channel Setup list.

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

next channel in the Channel Setup list.

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

3.5

Adjusting the

Image

menus: Size and Position (

) and Image Settings (

), both of which

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

affecting the image from the current channel by working with the appropriate

Exit

slidebars, checkboxes and pull-down lists.

will return to the previous menu (or to

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

entered. Settings are saved with the current channel.

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

by pressing

followed by the appropriate two-digit number representing their

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

Exit

to return to your presentation.

NOTES: 1) To hide these “direct” slidebars, disable the” Display Slidebars”

checkbox in the Menu Preferences menu. 2) To hide the entire menu system from

OSD

view, turn off the on-screen display by pressing

Auto

Before You Begin f

Use Auto Setup (

)

Auto

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

. This initiates an

automated process in which the projector quickly optimizes critical display parameters

such as size, position, pixel tracking, etc., based on the type of incoming source data

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

the adjustments as desired using menu options described below.

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Section 3: Operation

Size and Position Menu f In the Size and Position menu, you

can increase or decrease the size of

your image, change its proportion

(aspect ratio), move the image to a

specific area of the screen, and

refine other related parameters. Use

Size and Position controls to match

the image precisely to the screen

used at the site.

Refer to "Using Slidebars and

Other Controls" (earlier in this

section) if you need help using any

of the options and controls.

Changes made in the Size and Position menu are applied immediately and are saved

Exit

when you exit the menu (press

Resize Presets

NOTE: The same resize

presets are available to the

widescreen format DW30.

Please note however, the

graphics used to describe each

preset are of the SXGA+

models only.

Select a Resize Presets option

to quickly display an image in

its native resolution or to

automatically resize an image to closely fill the projector’s native resolution or to

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

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

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

Resizing options are explained in detail below.

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

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

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

“Default” below.

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

the Size and Position menu when any of the values for Size, Vertical Stretch, H-

Position, V-Position or Blanking do not correspond to those for a preset. This option

is not offered in the Resize Presets pull-down list.

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

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

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Section 3: Operation

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

may not match the projector’s resolution. For example, for a source with a native

resolution of 800 x 600, “No Resizing” in an SXGA+ projector will use the central

800 x 600 pixels and have a black border—the black border areas are unused areas.

See below.

• Select “FULL SIZE” to use all

pixels for displaying the image,

regardless of source or original

aspect ratio. Incoming source

material having a different aspect

ratio than the projector will be

stretched for display.

• Select “FULL WIDTH” to fill

the projector’s display from

left-to-right without

changing the original aspect

ratio of the image.

Depending on the source,

data at the top and bottom

may be discarded (cropped),

or the display may have

black borders at the top and

bottom (called

“letterboxed”).

• Select “FULL HEIGHT” to

fill the display from top-

to-bottom. Depending on

the source, this may

create borders.

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Section 3: Operation

• Select “ANAMORPHIC” to display an anamorphic image

in its native 16:9 aspect ratio. The image will fill the

screen from side-to-side and be centered between black

bars at top and bottom.

Size

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

aspect ratio (proportion) of the displayed signal data.

Vertical Stretch

“Vertical Stretch” adjusts the height of the image while keeping the width constant.

Use “Vertical Stretch” to change the aspect ratio of the display.

Pixel Track

Steady flickering or several soft vertical stripes or bands across the entire image

indicates poor pixel tracking. Proper pixel tracking helps ensure that the image quality

is consistent across the screen, that aspect ratio is maintained, and that pixel phase can

be optimized (described below). Tracking determines the frequency of the pixel

sampling clock, indicated by the number of incoming pixels per line, so that all pixels

generated by a particular source are sampled.

NOTE: By default, the projector samples at the correct 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 shutdown screen. Adjust the slidebar until the vertical stripes broaden

to the point where one large stripe fills the image. If the image still exhibits some

shimmer or noise, adjust Pixel Phase (below).

Pixel Phase

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

Adjust pixel phase when the image (usually from an RGB source) still shows shimmer

or “noise” after pixel tracking is optimized. Pixel phase adjusts the phase of the pixel

sampling clock relative to the incoming signal.

For best results, use a good test pattern such as a smooth gray consisting of a clear

pattern of black and white pixels, or a similar “half on, half off” graphic image, such

as the Windows shutdown screen. Adjust the slidebar until the image stabilizes and

each pixel is clearly defined. You may notice that you can stabilize the image at more

than one point—i.e., you may find that the image appearance at "11" is identical to the

image appearance at "38", thus you can use either setting.

If some shimmer from a video or HDTV source persists, use the “Filter” control to

remove high-frequency noise from the signal.

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Section 3: Operation

H-Position

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

NOTE: The value shown represents where the approximate center of the image lies in

relation to the total number of pixels available horizontally. This varies widely

according to the signal—watch the image while adjusting.

V-Position

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

NOTE: The value shown represents where the approximate center of the image lies in

relation to the total number of pixels available vertically. This varies widely

according to the signal—watch the image while adjusting.

Advanced Size and Position — SUBMENU

This submenu consists of the

following options:

ACTIVE INPUT WINDOW: This read-

only value indicates the current size

(i.e., area) of your displayed data or

“region of interest” as defined by

the blanking controls. By default,

the projector automatically

determines what portion of its full

resolution to use, and pixels in the surrounding borders are turned off. You can also

specify a specific active input window size by adjusting one or more “Blank” settings.

For example, if you have blanked (cropped) 100 pixels from both the left and right

edges of an incoming source of 1400 x 1050, the remaining active input window will

be reduced to 1200 x 1050. When using SD or HD or a decoded video source at 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. 13). For example, left Blanking zooms

the right side of the PIP image; Right Blanking

zooms the left side. There are no black bars.

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Section 3: Operation

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

(EDID) source outputs a signal according to the EDID

information provided by the projector. To override this

information and display in a different format (for example,

if your Plug & Play [EDID] device does not support the

projector’s resolution and/or frequency), select the desired

Plug & Play (EDID) resolution from the list.

Any daisy-chained projectors will also display according

to the chosen Plug & Play (EDID) format.

EDID = Extended Display Identification Data standard.

Figure 3. 13 Blanking of a PIP Image

Use options in the Image

Settings menu to alter your

image without affecting its

size or position. Changes

made to the Image Settings

menu are applied immediately

and are saved when you exit

Image Settings Menu f

Exit

the menu (press

)

Options not available for the

projector model or source are

disabled and appear dim

(gray).

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

will not be as bright as they could be and the overall image will be dim. For best

results, start with a low value and increase so that whites remain bright but are not

distorted or tinted, and that light areas do not become white (i.e., are “crushed”).

NOTE: If the environment lighting changes, an adjustment of Gamma is

recommended (see below).

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Section 3: Operation

Brightness

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.

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 (2.2

= default). If excess ambient light washes out the image and it becomes difficult or

impossible to see details in dark areas, lower the gamma setting to compensate. This

will improve contrast while maintaining good details for blacks. Conversely, if the

image is washed out and unnatural, with excessive detail in black areas, increase the

setting. In high ambient light conditions, lower gamma may produce better results

than higher gamma. Gamma of 2.2 (default) indicates the gamma table has not been

adjusted. For more information, refer to Advanced Image Settings, Gamma Table

submenu. Again, good gamma improves contrast while maintaining good details for

blacks.

Filter

The proper filter setting is automatically set for virtually all

signals, and rarely needs to be changed. It applies a low pass

filter for noise reduction in the incoming input signal, particularly

for HDTV or SDTV. Applied in the analog domain before

sampling, this filtering removes high frequencies and thus

reduces pixel phase noise (note this also reduces signal bandwidth). Override only if

standard pixel tracking and phase adjustments do not adequately clear up a “noisy”

video signal, or if a graphics signal appears overly “soft”. Both instances indicate that

“Filter” may be set to the wrong option.

Detail

“Detail” adjusts the sharpness of a video image so that edges remain clearly defined. It

can be particularly useful if a significant “Noise Reduction” adjustment has caused the

image to appear too soft. Adjust until the display is as sharp as desired, keeping in

mind that because “Detail” adds some high frequencies back into the image, it can

also re-introduce a certain degree of noise.

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Section 3: Operation

Noise Reduction

“Noise Reduction” is similar to the “Filter” control, but operates in the post-sampling

digital domain with a more subtle effect. Higher settings are most useful for clearing

up noisy RGB images such as those from a PC. Adjust as desired, keeping in mind

that reducing noise (which reduces high frequencies) may also soften the image.

Color Space

“Color Space” determines how the color components of an analog

input signal are decoded for accurate color in the display.

Selecting a color space option is useful only for analog signals

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

for these analog signals is automatically determined by the

projector, in some circumstances you may wish to override this and manually set a

specific color space.

NOTE: For digital signals or for signals connected to INPUT 3 or INPUT 4, the color

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

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

to select a

different option:

•

Select RGB unless you are using component video at INPUT 1, 2, or 5.

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 appear magenta and can include:

•

RGB signals in NTSC, PAL, SECAM frequency ranges

Scan-doubled sync-on-green

Scan-quadrupled sync-on-green

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

future use

Video Options — 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.

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Section 3: Operation

VIDEO STANDARD: For all but the more unusual video standards

available in the world, the projector automatically detects the

incoming horizontal and vertical frequencies and sets the projector’s

processing of this signal to the corresponding standard. The current

video standard name appears in the Video Options submenu, and

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

to view or

select a different video standard from those available to the

projector—any that are disabled have frequency characteristics that

differ from those of the incoming signal. Selecting a specific

standard forces the projector to process the signal according to this standard.

NOTE: Best results are obtained with defined channels. Otherwise, switching from

one video source to another can sometimes cause slight disturbances in the display,

indicating that the Auto function is struggling. Recover by briefly selecting a different

video standard, then going back

Table 3.3. Regions and Video Standards: Summary

Standard Where Used (SUBJECT-TO-CHANGE)

NTSC N. America and Japan

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

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

PAL-M Brazil

PAL-NC Argentina, Chile, other Latin American countries

PAL 60

SECAM France, Eastern Europe, most of Africa

NOTE: Generally, use “Auto” for all instances EXCEPT: 1) a poor quality input

signal or 2) a black-and-white video signal. In order to detect and display such

signals, select the relevant standard from the list.

INPUT VIDEO BLACK — This control

compensates for incoming elevated black

levels present in certain video signals, and

ensures that blacks in the display are

neither crushed (i.e., where dark grays appear black) nor excessively elevated (i.e.,

where blacks appear dark gray). By default, the projector automatically determines the

best setting according to the type of incoming video signal:

•

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

standards, and Japanese NTSC.

•

7.5 IRE – Used for most NTSC video signals.

For some types of video, you can override the setting. The control is disabled for other

types of video (and all graphics sources). Generally, if black appears crushed when

brightness = 50, choose “0 IRE”. If black appears excessively elevated, use “7.5 IRE”.

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

video image. Lower settings produce less saturated colors — for example a setting of

“0” produces a black and white image. If the color level is too high, colors will be

overpowering and unrealistic.

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

video signals connected to Input 3 or 4. For best results, adjust tint while displaying an

external color bars test pattern—otherwise, it is recommended that tint remain at its

default setting.

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Section 3: Operation

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

signal, delaying the luma signal (intensity) in relation to the chroma (color). In the

image, increasing the luma delay will move luma (seen as a shadow where colors

overlap) to the right slightly, with colors remaining in place. Decreasing this delay

will move the shadow slightly to the left. If necessary for your current source, adjust

so that no shadows occur with adjacent colors.

Input Levels — SUBMENU

NOTES: 1) Because the projector automatically optimizes input levels for all but the

most unusual of sources, it is recommended that only experienced users use the Input

Levels submenu. 2) Before beginning, check that overall contrast and brightness

settings are near 50 and that color temperature is properly set up on an internal

grayscale test pattern. 3) There must be at least 2 consecutive white pixels present in

the image for proper “Auto Input Level” function. Leave this control off after use.

Good RGB or input levels—

that is, the drives and

blacklevels for each of the

three colors, red, green and

blue—ensure that images

from analog sources other

than decoded video have

maximum contrast without

crushing black or white. By

default (and in an “Auto

Setup”), the projector

automatically determines the

best input levels by

monitoring image content and adjusting the controls appropriately—further

adjustment is typically not required to obtain proper blacks or whites.

NOTE: This automatic adjustment requires at least 6-12 consecutive white pixels in

the image. Without these pixels, input levels may produce skewed colors, particularly

in non-video images.

However, for a very unusual source exhibiting one or more overly high blacklevels

(typically caused by a noisy source causing blacklevel spikes), an experienced user

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

together serve as a calibration process compensating for differences in sources and

cabling, enable an experienced user to perfect the source image input levels and

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

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

materials.

NOTES: 1) Input levels apply for the current source only, but for any color

temperature used. 2) Assuming that color temperature has been set up based on the

internal test patterns, you can then set up input levels for a given source so that it

matches the color temperature of the internal test patterns.

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

user and you have an unusual source that you feel needs further color temperature

and/or input level adjustment. This compensates for incoming out-of-range drives

(white) and blacklevels (black) that would cause “crushing” of light and dark colors in

the image. After entering a checkmark, wait for the six slidebar values to stabilize,

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Section 3: Operation

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

upon exiting the Input Levels menu.

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

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

NOTE: Not required for “Auto” adjustment.

Contrast

•

= 50 (approx.)

Bright

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

sure to obtain a neutral grayscale. NOTE: Not required for “Auto” adjustment.

3. Confirm that you are using an analog source not connected to INPUT 3 or INPUT 4,

as Input Levels are not applicable for digital sources or sources going through the

decoder. A grayscale is recommended.

4. If the blacks and/or whites appear OK, input levels do not need adjustment. If

black levels are too high (and/or whites are too low, which is rare), you likely

have a noisy source that is producing skewed input levels. Continue with Step 5.

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

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

Judge by eye and change one or more of the six levels as necessary to obtain

proper blacks and whites. You may want to see only a certain color while

adjusting—use the “Color Enable” option (described below).

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

IMPORTANT: Do not use Input Levels to adjust color temperature. This will distort

Contrast and Brightness functions as well as color temperature.

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

or drive to adjust will automatically enable the corresponding color in the display.

Delete the checkmark to see all colors, or to enable a different specific color through

the Color Enable Control.

CLAMP LOCATION – This option (formerly known as sync tip

clamping) can brighten the image produced from certain high-

resolution high-frequency graphic sources. For almost all sources,

the best clamp location is automatically selected by the projector.

Use the normal Back Porch location if the image is either

sufficiently bright or overly bright. Select Sync Tip if the image appears unusually dim,

if there are horizontal streaks across the image, or if there is significant color drift. This

moves the clamping pulse from the normal back-porch location (which is likely too

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

source.

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

while working with color temperature white levels or input levels.

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

levels, enabling you to accurately set the Input Levels for any particular source with

the appropriate image. Enabling the Peak Detector activates a special operating mode

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

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

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Section 3: Operation

black and white are known to be at opposite edges of the image, you can watch these

isolated areas while adjusting individual blacklevels and input drives until both black

and white edges are just visible and distinguished from neighboring pixels. Images

from this source will then display correct blacks and whites without crushing.

See Figure 3.14. Adjusting Input Levels Using the Peak Detector:

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

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

Detector” will initially render the grayscale as a uniform gray field before

adjustment or extreme crushing.

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

correct color is displayed for each setting.

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

a single band of black appears at one edge of the screen. This band represents

the first band of the grayscale pattern, which should be 100% black. Do not

adjust too far.

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

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

screen. This band represents the last band of the grayscale pattern, which

should be 100% white (or the current color, if a certain color is enabled). Do

not adjust too far.

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

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

affects the gain; only readjust when absolutely necessary.

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

primary color shows one optimized black band and white (or colored) band,

the input levels for this source are correctly set. Upon exiting the Input Levels

menu, the Peak Detector checkbox will clear.

Figure 3.14. Adjusting Input Levels Using the Peak Detector

(RED EXAMPLE SHOWN)

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Section 3: Operation

Advanced Image Settings — SUBMENU

Use the Advanced Image Settings

submenu to make the adjustments

necessary for lesser-used but more

specialized applications on your

projector.

GAMMA TABLE: This control applies

a default video, graphics or simple

gamma table or “curve” to your

images, controlling the intensity of

mid-level colors and producing

maximum contrast, brightness and color

performance. As shown at right, the

graphics curve is a modified power

curve that will show more detail in

darker areas of the projected content

while the video curve has a linear

segment near black to compensate for

increased black levels typical of video

signals. A simple gamma curve is a true

power curve that does not alter the contrast or the intensity of mid-level colors.

Although the projector automatically applies either the graphics or video curve

according to what type of incoming signal is detected, in some cases you may wish to

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

graphics source. Alternatively, if neither default is ideal, you may prefer to apply the

simple (non-optimized) gamma curve or a user-defined custom gamma curve that has

been created externally, named, and downloaded to the projector (requires separate

PC-based Arbitrary Gamma and KoRE Librarian software applications). If any of

these special user curves have been installed, their names will appear in the Gamma

Table pull-down list.

Keep in mind that any Gamma Table choice sets the related Gamma value (shown in

the Image Settings menu) to a 2.2 default, where it can be fine-tuned as desired.

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

with either the Gamma slide bar or direct key.

NOTES: 1) If no user curves have been defined and downloaded to projector memory,

only the 2.2 default gamma curve is available here – adjust as desired using gamma

in the main Image Settings menu. 2) Some graphic material will look best with the

video setting while some video material is best with the graphic setting.

SELECT COLOR ADJUSTMENT: In “Select Color Adjustment”,

choose an overall color palette for all images. The “Max

Drives” factory default simply drives all 3 colors at their

maximum level so that they are fully on and cannot be

changed. The two other pre-defined color adjustment

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

optimized for video sources (standard or high-definition).

Alternatively, you can specify a color temperature. This

enables the adjacent Color Temperature slidebar and applies

its current setting (default = 6500K). If none of the pre-defined “Select Color

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Section 3: Operation

Adjustment” options or color temperatures suit your application, select one of four

color gamuts previously defined by a user (User 1, 2, 3, 4). A “User” option applies a

customized color performance in which the user has precisely set the hue and intensity

of each color component in the Color Adjustment by X/Y or Color Saturation

submenus. It is most often needed with multiple-projector applications. Select the

color adjustment producing the best color accuracy for your application and

installation.

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

X/Y or Color Saturation submenu.

NOTES: 1) “Color Temperature” defaults to 6500K until changed. All four “User”

options default to SD Video unless they have been redefined by the user. 2) 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

for internal test patterns. However, once you switch back to a source, the White Boost

settings will reset to the value set for that source. 3) If the ChristieTWIST module is

installed and edge blending is enabled, White Boost is still active and can be adjusted

to suit.

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Section 3: Operation

Simulation 3D — SUBMENU OF ADVANCED IMAGE SETTINGS

This submenu allows you to adjust

the timing between the input signal

and its appearance on screen. This is

most useful in applications where you

want to match the timing of the

projector to other equipment, such as

a video recording device in

broadcasting environments.

FRAME DELAY MONITOR — This

Figure 3.15.

value changes as it monitors the

latency between input and output. The value should remain fairly constant and close

to the value of the Frame Delay, indicating that timing of input and output frames is

locked; the Frame Delay Monitor value should stay within 5-10 lines or so of the

Frame Delay setting. If a frame is lost or “dropped”, the values will change

significantly, indicating that the frame input is no longer equal to the output.

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

appearance on screen, keeping in mind that projector processing always adds one

frame of delay to the frame delay setting. For applications, where the feeling of “real

time” image response is a priority, a minimum setting is usually preferable. If set too

high or low, frame locking will not be possible—most sources require approximately

50 lines of delay to ensure frame locking.

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

timing based on the input signal. The locked option forces (if possible) the output

image to be phase locked to the input frames. Rate Matched means that the output

runs at close to the input frequency but isn’t locked to it so the output will drift in

phase relative to the output. Free Run forces the output to run at a 60Hz frame rate.

Advanced Image Settings continued — 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.

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

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

adjustment.

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Section 3: Operation

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

“Detail” control will begin to magnify high frequencies, which adds details back into

the image. Raise the threshold to ignore more of these high frequencies, and lower the

threshold to magnify more of these frequencies. A setting of “0”, for example, means

no noise will be ignored and all will be magnified. An ideal detail threshold is one in

which high frequencies that are causing objectionable noise are not magnified when

using “Detail”, but frequencies which can help sharpen an overly-soft image are

magnified.

Use the Configuration

menu to define general

operating parameters and

communications with other

projectors and equipment,

and to access other

advanced processing and

image adjustments affecting

overall performance. In

addition, the Configuration

menu provides access to

diagnostics, calibration

tools and the Service

3.6

Adjusting

System

Parameters and

Advanced

Controls

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 being using. This

characteristic is identified with the (globe) icon alongside the option.

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

only.

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

— 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.

Set Date & Time

Enter/read the current year-month-day and hour-minute-second. Changes here reset

the projector’s real-time clock.

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Section 3: Operation

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

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

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

similar to wallpaper.

•

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

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Section 3: Operation

•

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

source signal.

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

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

overwrite the current splash screen content in projector memory.

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 f

— 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

115200; for RS422 it is 19200.

Figure 3.16. Communications

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

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

Projector

Enter a three-digit number (such as “001”) to assign or change a number to the

projector currently in use. If the current projector already has a number assigned, that

number will appear here (for example, “004” in Figure 3.16, above). Numerical

identity for projectors enables you to communicate with a single projector within a

Proj

multiple-projector application (see also

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

Exit

make a mistake in assigning or changing the projector number, press

to cancel.

Network Routing

NOTES: 1) Not applicable for stand-alone projectors or simple serial networks with

only one type of controller and linking.

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

messages on their respective paths instead of being broadcast to the other types of

ports. In Figure 3.17A, RS422 controls only the projector to which it is connected. In

Figure 3.17B, either RS232 or RS422 will control the network.

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Section 3: Operation

Figure 3.17. Using the “Network Routing” Option

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

will be relayed to all RS232or RS422 ports. Any Ethernet communication, however,

will not.

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

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

isolated.

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

Ethernet Settings – SUBMENU

NOTES: 1) Recommended for network administrators only.

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

projector’s default IP address (0.0.0.0) to one that is valid and unique for use on the

current Ethernet network. On networks without a DHCP server, or to simply override

the automatic DHCP server function, delete the checkmark and enter the new “IP

Address” settings desired. Remember that only a 0.0.0.0 address will trigger the

DHCP addressing service, and only when the DHCP checkbox is enabled.

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

projector is currently connected. This address will overwrite any previous IP address

such as the projector’s factory-defined default (0.0.0.0), or one that has been assigned

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Section 3: Operation

by a DHCP server or other user. It takes approximately 10 seconds for the projector to

respond at its new address.

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

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

port number here.

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

automatically assigned when DHCP is enabled. If a static IP is being used, the IP must

be assigned first since the projector estimates the subnet mask after the IP is entered.

The Default Gateway is an optional router device used to send and receive data

outside the subnet.

ArtNet Interface Settings — SUBMENU

ArtNet is an Ethernet communication protocol that was developed by Artistic License.

It is used for controlling lighting/staging equipment from a lighting console or PC

application. It is based on the popular DMX512 control protocol.

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

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

universe (up to 512 devices/channels).

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

specify the starting channel for this projector.

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

on 64 channels starting with the base channel. When advanced mode is not in use, the

projector only listens on 10 channels. You can squeeze more devices per universe

when the projector uses fewer channels.

NOTE: The additional 54 functions are not currently implemented and are reserved

for future use.

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

on 64 consecutive channels, or 10 consecutive channels when advanced mode is not

enabled. The projector processes requests that come on either 10 or 64 consecutive

channels beginning with the ‘base channel’ defined here. The requests implement the

following functions:

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Section 3: Operation

DMX Channel

Function

Value

0 – 64

65 – 192

193 – 255

0 – 254

255

Open

No Action

Closed

Locked

Unlocked *

Base

Shutter

Base + 1

Slider Lock

Base + 2

Base + 3

Input *

Channel *

1 – 8

1-99

1 – 254

255

Input #

Channel #

Lens Down

Stop

Lens Up

Lens Right

Stop

Lens Left

Negative Focus

Stop

Positive Focus

Zoom Out

Stop

Base + 4

Base + 5

Base + 6

Base + 7

Lens – Vertical * †

Lens – Horizontal * †

Lens – Focus * †

Lens – Zoom * †

1 – 254

255

1 – 254

255

1 – 254

255

Zoom In

Power Off

No Action

Power On

Base + 8

Base + 9

Power *

None

1 – 254

255

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

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

Example:

Good

Bad

Proj1_Base = 0

Proj2_Base = 10

Proj3_Base = 20

Proj1_Base = 5

Proj2_Base = 9

Proj3_Base = 11

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

querying for devices.

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

been done.

Broadcast Key

Enter a checkmark if you want keypad commands sent to one projector to be relayed

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 “any” so that the front and/or rear IR sensor

locations on the projector respond to the IR keypad. Set to “off” to disable.

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Section 3: Operation

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

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

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

the remaining active sensor to OFF. The projector will no longer respond to an IR

remote keypad.

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

Wired Keypad

The wired keypad is ON by default to when connected to the rear of the projector. The

projector will then respond to incoming commands from this port. To disable the

wired keypad, you must use a different keypad—the built-in or an IR remote—to

select “off”. This safeguard prevents you from accidentally disabling the wired

keypad during use.

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 f

— 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 and Warping

NOTE: To see the submenu at right

requires the ChristieTWIST™

warping module, which is standard

with Matrix projectors. Without this

module, this submenu is replaced with

a slidebar for adjusting Keystone –

all other projectors will have this.

Refer to the description provided later

in this section.

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

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

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

or choose to disable these adjustments. Settings apply to

all sources.

‰

Disabled: Display standard (rectangular) images with

no warping or keystone adjustments applied.

2D Keystone: Move four corners of the image to

correct for a keystoned image and/or to create an

unusual four-sided image exhibiting perspective or

distortion. See 2D Keystone, below.

‰

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

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

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Section 3: Operation

memory, typically creating one or more “squeezed” or stretched areas in the

display. If no custom warps have been created, the User options will have no

effect.

2D KEYSTONE: Move

one or more corner

points as desired for

your application.

Traditionally,

keystoning

adjustments simply

correct an image in

which opposing

sides are inclined

away from each

other (caused by

tilting the projector

in relation to the

screen). If the lens

surface is parallel to

the screen and

settings are 50.0, the

image should appear

rectangular.

Alternatively, move

the corner points to

Figure 1. Moving the Corners for 2D Keystone

create a specific 4-sided image in which corners are up to 25% closer to the center of

the image, or which are cropped off.

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

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

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

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

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

to a Detail adjustment.

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

displaying incoming data. A higher or lower setting will typically be needed with

significant warps, ensuring that the entire image appears. Warp latency also provides a

means of synchronizing one display with adjacent displays or other equipment such as

audio.

NOTE: If a ChristieTWIST™ module is installed, the Edge Blending menu controls

are expanded to include user-defined blends appropriate for a warped image. The

new blend ranges are 0-80 for side blends, and 0-60 for top or bottom blends. If no

warping is currently applied but you still need to use edge blending for a tiled wall,

select “Standard”.

Keystone

This option is available when the ChristieTWIST™ module is not installed.

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Section 3: Operation

Use to correct a keystoned image shape in which both sides of the image are inclined

toward the top or bottom edge. Keystone is typically caused by tilting the projector in

relation to the screen so that the lens surface and screen are no longer parallel to each

other. (Figure 3.18)

Figure 3.18.

Brightness Uniformity — SUBMENU

Brightness Uniformity provides further refinement of displays already matched for

their primary colors and overall light output. Use Brightness Uniformity to create an

exceptionally smooth image in which no area appears brighter and/or more red, green

or blue than another. In the Brightness Uniformity menu, enable the “Uniformity

Enable” checkbox to access a multitude of adjustments for critical color light output

control in specific areas throughout the image. Your settings apply as long as the

“Uniformity Enable” checkbox is enabled and you are using a “User” color

temperature defined by the Brightness Uniformity controls. To disable the Brightness

Uniformity function, delete the “Uniformity Enable” checkmark.

NOTE: See also 3.10, Using Multiple Projectors for the complete step-by-step

procedure for achieving uniform brightness in adjacent displays.

Edge Blending — SUBMENU

The Edge Blending submenu provides a range of controls for smoothing together the

overlapping bright edges of multiple adjacent projected images to create a single

larger “seamless” image. These controls, which primarily affect whitelevels, are

typically used in conjunction with mechanical lens blinders (optional), which are

installed on the front of the projector and which primarily affect blacklevels. NOTE:

There is a center line (both horizontal and vertical) in the Edge Blending test pattern.

The intersection of these lines is the true center of the projector’s display area.

NOTE: See also 3.10, Using Multiple Projectors.

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

NOTES: 1) For defining or changing a User 1, 2, 3, or 4 color performance or

“gamut”. Sometimes known as Comprehensive Color Adjustment™. 2) 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).

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Section 3: Operation

From the factory, the projector can utilize

any of the 3 pre-defined color performance

settings identified at right (default=Max

Drives), or colors can be driven on the

basis of color temperature. For most

applications, one of these gamuts will

produce accurate and realistic colors from

a variety of sources. They can be applied at

any time in the Advanced Image Settings

menu (“Select Color Adjustment”), and are

not adjustable.

Figure 3.19. 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

the millions of colors produced in displays. You can create up to four custom color

gamuts (User 1, 2, 3, or 4) with these adjustments.

Note that the two menus differ only in their user interface, so use whichever menu

best suits your needs and application. A color meter can help with adjustments.

•

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

graph.

Color Saturation — Adjust color slidebars and judge image color by eye or meter.

A user-defined color “adjustment” can be applied by selecting it in the Advanced

Image Settings menu (“Select Color Adjustment”).

COLOR ADJUSTMENT BY X,Y: Use

this submenu if you want to create,

alter or copy a color gamut (i.e.,

“color adjustment”). Controls in

this menu define the precise hue of

each primary color component (red,

green, blue, and white) used to

generate the millions of colors

produced in displays. The x/y

coordinates for each color define its

location on the standard CIE

chromaticity graph (see Figure

3.20)—changing either or both of

these numbers will change the hue

of the color, and relocate the

“triangle” for possible colors. For

example, changing the x/y

coordinates for red may move the

color closer to orange or closer to

Figure 3.20. Customize Color

violet, which will in turn affect all displayed colors having a red component. Adjust

the slidebars or enter new specific coordinates as desired to define or change up to

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Section 3: Operation

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

time in the Advanced Image Settings menu.

Figure 3.21. CIE 1931 Chromaticity Diagram

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

here.

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

COLOR SATURATION: Use this

submenu if you do not have

specific color coordinates in mind

and will simply judge color

performance by eye or meter. Like

the Color Adjustment by X,Y

submenu, each color control

actually defines new x/y

coordinates for that color and

changes its hue—it is just a

different interface.

Adjust the hue of each primary

color (red, green, blue, and white)

by using more or less of it in

relation to the other colors.

Figure 3.22. 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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Section 3: Operation

System Configuration f

Test Pattern

Choose the desired internal test

pattern to display, or select OFF

DIAGNOSTICS / CALIBRATION

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 de-interlacing/resizing and signal noise. Remove the

checkmark to return back to normal.

Color Enable

Select which color or colors you want to see. This is useful while working with color

temperature, input levels or other special setup parameters. Colors can also be

enabled/disabled by entering the corresponding function code listed on the back of the

standard IR remote.

Odd Pixel Adjustment

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

When using certain RGB sources, you may need to adjust the normal gain or offset of

odd pixels in relation to even pixels. This will smooth out very narrow (1-pixel wide)

“checks” or vertical stripes that indicate adjacent “on” and “off” pixels. Using the

Level Detector simplifies this process (see Figure 3.23):

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

256-levels.

2. Turn “Level Detector” on.

3. Set “Level Value” to ~200. The image should now be black-and-white (or black-

and-one color, if you use “Color Enable” function).

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

5. Adjust until the two transition regions overlap. The stripe of noise will be

minimized, defined by the value in the slidebar.

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

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

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

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Section 3: Operation

Two sets of values are automatically saved with these controls—one value for Input

#1, and one for Input #2 (analog). The current set of values depends on which source

is in use. This enables a source to be processed correctly via 2 different inputs.

Figure 3.23. Using “Odd Pixel Adjustment”

NOTES: 1) Adjust offset before gain, since offset affects gain. 2) A value of 128

represents no change in normal odd pixel offset or gain. 3) Odd Pixel Adjustment

eliminates “1 pixel on, 1 pixel off” artifact only, not any type of larger artifacts.

Color Wheel Calibration — SUBMENU

The Color Wheel Calibration submenu

allows you to set the timing of the two color

wheels in the projector. It is important the

color wheels are correctly calibrated for the

colors and shades in the displayed image to

appear the same. Incorrectly calibrated, the

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

adjustment is only required when a color wheel is replaced.

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

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

wheel 1 and “Single Lamp 2” when calibrating color wheel 2.

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

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

White.

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

appears smooth.

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

when requesting a change in single lamp operation modes to allow for one lamp

to warm up and the other to turn off.

5. Verify adjustments by choosing different colors in “Color Enable”.

NOTE: Upon entering the Color Wheel Calibration submenu, the “Color Enable”

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

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Section 3: Operation

Peak Detector

The “Peak Detector” is a fast method for defining individual input levels, and can

improve the accuracy of input levels set by the Auto Input Level function. Enabling

the “Peak Detector” activates a special operating mode for detecting only pixels that

are considered black or white—all other levels are displayed as a mid-level gray.

When used with a 16-step grayscale pattern in which the two black and white bands

are known to be at opposite edges of the image, you can watch these isolated areas

while adjusting individual blacklevels and input drives until both bands are just

visible. Images from this source will then display correct blacks and whites without

crushing or washing out.

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

Level Detector

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

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

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

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

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

3. Adjust Offsets to minimize area of black stripe.

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

5. Adjust Gains to minimize area of white stripe.

Level Value

Level Value defines the value to be used by the Level Detector in recognizing blacks

and whites. See Level Detector, above.

Aspect Ratio Overlay

Selecting this option with a checkmark will overlay a number of common aspect ratio

boxes on top of the source image. This is very helpful during the setup of the projector

and can be turned off after desired specifications have been achieved.

System Configuration f 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.

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Section 3: Operation

PIP (Picture-in-Picture) and Seamless Switching are independent but related projector

features that both utilize two image processing paths within the projector. In the case

of Picture-in-Picture, this double processing enables you to display two different

images simultaneously – typically a smaller “secondary” image within a large

“primary” background. In a seamless switch, the double processing essentially occurs

between displays so that a full image relayed from one source can smoothly transform

into a full image from another source. This change can be virtually instantaneous, or

slowed as desired so that the current image appears to dissolve or “fade” into the new

image.

3.7

Working with

PIP or

Seamless

Switching

Options for enabling and controlling PIP and Seamless Switching all reside in the

same menu. Note however, that because both features utilize the projector’s double

processing capability, PIP and Seamless Switching cannot be used together. For

example, fading a pair of PIP images into a new display from a different source is not

possible.

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

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

Signal Type Description (Input Location)

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

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

megapixels.

•

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

Avoid using an interlaced source in the PIP window

Seamless switching may affect image quality in some cases

Working with PIP f NOTE: To control the primary image, access all picture controls through the Main

menu. To control the secondary (PIP) image, access picture controls through the

Picture-in-Picture and Switching menu.

Use the first of six

options in the PIP

and Switching menu

to enable and define

how you want to use

PIP.

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Section 3: Operation

Swap Main and PIP Image

Toggle the current picture-in-picture relationship so that the primary (main) image

becomes secondary (PIP), and the secondary image becomes primary. Swapping is

available only when PIP is enabled.

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

images.

PIP Enable

Short cut: Press

on the

remote.

Toggle to display from two

sources at once (Picture-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.

PIP Size and Position – SUBMENU

Most controls in the PIP Size and

Position menu adjust the PIP

(secondary) image in the same

fashion as their counterparts in the

main Size and Position menu

adjust the main image—see 3.5,

Adjusting the Image for details.

Exceptions are:

POSITION PRESETS –Set the

location of the PIP (secondary)

image in the display.

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

the “Default” aspect ratio when incoming format has square pixels (most common).

This ensures that the resulting PIP image maintains its intended aspect ratio. Use

“Anamorphic” for NTSC signals having narrower pixels--this will stretch the pixels

horizontally to regain the intended aspect ratio of the PIP image.

NOTE: If the image is already resized at the source it will remain that way in the PIP

window. If, for example, an NTSC signal is already set to anamorphic through the

Resize and Preset menu it will remain that way in the PIP window. If the NTSC signal

is formatted as widescreen at the source, then the image in the PIP window will

appear with black bars above and below it.

PIP Image Settings — SUBMENU

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

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

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Section 3: Operation

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 f

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.

Switching

Tips for best source switching:

•

Make sure a channel has been configured for each source.

Progressive digital and analog sources are recommended.

Set Image Optimization to Best Switching (see below).

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

NOTE: Avoid using two Interlaced sources.

Image Optimization

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

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

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

switching time. Smooth Switching allows for a cleaner transition between sources. The

image will fade from one image to another according to the Fade Time control.

Seamless Switching overrides the Frame Lock Enable settings and forces the output to

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

sources.

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

Fade Time

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

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

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

it.

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Section 3: Operation

Numbers Select Main Image

Use Numbers Select Main Image to use the

numeric keys #1-8 as input keys. This remapping

of the keypad (see right) can be particularly useful

with PIP displays, providing a convenient shortcut

for changing the primary (background) image

without first having to return to the Main menu.

Select “Always” to use the keys in this manner all

of the time, even with single displays. For normal

keypad function, select “Never” (default). Set to

When PIP Active to activate number keys only

when PIP is in use.

NOTE: Numbers Select Main Image keypad

functionality works only when menus are closed.

The dual lamp illumination system used in this projector gives you the flexibility to

choose an operation mode (single lamp or dual lamp) to suit the specific needs of your

installation. The unique lamp auto-switching feature also provides the potential to

operate the projector for extended periods without interruptions related to lamps or

lamp replacement.

3.8

The Lamp

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

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

as selecting a lamp operation or power mode and monitoring lamp status can help in

achieving bright, uninterrupted projection.

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

the wall during the first 25 seconds of power up; this is the time it takes to ignite the

lamps. As the lamps warm up to their full potential, you will notice brightness

gradually increasing. Before sending a keypad command, wait for the projector to

complete its initialization phase (“ON” will appear in the status LED display),

otherwise the request will be ignored. After this time, you can switch to one of the

Single Lamp modes or make any other software request.

About lamp operation,

modes and auto-switching

On rare occasions, a lamp may not ignite on the first attempt. A brief description of

what you will notice in each of the lamp modes is described below.

•

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

seen on the wall. In this case, the projector will wait 90 seconds and try re-striking

the lamp. The projector will attempt only 2 re-strikes of the lamp. If it fails to turn

the second lamp on it will automatically switch to the Single lamp operation mode

for the lamp that was successfully turned on. If during one of its retries, the

projector successfully turns the second lamp on, the lamp operation mode remains

in Dual Lamp.

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

automatically powers down.

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Section 3: Operation

•

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

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

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

automatically switch to the single lamp operation mode for the lamp that was not

ignited. All lamp specific menu options will then change to reflect the true lamp

operation mode of the projector.

NOTE: P-VIP lamps, by nature, do not successfully ignite when “hot” and

therefore the 90 second wait period is taken by the projector before each strike

attempt and between powering the projector down and up again.

Lamp operation modes will also automatically change if there is a failure of one of the

lamp related components, such as the lamp driver, color wheel or fan. An error code

will be displayed in the status LED or through the RS-232 serial communications log

that indicates which component has failed. The lamp status will also show one of

several messages that points to the failed component. The lamp in this instance is

typically still okay and does not require replacement.

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

to single lamp operation mode occurs immediately. The result is an instant dimming

of the displayed image. At this time, you can modify the lamp power or adjust other

settings to increase desired brightness.

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

switch from a single lamp mode to the dual lamp mode, the projector immediately

tries to ignite the second lamp. If the first attempt to ignite the lamp fails it will wait

90 seconds and try again.

MANUALLY SWITCHING BETWEEN SINGLE LAMP MODES – When manually switching

between single lamp modes, there is a 35 second overlap when both lamps are on.

This overlap allows the “new” lamp to warm up before the other lamp is turned off.

The new lamp operation mode displays immediately in the menus. Only after the third

attempt (re-strike #2), will an error message display to indicate the type of error that

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

If this occurs, the first lamp will not turn off and the projector will continue to operate

in the original lamp operation mode. In summary, it could potentially take the

projector up to 4.5 minutes to successfully switch lamp modes. The projector will

attempt to maintain light on the wall during this time. NOTE: If a problem is fixed

before the last strike attempt the lamp could turn on.

If a lamp fails during operation, the projector will immediately attempt igniting the

other lamp if it’s not already on. Only in this case, will there be a brief interruption in

the display.

NOTE: A lamp will naturally decrease in brightness as it ages. Lamp life can also be

decreased further by a frequent change in lamp operation modes (number of times its

ignited).

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Section 3: Operation

Figure 3.24. The Lamp Menu

LAMP MESSAGE - Enter a checkmark to enable a warning message that will appear

upon power-up when the lamp has reached the specified lamp limit and should be

replaced. Delete the checkmark to prevent display of this message—instead, when

your lamp expires only the status LED display will provide the visual warning to

replace the lamp. The LED’s next to the built-in keypad will flash “LP” when lamp

time has expired. The lamp should be replaced.

NOTES: 1) It is recommended that the Lamp Message checkbox remain enabled. 2) If

Exit

a lamp warning message appears during power-up, press

to temporarily cancel

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

new lamp.

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

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

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

select “Max Brightness” to run the lamp as brightly as possible or “Power” (default) to

continually run the lamp at the specific wattage set by adjusting the POWER slidebar.

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

number of watts (250-300) applied to the lamp. In general, a lower power level

generates a dimmer image. Specifying a maximum power level is the same as

operating in “Max Brightness” mode.

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

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

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

•

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

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

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

projector behaves when in this mode.

•

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

Lamp 2” to specify the lamp you want to operate the projector with. The other

lamp remains in “reserve” and will only turn on if the current lamp “fails” for

some reason or if the mode is manually selected.

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Section 3: Operation

NOTES: 1) The projector will automatically shutdown if it detects both lamps

have “failed” (this includes lamps not installed). 2) The lamp operation mode will

not automatically switch to a previous mode once a “failed” lamp is replaced. It

must manually be selected. 3) It takes approximately 25 seconds for a cold lamp

to reach full brightness when it is first turned on. 4) Power is cut to a lamp only

when the lamp operation mode is switched to the other lamp.

IMPORTANT - the original lamp stays on for 35 seconds to allow the new lamp

to warm up before power is cut and lamp operation modes change.

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

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

view specific lamp information, such as lamp hours, lamp history and the current

status of the lamp. You can also change lamp operation modes.

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

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

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

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

NOTE: When a lamp is installed, the projector automatically detects the serial

number and displays it here. The serial number is not manually entered.

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

lamp and can be viewed any time during operation. Refer to the list below for the

possible lamp status messages and their meaning:

•

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

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

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

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

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

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

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

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

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

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

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

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

Lamp #2)

•

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

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

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

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

•

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

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

when a new lamp is installed.

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Section 3: Operation

The read-only Status menu lists a variety of details about the standard and optional

components currently detected in the projector. Refer to the Status menu for versions

of hardware and software installed, the type (size) of lamp, the hours logged in total

and for a specific period (such as a rental period), and for your projector model name

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

location, its frequencies and other details.

3.9

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

3.10 Using Multiple

Projectors

Proj

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.

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 f

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 3.21). Upon installation

at a site, however, lighting and other environmental factors may slightly change how

these colors appear on your screen. While the change is negligible in most cases, you

may prefer to recover the originally intended color performance before trying to

match colors from several projectors. Or you may be renting a projector in which the

colors were corrected for use at its previous site, but are not ideal for yours.

The recommended first step in achieving such consistency is to use a color meter to

measure the native primary colors—red, green, blue, and white—as they appear at the

screen and record these as Color Primary Settings in the Service menu (password-

protected) for each projector. On the basis of these new values, which are stored in

memory, each projector will then automatically calculate any necessary corrections to

reproduce the original factory colors under the current environmental conditions. This

essentially calibrates a projector to its surroundings, compensating for factors such as

screen type, lamp and/or ambient lighting that can alter the final color characteristics

on-screen, and will improve color accuracy and consistency in a group of projectors. It

ensures a good starting point for further customizing and matching; however, is not

critical for all installations.

To return to the factory-set color primaries, such as when a projector is moved to

different site, you must access the Service menu (password-protected). Select the

Reset to Factory Defaults? option in the Color Primaries submenu. Then repeat the

calibration process describe above, if desired, and continue with matching of colors.

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Section 3: Operation

Color Adjustment Procedure

Once the Color Primary Settings are calibrated for the site (see above), use the Color

Adjustments by X,Y or Color Saturation menu to further refine each projector’s

fundamental colors so that the hue and intensity of each color appears the same from

one display to another. Once matched, you will have created a single new shared

range of colors or “color gamut” that all of your projectors can produce. This

palette—named User 1, 2, 3 or 4—can be applied or disabled for a source at any time

throughout a bank of adjacent displays, simplifying both the setup and maintenance of

a “seamless” wall.

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

you will be redefining color performance in this procedure, but do optimize each

projector in every other aspect. Closely align all screen edges.

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

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

‰

Set Select Color Adjustment to “Max Drives”

Display a full white test pattern

Adjust lamp power and Optical Aperture until adjacent white fields appear the

same brightness.

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

the x/y coordinates defining the “Max Drives” color gamut for this projector. Jot

down the values shown in one (any) of the displays. See Figure 3.25. Or use the

“Copy From” function to copy them into a “User” gamut in one projector.

Figure 3.25. Jot Down a Set of ”Max Drives” X/Y Values

5. In each projector, select a “User” color adjustment (1-4) to enable Color

Adjustments by X,Y changes. Then enter your recorded x/y values into each menu

(Figure 3.26).

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Section 3: Operation

Figure 3.26. Copy X/Y Values into All Projectors

6. In each projector, judge by eye and adjust x/y coordinates slightly in the following

manner:

‰

To match reds, decrease “Red X” until full field red screens match.

To match greens, decrease “Green Y” until full field green screens match.

To match blues, increase both “Blue X” and “Blue Y” until full field blue

screens match.

NOTE: For speed, enable the “Auto

Color Enable” checkbox. Each

color coordinate you select will

then automatically trigger a full

field display of the corresponding

color.

Alternatively, use the Color

Saturation menu for these

adjustments or to fine tune.

These coordinate adjustments move

the three color points closer

together (refer back to the

chromaticity chart shown in Figure

3.21.) to establish a “shared” gamut

attainable by all projectors in your

group. Adjust only as necessary to

ensure that the resulting color

palette is as large as possible. When

done, you may need to adjust lamp

power slightly.

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Section 3: Operation

7. All screens should now be color-matched and the will remain matched upon exit

from the menus. Apply this new “User” gamut to a source at any time by selecting

it in the “Select Color Adjustment” list accessed in the Advanced Image Settings

menu.

Using the Color Saturation Menu for Color Matching

You may prefer to use the

Color Saturation menu to

match colors across

multiple screens. In the

three Color Adjustment

submenus (Red, Green,

Blue—see right), set all

main values to 100 and

the secondary values to 0.

Then judge by eye and

adjust the slidebars as

needed. Note that

adjustments here define

new x/y coordinates in the

Color Adjustments by X,Y

menu.

For best results, use this

menu after doing the color

adjustment procedure.

Figure 3.27. Color Matching Using

Color Saturation Menu

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

their primary colors (see Matching Colors in Multiple Screens, above) and overall

light output, proper adjustment of Brightness Uniformity can create an exceptionally

smooth screen in which:

Achieving Brightness f

Uniformity

•

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

no area of the screen appears brighter than another

color and light output from one screen closely matches adjacent screens

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

is particularly useful for setting up and maintaining tiled images that form a cohesive

display wall in which the color “cast” and light output appear uniform throughout

each image as well as throughout the entire wall. The procedure provided here

assumes a multiple-screen application.

Before You Begin

Read through the entire procedure before attempting to adjust Brightness Uniformity

controls, and keep in mind the following checklist of prerequisites and guidelines:

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Section 3: Operation

‰

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

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

work with Brightness Uniformity. This ensures that primary colors, color

temperature, and maximized light output are all well-matched from one screen

to another. These matches are needed before you can achieve good Brightness

Uniformity results.

‰

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

significantly during the first 100 hours of lamp use. For best results with new

lamps, either set up Brightness Uniformity after this period, or do an initial

setup and re-check at 100 hours.

SET LAMP POWER—Make sure each “Lamp Power” setting is as high as

possible for your application while still maintaining a good overall match of

light output from screen-to-screen. By nature, achieving a uniform brightness

will require a slightly reduced overall brightness—this reduction will help

ensure that you have enough range of adjustment when examining brightness

variables more closely from screen-to-screen, and will help prevent premature

“maxing out” when trying to match to a certain color, zone or projector.

‰

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

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

continue to use it for all sources displayed on the wall. Your other color

temperatures will not necessarily be matched from screen-to-screen.

WHITE UNIFORMITY SLIDEBARS—White Uniformity slidebar values may not

reduce to “0”. Each slidebar adjusts overall light output in a specific screen

zone, but the value shown represents the current setting for green in this zone.

When other “hidden” values (red or blue) are lower than green, during

adjustment in the White Uniformity menu their values will reach “0” first,

causing the slidebar to stop earlier than expected.

‰

JUDGE BY EYE OR USE A METER—Good brightness uniformity can be achieved

with either.

Step 1: General Setup

1a) Adjust primary colors (see Matching Colors in Multiple Screens) to ensure

matched overall color temperatures and light output between screens.

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

well-matched.

1b) Enable the

Brightness

Uniformity

checkbox. This will

enable access to the

uniformity controls

and will apply the

settings to your

image.

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Section 3: Operation

1c) Select the 13 Point test pattern for display.

This pattern provides 9 screen “zones” with

13 targets.

FOR BEST RESULTS: Rather than examining

the CENTER of each zone when assessing

Brightness Uniformity adjustments, focus on

extreme EDGES as indicated in the

illustration at right.

1d) In either Color Adjustments menu, select a “User” color. Then:

•

If you have created a “User 1” color gamut (recommended) for a well-

matched wall, continue to Step 1e.

If you prefer maximum brightness rather than a particular color

temperature, select “Max Drives”.

IMPORTANT: Do not change User 1 Color Adjustment in color-matched

applications!

1e) In the White Uniformity

menu, set the “Overall”

output level to 50.0 and all

remaining slidebars to 0.0.

This decreases the light

output just enough

throughout the screen so that

any color level can then be

increased later as necessary

for matching light output

from zone-to-zone. Do not

exceed 50.0 for “Overall”—a higher level will likely interfere with achieving

brightness uniformity and is not recommended.

Ensure that overall light output remains well-matched from one screen center

to the next. Where necessary, increase or decrease Lamp Power slightly to

recover center matches.

Step 2: Adjust Color (level of red/green/blue) in Eight Zones

NOTES: 1) At this point, ignore the brightness of individual zones. 2) Always ignore

menu colors.

2a) On each screen, compare the color temperatures in the 8 target zones (4 edges

and 4 corners) to that of the color temperature of the center. Compare using a

white field only, and take note of any areas that do not match the center. Also

decide if any screen exhibits a more obvious color shift than other screens—

begin with this screen in Step 2b.

2b) Return to the Brightness Uniformity menu. Beginning with the screen that exhibits

the most obvious color shift(s), for each edge that exhibits a noticeably different

color temperature from the center, select the corresponding Uniformity adjustment

menu—Left, Right, Top or Bottom. For example, if any part of the left side is too

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Section 3: Operation

blue, too red or too green, go to the Left Uniformity menu and adjust the colors

(i.e., change their light output) until all portions of the left side closely match the

center color temperature. Adjust an edge first (focusing on its center), then adjust

its corners. See Figure 3.28

Figure 3.28. Match Zones to Center Color Temperature

Repeat the color adjustment of sides and corners for each edge of the screen that does

not yet match the center (note that each corner is adjustable in either of its two

adjacent “side” menus). When done, all areas of a given screen should match. Repeat

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 3.9). Begin with the

screen exhibiting the most obvious variations in light output.

Adjust edge White Uniformity first—note that each edge adjustment also

affects the rest of the screen slightly. Keep all edges just slightly lower than

the center light output rather than matching light output precisely.

Otherwise, it may not be possible to brighten the corners (typically the

dimmest areas of the screen) enough. I.e., the best uniformity is a

compromise between the brightest and darkest areas of the screen.

Adjust corner White Uniformity last—each corner adjustment affects only

this quadrant.

Repeat for each screen.

Figure 3.29. Match Zones to Center Light Output

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Section 3: Operation

Step 4: Readjust Color Temperature (level of red/green/blue) in 8 Zones

4a) Return to Steps 2a & 2b and, if necessary, fine tune the zones so that they all

still exhibit a single color temperature.

Canceling Brightness Uniformity

If you do not want to use or apply Brightness Uniformity settings, delete the

checkmark from the “Uniformity Enable” checkbox at the top of the Brightness

Uniformity menu.

Edge Blending f Christie Edge Blending is an innovative set of software functions that can quickly and

easily blend the edges of multiple adjacent full screen images to create a single

seamless larger image.

What is a Blend?

In simple terms, a blend appears as a gradient strip

along an edge of a projected image. It is darkest along

the extreme edge of the image, and lightens nearer to

the rest of the image (see right). This area runs along

the edge of the projector’s internal DMDs (display

area); it cannot be located on interior pixels.

Figure 3.30

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

Figure 3.31. Edge Blending Concept

(NOTE: TILING DONE AT SOURCE)

uniformity across the group of

images. Visible overlaps will

disappear as illustrated in Figure 3.31.

For best results, use the same projector model and type throughout your display wall.

In addition, avoid high-gain screens whenever possible—the optical performance of

such screens demands minimal image offset, thus projectors must be located very

close to one another. Note too that the requisite tiling of the image—with data

repeated along internal edges that will overlap—must be correctly done by your

source.

Standard edge blending software controls are located in the 2-page Edge Blending

submenu access via Configuration menu, then Geometry and Color submenu, then

Edge Blending. The More option opens the second page of the Edge Blending

submenu.

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Section 3: Operation

Main Functions

Use standard edge blending controls to set the precise width, shape and midpoint you

need to blend overlapping edges together smoothly.

‰

Blend Width determines how much area is used for blending along an

overlapping edge. Slidebar values represent the number of 8-pixel steps used

for the blend. For example, a setting of “3” creates a blended edge 24 pixels

wide. A setting of “0” signifies no blending. For best results in most

applications, use a blend width of 16-48 steps (128-384 pixels).

Ranges: 0-80 horizontal, 0-60 vertical.

‰

Blend Shape determines the rate of

roll-off across the blend width, i.e.

how quickly the white levels

across the blend change from light

and dark. Increasing the Blend

Shape setting accelerates the rate

of change at both extremes so that

less of the region appears mid-

gray (see Figure 3. 32).

Decreasing the Blend Shape

setting slows the rate of change so

Figure 3. 32. “Shape” Examples

that more of the region appears

mid-gray. For most applications, this subtle control is best left close to 50.

‰

Blend Midpoint determines the white

level at the blend midpoint (the point

equidistant between the beginning

and end of the blend). Increasing the

Blend Midpoint setting creates a

blend that appears brighter than the

rest of the image. Decreasing the

Blend Midpoint setting creates a

blend that is darker than the rest of

the image. A setting of 50 means the

midpoint is approximately 50%

Figure 3. 33. “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 3.34). Tiling

not a projector feature.

Physically align the projectors and images from

your intended external source, then match colors

and Brightness Uniformity.

Figure 3.34. Tiling Example

IMPORTANT: For a shared edge, the following Blend procedures and settings

should be identical on BOTH projectors.

1. Start with two full-screen projector images overlapped by approximately 12/5%-

25% each. Display full white field test pattern from both.

2. In the Edge Blending submenu, enable the top checkbox to activate all controls.

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Section 3: Operation

3. SET STARTING POINTS FOR ADJUSTMENT:

‰

Set all blend widths to 0.

Go to “More” and set everything in the Edge Blending (2) menu to 50.

Figure 3.35. Set Starting Points for Each Projector

4. SET BLEND WIDTH: On one projector, increase the Blend Width for an overlapping

edge (for example, if the projector’s image is on left, its right edge overlaps the

adjacent image—adjust Right Blend Width). Use the same setting on the second

projector for this shared edge.

5. Re-adjust width (both projectors) until the overly bright band at the midpoint of the

overlapping blends disappears or just changes to very light gray. For the shared

edge, use the same Blend Width setting on each projector. If the best effect appears

to be between two settings, choose the wider setting for both projectors.

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. Using a PC interface can also prove to be

useful in instances where extreme warping is applied and the menu items become

illegible and hard to navigate.

3.11 Remote Control

of the Projector

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Section 3: Operation

VIA ASCII MESSAGING — Connect a serial link between your controller and the RS232

or RS422 port (recommended), or open an Ethernet socket (i.e., Telnet) between your

controller and the valid projector address. Valid ASCII codes and messages are

documented in the Christie Serial Communications document available at the Christie

website.

VIA WEB INTERFACE — Connect your PC to the projector’s Ethernet port. In your web

browser (Internet Explorer, for example), enter the IP address of the projector you

wish to control. This will start a password-protected ChristieNET application—enter

the factory default “ccm7” login and password to open the program. If the projector is

powered up, you can access assorted menu options and slidebars.

Repeat for remaining networked projectors as desired. Keep in mind that multiple

units can be controlled from one PC, but each unit will be in its own ChristieNET

interface (web browser) at the PC. Likewise, you can make up to five separate web

locations to a single projector.

The default login provides access to security settings, where you can define other

users with the same or fewer rights. Use “unlimited” rights for most applications. For

all logins, the Service menu is still protected with its own password.

NOTES: 1) Any proxy server settings that interfere with this type of link should be

disabled for using ChristieNET. Disable through Internet Explorer’s < Tools>

<Internet Options> <Connections> <LAN Settings>. 2) Your PC must be 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” 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”.

The two-digit error code that corresponds to the message appears in the LED status

display window located next to the built-in keypad (Figure 3.36.). NOTE: During

normal operation the status code “On” appears.

Figure 3.36. LED Status Display on Built-In

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Section 3: Operation

User Errors f

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

Exit

wrong password, you’ll see “Invalid Password”. Press

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 f

No Signal

The message "No signal" occurs when there is no source signal detected at the

selected input—both HSYNC and VSYNC are inactive and the screen background is

black. Connect or correct the signal, or try another input.

Bad Sync

The message "Bad Sync" occurs when HSYNC or VSYNC are active but the signal

cannot be displayed. Such a condition occurs when only one of the two sync signals is

present, or when either sync signal is unstable or the wrong frequency. Correct the

signal or select another input.

Other Signal Error Messages

In addition to the common "Bad Sync" and “No Signal” errors, you may encounter a

signal error message indicating that HSYNC and/or VSYNC are either too fast or too

slow. When such a message appears, check the frequencies shown in the Status menu.

If they are correct, then the signal is not recognized by the projector. On some PCs

you may be able to change the settings to generate a compatible signal. If the

frequencies shown in the Status menu are incorrect, check the cabling to see where the

problem might originate.

System Warnings / Errors f

When the projector encounters a system malfunction, either a System Warning

message or a System Error message may appear. Both types of messages are

accompanied by a numerical error code on the LED status display window next to the

Exit

built-in keypad. A system 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

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Section 3: Operation

Exit

should be reported to the manufacturer. You can press

to remove the

message, but for best results you should reset the projector—power the projector

down and up again with the

(power) key.

System Errors

A system error message indicates that a serious malfunction has been detected and

must be reported to the manufacturer as soon as possible (see Status LED Codes,

below). The projector will no longer operate and must be reset—power the projector

down and up again with the

(power) key.

The Status LED Codes

If the status code display on the back of the projector shows one of the following

values, you have encountered a likely system error requiring the attention of a

qualified service technician (see System Warnings and System Errors, above).

Exit

Acknowledge and clear the error with

from presentation level, or try

resetting the projector by powering it off and on again, cooling when necessary.

Consult and contact your dealer if the problem persists.

The specific code number identifies the source of the error detected, and is

particularly useful in cases where the projector is too far away to read the

accompanying text message in the LED status display window. For example, the code

“27” means “Lamp 1 could not be turned on”. Error codes for this projector are listed

in the table below.

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Section 3: Operation

Code

GENERAL

Description

Error Codes f

Software bug. Contact dealer/factory.

Flash memory corrupted. 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.

Forced boot mode. Keys held down too long.

Attempting to program boot mode without jumper

LAMP FAILURES

Lamp compartment too hot

Lamp 1 not installed

Lamp 1 Interlock: door open, lamp not installed

Unable to turn lamp 1 ON

Lamp 1 shut off unexpectedly

Lamp 1 driver overheated

Lamp 1 driver operation error (e.g. too hot can’t start)

Lamp 1 driver UART communications failure

Lamp 2 not installed

Lamp 2 door open

Unable to turn lamp 2 ON (unknown reason)

Lamp 2 shut off unexpectedly

Lamp 2 driver overheated

Lamp 2 driver reports operation error (e.g. too hot can’t start)

Lamp 2 driver UART communications failure

Lamp Watchdog Tripped – Unless lamps turn on again after 3 minutes, assume software hung.

POWER AND COOLING

Lamp 1 driver Vcc to low

Color wheel 1 stopped for at lease one second

Lamp 2 driver Vcc too low

Color wheel 2 stopped for at least one second

Projector shutdown due to critical error

TIPM fan failed

Main blower failed

Engine fan failed

Lamp 1 driver fan failed

Lamp 1 fan failed

Lamp 2 driver fan failed

Lamp 2 fan failed

TIPM (image processor)

Boot code CRC failed

Unable to program the DigMux PLD

Unable to program the Control PLD

Unable to program the BUBKS PLD

Unrecognized ROM type

Write to flash ROM failed

General image processor failure

Downloaded code will not fit in the ROMs

Communication problem with scaler on image processor

BUILT-IN or EEPROM

Unable to access the EEPROM on the built-in keypad

EEPROM memory re-initialization (built-in keypad)

Unable to access the EEPROM on the lamp module

Unable to access the EEPROM on the Back End Board

BACK END BOARD

Unable to detect Back End Board

Unable to program a device on the programming bus

TI flash download failure – not started

TI flash download failure – partial write

TI flash download failure – checksum read

TI – I2C write failure

Communications failure

BACKPLANE or OPTIONAL INTERFACE MODULE

Unable to program the Option Card

Unable to power the Option Card

Unable to program the Backplane module

Unable to program the Warp Module

Exit

Clear system errors with

. If you encounter a system error, try resetting the projector by powering it off and on

again (wait at least 90 seconds and allow for proper cooling). For detailed information, monitor the RS232 IN port. Contact

dealer/factory if error persists and if a code appears that is not listed.

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Section 4

Maintenance

The projector is an international regulatory agency approved product designed for safe

and reliable operation. It is important to acknowledge the following precautions while

operating the projector to assure complete safety at all times.

4.1

Warnings and

Safety

Guidelines

WARNING

Always remove the lens when shipping the

projector.

WARNING

NEVER look directly into the projector lens.

The high brightness of this projector

could cause permanent eye damage.

WARNING

For protection from ultraviolet radiation,

keep all projector shielding intact during operation.

WARNING

Installation should be performed by qualified

personnel.

Observe and follow all warnings and instructions marked on the projector.

Labels and Markings f

The exclamation point within the equilateral triangle alerts the user to

important operating and maintenance (servicing) instructions in the

literature accompanying the projector.

The lightning flash and arrowhead symbol within the equilateral triangle

alerts the user to un-insulated “dangerous voltage” within the projector’s

enclosure that may be of sufficient magnitude to constitute a risk of

electric shock.

Instructions f Read all operating instructions prior to using the projector.

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Section 4: Maintenance

Operate the projector in an environment, which meets the operating range as specified

in Section 6 – Specifications.

Projector Location f

•

Do not operate the projector close to water, such as near a swimming pool. Do not

operate in extremely humid environments.

Do not place the projector on an unstable cart, stand or table. A projector and cart

combination should be used with care. Sudden stops, excessive force and uneven

surfaces may cause the projector and cart combination to overturn.

If the projector is to be ceiling mounted, use only the Christie-approved ceiling

mount fixture.

•

Lamps f The two 300W P-VIP lamps in the projector require replacement when they have

reached their end of life (approximately 1500 hours), if they have failed during

operation, or have a drastic change in brightness (typical of aging lamps). To

effectively maintain operation of the projector it is best to be aware of any changes

that occur in brightness and the number of hours each lamp is in use. Refer to 4.4.

Lamp Replacement for more details on lamp replacement.

NOTE: These are mercury-containing lamps. Handle appropriately. Refer to

Appendix G for the lamp product safety data sheet.

Follow all safety and warning precautions regarding lamp replacement and handling.

WARNING

Wait approximately 5 minutes to allow the lamp to cool

before removing.

Do not stick hands into the lamp compartment during

lamp replacement.

The lamp is under great pressure when hot and may

explode causing physical injury and/or property damage.

Allow a lamp to cool before handling and/or powering

down and unplugging the projector.

Use only the lamps supplied by CHRISTIE, in the Lamp

Replacement Kit.

Use only the attachments and/or accessories recommended by CHRISTIE. Use of

others may result in the risk of fire, shock or personal injury.

Power Cord f

and Attachments

WARNING

Use only the AC power cord supplied. Do not attempt

operation if the AC supply is not within the specified

voltage and power range. See Section 6.

•

Do not set or rest items on the power cord. Place 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.

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Section 4: Maintenance

•

The projector is equipped with a three-wire plug having a third grounding pin.

This is a safety feature – if you are unable to insert the plug into an outlet contact

an electrician to have the outlet replaced. Do not defeat the safety purpose of this

grounding-type plug.

Slots and vents in the projector provide ventilation. Never block or cover these

openings. This ensures reliable operation of the projector and prevents overheating.

Ventilation f

•

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.

Servicing f

•

The power cord has been damaged.

The internal cooling fans do not turn on when the projector is first powered up.

Liquid has been spilled into the projector.

The projector has been exposed to excessive moisture.

The projector is not operating normally or its performance has significantly

deteriorated in a short period of time.

•

The projector has been dropped or the shipping case (if applicable) has been badly

damaged.

WARNING

Do not attempt to service the projector yourself. All

servicing must be performed by CHRISTIE accredited

service technicians.

Use replacement parts that are manufacturer-approved

only. Use of any other part other than the ones specified

by the manufacturer can result in fire, electric shock or

risk of personal injury and irreparable equipment

damage.

WARNING

Never service the projector while it is still plugged in.

There are exposed voltages that could cause severe

physical injuries and possibly death. Always unplug the

projector and wait two minutes to allow the capacitors on

the power supply to discharge before removing the

projector’s covers.

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Section 4: Maintenance

WARNING

4.2

Cleaning and

Maintenance

Guide

Always power down and unplug the projector before

cleaning or servicing.

Table 4.1. Maintenance Guide

Part Description

Frequency

How to clean

Lens

Clean the lens only when absolutely

necessary. A small amount of dust on the

lens has very little effect on picture quality.

To clean: Use a soft lint-free cloth without

any chemicals. Use only a high-quality

coated optics cleaning fluid, which can be

purchased from most camera supply stores.

Apply the coated optics fluid directly onto

the lint-free cloth until moistened. Wipe in a

single sweep across the surface of the lens.

To avoid scratching the lens do not scrub or

rub in a circular motion. Discard the cloth

after every use. Do not use cleaning tools

treated with Ether. Do not use cleaning

solvents that contain ammonia. Use

As required

compressed air to remove any particles

remaining on the lens.

Lamp Module

(300 W P-VIP)

CLEAN (front glass only): 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

glass in a circular motion until clean.

REPLACE: Refer to 4.4 Lamp Replacement

for instructions.

As required

1500 hours or

sooner if required

Covers

CLEAN: Clean dust from external 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.

As required

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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

The projector uses two 300W P-VIP lamps and can be operated with both lamps ON

(Dual Lamp Operation mode) or with one lamp ON (Single Lamp Operation mode).

The projector has the ability to automatically switch modes to maintain continuous

operation.

4.4

Lamp

Replacement

When do I replace a lamp? Lamps that have shown a drastic reduction in

brightness or have reached their end of life (approx 1500 hours) should be replaced

immediately. You can check the number of hours each lamp has been in use by

looking up the number of LAMP HOURS in individual lamp submenus or in the Status

menu. From the Lamp menu, you can also set a LAMP LIMIT and enable the projector

to send a warning message when it’s powered on to indicate the lamps have reached

their set limit. The LED’s beside the built-in keypad will flash “LP” when lamp life

has expired.

At anytime during operation, you can check the status of a lamp by checking the lamp

status in individual lamp submenus – More, Lamp 1 or More, Lamp 2. You will see

one of six states: “Good”, “Cooling Fan #8 Failed”, “Cooling Fan #10 Failed,

“Interlock Tripped”, “Failed to Strike”, “Turned Off Unexpectedly”, “Color Wheel

Stopped”, “Driver Vcc too Low” or “Lamp Not Installed”. 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

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.

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Section 4: Maintenance

To replace a lamp:

1. Press

to power down the projector and allow the lamp to cool for

approximately 5 minutes after the fans have turned off before continuing with

Step 2. If required, you can switch lamp modes and cut power to the lamp you

want to replace without having to power down the projector and interrupt a

presentation. Check the Lamp menu to ensure the lamp operation mode has been

switched to the other lamp. Allow the lamp to cool sufficiently before continuing

with Step 2.

NOTE: Opening a lamp door with a “live” lamp will cause the projector to

automatically cut power to that lamp.

WARNING

Wait at least 5 minutes after powering down or switching

lamp operation modes to allow the lamp to cool

sufficiently before removing.

Figure 4.2.

2. Remove the single screw from the

lamp door you want to open.

NOTE: The amber window on the

door (Figure 4.2.) should be dim. If

it “glows” then the lamp in this

compartment is still on. Manually

switch to the other single lamp

operation mode to cut power to the

lamp before replacing. (Figure 4.3)

3. Swing the lamp door open.

Figure 4.3.

(Figure 4.3.)

4. Using a screwdriver or fingers, turn the three lock screws on the lamp module

counter-clockwise a quarter turn each to “unlock” it. (Figure 4.4.)

5. Using the two finger guides molded into the lamp housing, pull the lamp straight

out of the projector. (Figure 4.4) The lamp module disconnects from the terminal

block located at the back of the lamp compartment.

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Section 4: Maintenance

Figure 4.4.

6. Discard the lamp using approved disposal methods for your area. NOTE: Lamps

containing mercury must be treated as hazardous waste if discarded in large

volumes.

WARNING

Do not stick hands into an empty lamp compartment,

especially if the other lamp is still on. The lamp

compartment can become quite hot and cause physical

injury.

7. On the new lamp module, turn the

three lock screws to the “unlock”

position before inserting it into the

lamp compartment. Align the lamp

with the three pins located at the

back of the compartment. Insert the

lamp all the way in until it is fully

seated. (Figure 4.5)

8. Turn the three lock screws on the

new lamp module clockwise a

quarter turn to “lock” it in place.

(See Figure 4.4 for lock screw

position.)

9. Close the lamp door and tighten the

screw to secure it in place.

NOTE: The projector automatically

detects a new lamp and records the

serial number in software the next time

Figure 4.5.

it’s powered up. Manual entry of the serial number is not required.

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Section 4: Maintenance

Use the following instructions when replacing a projection lens:

4.5

Replacing the

NOTE FOR FIRST TIME USE: The projection lens is shipped separately from

the projector. Before you install a lens it is important to remove the lens plug

from the lens opening in the projector and the protective end cap from the lens.

Projection Lens

1. Power down the projector and wait five minutes to allow the lamps to cool before

continuing with Step 2.

2. Place the lens cap on the projection lens to protect it from being damaged during

the installation or removal process.

3. When removing the projection lens - Press and hold the LENS RELEASE button

located in the bottom right corner of the projector’s front panel. Grasp the lens

barrel with your free hand and turn it in a counter-clockwise direction until it can

be removed from the projector. Release the LENS RELEASE button.

When installing a projection lens, complete Steps 1 and 2 above. Slide the lens

into the lens opening in the projector and turn clockwise until it is fully installed.

Remove the protective end cap from a new lens before installing

otherwise you could damage the projector.

Figure 4.6.

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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

Displays

Symptom f

The projector is on but there’s no display...

1. Was a lens cover accidentally left on? Remove lens cover.

2. Make sure the shutter is OPEN.

CAUSE / REMEDY:

3. Is the lamp ignited? It could take up to 3 attempts to strike a lamp. With a 90

second wait period in between each attempt it could take a total of 4.5 minutes to

turn the lamp on. Check LAMP STATUS.

4. Is the correct input selected?

5. Is the source connected properly? Check the cable connections and make sure the

correct source is selected.

6. Can you access test patterns? Make sure there is not a full black test pattern

selected for display—press

with keys.

to access test patterns, then cycle patterns

Symptom f

Severe motion artifacts…

CAUSE / REMEDY:

1. Most likely there is a synchronization problem with reversed 3/2 pull-down in

60Hz-to-24Hz film-to-digital conversion in your source. Correct at the source.

Symptom f

Image appears “squeezed” or vertically stretched into center of screen

CAUSE / REMEDY:

1. Check your Resizing selection.

Symptom f

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.

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Section 5: Troubleshooting

Symptom f

The display is faint…

CAUSE / REMEDY:

1. Brightness and/or contrast may be set very low.

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.

Symptom f

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 f

Portions of the display are cut off or wrap to the opposite edge…

CAUSE / REMEDY:

1. Resizing and/or blanking may need adjustment.

Symptom f

The display appears compressed (vertically stretched)…

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.

Symptom f

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 f

CAUSE / REMEDY:

Display quality appears to drift from good to bad, bad to good…

1. The source input signal may be of low quality.

2. The H or V frequency of the input may have changed at the source end.

Symptom f

The display has suddenly frozen…

CAUSE / REMEDY:

1. If the screen blacks out inexplicably, it is 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 f

Colors in the display are inaccurate…

CAUSE / REMEDY:

1. The color, tint, color space, color temperature and/or other settings may require

adjustment.

2. Make sure you are using the proper channel for this source.

3. Check Color Wheel Calibration.

Symptom f

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.

3. Check if Keystone is incorrectly set.

Symptom f

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.)

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Section 5: Troubleshooting

2. The video input may not be terminated. Make sure the video input is terminated

(75 Ω). 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.

For more information on lamp operation modes and auto-switching, refer to Section 3

– 3.7 The Lamp Menu.

5.2

Lamps

1. The projector enforces a 90 second delay between powering down and up again,

because a hot lamp is more difficult to ignite. NOTE: It can potentially take 2

minutes to cool a lamp sufficiently enough before re-striking it.

Projector Delayed on f

Power Up

1. It takes 25 seconds for the projector to power up and strike a lamp. One of the

inherent properties of the lamp is that it may not strike with the first attempt. The

projector will wait 90 seconds before trying to strike the lamp again. It will try a

total of three times (4.5 minutes total) before it declares the lamp as “Failed to

Strike” – check LAMP STATUS.

Powered Up, But No f

Light On The Wall

2. Make sure the shutter is OPEN.

1. Did you request a lamp operation mode change during power up? The projector

will ignore any commands sent during initialization. Wait for “ON” to appear in

the LED status display window before entering a command.

Lamp Operation Mode f

Didn’t Change

2. Check the status of the lamp. The lamp operation mode will not change if there is

a lamp with an associated failure or lamp is not installed.

3. Make sure you have allowed enough time for the projector to turn a lamp on. This

can take up to 4.5 minutes, as the projector will strike a lamp up to 3 times

waiting 90 seconds in between each attempt. Only after a lamp is successfully

turned on will the lamp operation mode change.

1. Make sure the Ethernet settings are valid for your site—all network devices

5.3

Ethernet

should have the same subnet mask and unique IP addresses.

2. Make sure to save any address change, and re-boot to implement.

3. 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.

Display f

Resolution

SXGA+ (1400 x 1050) for DS+60 and Matrix 3000

720P (1280 x 720, widescreen) for DW30

Brightness

DS+60

Dual Lamp (White Boost ON)

Single Lamp (White Boost ON)

6000 ANSI lumens

3050 ANSI lumens

DW30 & Matrix 3000

Dual Lamp (White Boost ON)

Single Lamp (White Boost ON)

2700 ANSI lumens

1500 ANSI lumens

Contrast Ratio

DS+60 & DW30

1100:1 – 5000:1 full field when using

light shutter

Matrix 3000

1500:1 – 4000:1 on/off contrast ratio

with internal aperture

Brightness Uniformity

Colors and Gray Scale

90% across the screen

Resolution

8 bits

Displayable Colors

64 million

Color Wheel

DS+60

DW30

Matrix 3000

2xRGW80B

2xRGBRGB

2xRGB

Color Temperature

Default

6300K±500K with White Boost = 10

6000K±500K with White Boost = 0

3200K – 9600K

Range of Adjustment

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Section 6: Specifications

Lenses

(optional)

* for DS+60 and Matrix 3000, 0% offset is equal to half the image above and below lens center (525

pixels) OR half the image to the left or right of lens center (700 pixels) – see table below.

Table5.1. SXGA+ Lens Offsets

Lens Type

Part No.

Vertical Offset

Maximum amount of

projected image above or

below lens center

Horizontal Offset

(% of half width)

Maximum amount of

projected image to one

side of lens center

(% of half height)

12%

120%

Pixels

+/-63

+/-630

56%

110%

Pixels

+/-588

+/-1155

78%

Pixels

+/-748

+/-1246

0.8:1 fixed

1.2:1 fixed

38-809082-02

38-809083-02

+/-48

+/-546

53%

89%

1.3-1.7:1 zoom 38-809084-02

1.7-2.5:1 zoom 38-809085-02

2.5-4.0:1 zoom 38-809086-02

4.0-7.0:1 zoom 38-809087-02

* for DW30, 0% offset is equal to half the image above and below lens center (360 pixels) OR half

the image to the left or right of lens center (640 pixels) – see table below.

Table 5.2. 720P Lens Offsets

Lens Type

Part No.

Vertical Offset

Maximum amount of

projected image above or

below lens center

Horizontal Offset

(% of half width)

Maximum amount of

projected image to one

side of lens center

(% of half height)

81%

231%

Pixels

+/-292

+/-832

90%

110%

165%

Pixels

+/-652

+/-1192

31%

104%

Pixels

66%

102%

Pixels

+/-840

+/-1304

0.88:1 fixed

1.3:1 fixed

1.42-1.86:1

1.86-2.73:1

2.73-4.38:1

4.38-7.66:1

38-809082-02

38-809083-02

38-809084-02

38-809085-02

38-809086-02

38-809087-02

+/-200

+/-664

Inputs f

Analog RGB or YPrPb (Interlaced or Progressive Scan Format)

Horizontal Frequency Range

Vertical Frequency Range (See Note 1)

Pixel Clock Rate

15 – 120 kHz

23.97 – 150 Hz

13-210 MHz max

Signal Format

Input Levels

R, G, B, - with sync:

1.0V_p-p±2dB

R, G, B, - without sync: 0.7V_p-p±2dB

Pb, Pr

0.7_p-p±2dB

±2V

75 ohms

DC Offset

Nominal Impedance

Note 1: Value specifies frame rate of 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.

Sync ^{(Interlaced or Progressive Scan Format)}

Horizontal Frequency Range

Vertical Frequency Range (See Note 1)

Sync Type

15 – 120 kHz

23.97 – 120 Hz

Separate H and V

Composite (bi-level, tri-level, XOR)

Sync-On-Green/luma (bi-level, tri-level)

MarcoVision™ compatible

Positive or Negative

0.5V_pp– 4.0V_pp

Polarity (See Note 2)

Input Levels (See Note 2)

DC Offset (See Note 2)

±3V

Nominal Impedance (See Note 2)

Horizontal Sync Duty Cycle

Note 2: Does not apply to sync-on-green/luma.

75 ohms

3% min, 20% max

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Section 6: Specifications

Composite Video and S-Video

Signal Formats

Video Standards

Composite-video ^(CVBS),S-video Y/C)

NTSC, NTSC 4.43, PAL, PAL M,

PAL N, PAL60, SECAM

1.0Vp-p ±3db (including sync tip)

1.0Vp-p ±3dB (including sync tip)

630mV nominal (burst)

Input Levels

Composite-video:

S-video luma (Y):

S-video chroma (C):

DC Offset

±2V

Nominal Impedance

Return Loss (VSWR)

75 ohms

20dB min (1.2:1 max.) @ 6 MHz

DVI-I – Analog

Input Characteristics

Same as Analog RGB except as

noted below.

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™ ^{(standard & progressive)}

DVI-I – Digital

Input Characteristics

DVI Cable Length

EDID

meets DVI spec

Supported

HDCP (High Speed Digital Content Protection) Supported

RS-232 Serial Input

Connector Type

1 male DB9 (RS-232 out)

1 female DB9 (RS-232 in)

RS-422 Serial Input

Connector Type

1 female DB9 connector

Network Control

Ethernet

Max. Baud Rate

1 RJ45 connector

115200

Remote Control

Type

Range

IR with wired ability

30 meters

Laser Pointer

Battery Type (2 required)

Included

AA, 1.5V Alkaline

Wired Control

Connector Type

Input Levels

3.5mm plug

2.2V min.

0.9V max.

High:

Low:

Power:

500mA @ 5V

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Section 6: Specifications

Power Requirements f

General

Voltage Range

Line Frequency

Max. Inrush Current

Current Rating

100 – 240 VAC nominal

50 Hz – 60 Hz nominal

68 A

Both lamps on - 8.4A @ 100V (typical),

3.5A @ 240V (typical)

One lamp on - 4.8A @ 100V (typical),

2.0A @ 240V (typical)

Power Consumption

Both lamps on - 840W nominal

One lamp on - 480W nominal

Lamps f

Type

Power

OSRAM 300W P-VIP®

300 Watts

Operating Position

Warm up to full brightness

Lamp Life (typical)

± 20 deg. tilt from horizontal plane

5 minutes

1500 hours per lamp

Size and Weight f Dimensions (L x W x H)

374mm x 510mm x 256mm

14.7” x 20.1” x 10.1”

36 lbs

Weight

CAN/CSA C22.2 No. 60950-00

Safety f

ANSI/UL 60950 3^rdEdition

EN60950, 2000 European Norm, Safety of Information Technology Equipment

China Compulsory Certificate (CCC)

FDA

EMI f 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)

Immunity

EN55024, specific to Information Technology Equipment (all parts), under which are:

EN61000-4-2 ESD,

EN61000-4-3 Radiated 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

Operating Environment f

Temperature

Humidity

Altitude

10°C to 35°C

20% to 90%

0m to 3050m

Non-Operating f

Temperature

Humidity

Altitude

-20°C to 70°C

5% to 95%

0m to 9144 m

Environment

Standard Components f IR remote (with batteries)

Wired remote control cable

Line Cords (North American and European)

Computer cable (Dsub15 to DVI-I)

DVI-I cable

S-video cable

User’s Manual

Optional Accessories f

Kore™ 10-bit Librarian for downloading new software

Ceiling Mount

Stacking Kit

Shipping Case

Service manual

Remote IR Sensor

Lenses (SXGA+)

0.8:1 fixed (38-809082-01)

1.2:1 fixed (38-809083-02)

1.3-1.7:1 zoom (38-809084-02)

1.7-2.5:1 zoom (38-809085-02)

2.5-4.0:1 zoom (38-809086-02)

4.0-7.0:1 zoom (38-809087-02)

Optional Input Modules

RGB500 Input Module

RGB400 Active Loop-Through Input Module

RGB400 Buffered Amplifier Input Module

PC250 Analog Input Module

Serial Digital Input Module

DVI/DFP Input Module

Dual SD/HD-SDI Module

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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.

Active Line Time f The time, inside one horizontal scan line, during which video is generated.

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 f

Analog Video f The video output of most computers and videotape machines. Analog video can

generate a large number of colors.

Anamorphic f 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 f

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 f

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 f

Bandwidth f

The frequency range of the projector's video amplifier.

Baud Rate f The speed (bits-per-second) at which serial communications travel from their origin.

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 f

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 f

Candela or Candle f Unit of measure for measuring intensity of light.

A collection of measurements stored by the projector for a given input source,

Channel f

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.

Channel List f A list/menu of previously-defined channels available in projector memory.

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

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Appendix A: Glossary

Channel Number f A number that uniquely identifies a specific channel retained in projector memory.

The projector can retain up to 50 channels.

Checkbox f A menu item that indicates whether an option is currently in effect (checked) or not

(unchecked).

Chrominance f The signal representing the color information (hue and saturation) when the image is

represented as separate chrominance and luminance. Same as “chroma”.

Color Gamut f 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.

Color Shift f A change in the tint of a white field across an image.

Color Temperature f 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.

An optical component, the color wheel is made up of red, green and blue and

sometimes white segments. The light generated by the lamp is sequentially filtered by

the color wheel (as it’s spinning) into R, G, B color primaries and passed to the DMD

which then creates an image for each color.

Color Wheel f

Component Video f See YCbCr or YPbPr.

The output of video tape players and some computers, characterized by

Composite Video f

synchronization, luminance and color signals combined on one output cable.

Contrast (ratio) f The degree of difference between the lightest and darkest areas of the image.

The alignment of the red, green, and blue elements of a projected image so that they

appear as a single element.

Convergence f

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 f

The Display Data Channel VESA standard enables communication between PCs and

monitors, and is based on E-EDID protocol.

DDC f

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.

DDI f

™

DMD^™f Digital Micromirror Devices used in this projector for processing red, green, and

blue color data.

Decoder f Located at INPUT 3 and INPUT 4, this device converts NTSC 3.58, NTSC 4.4, PAL,

PAL-N, PAL-M, or SECAM to RGB video.

Detail f The sharpness of a display from a video source.

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Appendix A: Glossary

Diffused Screen f A type of rear-projection screen which spreads the light striking it. Screen gain is less

than 1 but audience viewing angles are increased.

Display Setting f An adjustment that affects the display of an image. Such display settings include

contrast, brightness, tint, blanking, size, offsets, and others.

Dot Clock f The maximum frequency of the pixel clock. Also known as pixel clock rate.

E-EDID f 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.

(See Interlace) See also Lamp Flicker.

Flicker f

Foot-candle f The intensity of visible light per square foot.

The luminance (brightness) which results from one foot-candle of illumination falling

on a perfectly diffuse surface.

Foot-lambert f

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 f

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 f

General Purpose Input Output, used for remote control of a limited number of

programmable functions by direct signal or dry-contact connection.

GPIO f

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.

HDTV f

Help Text f 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.

Horizontal Frequency f

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.

Horizontal Offset f

Hot Spot f 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.

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Appendix A: Glossary

Input f 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.

Input Signal f Signal sent from a source device to the projector.

A device, such as the Serial Digital Input Module, that accepts an input signal for

display by the projector.

Interface f

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 f

Keypad f A small push-button device for controlling most projector settings and operation. For

more information, refer to 3.3, Using the Keypad.

Keystone f 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.

The reproduction of the horizontal and vertical size of characters and/or shapes over

the entire screen.

Linearity f

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.

Line of Best Viewing f

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 f

(Loopthru)

Lumen f The unit of measure for the amount of visible light emitted by a light source.

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: Foot-lambert.

Luminance f

The amount of visible light per square meter incident on a surface.

1 lux = 1 lumen/square meter = 0.093 foot-candles

Lux f

Menu f A list of selectable options displayed on the screen.

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 f

Optical Aperture f Commonly called an iris, the optical aperture when adjusted affects true contrast.

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 f

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Appendix A: Glossary

PAL Video f 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).

Pixel f The smallest discernible element of data from a computer-generated image.

Pixel Phase f The phase of the pixel sampling clock relative to incoming data.

Pixel Tracking f The frequency of the pixel sampling clock, indicated by the number of pixels per line.

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.

Presentation Level f

The distance between the projector's front feet centers and the screen. Also called

"Throw Distance”.

Projector-to-Screen f

Distance

Protocol f The type of code format called “A” or “B” utilized by the IR 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.

Pull-down List f A selectable menu item that unfolds into a list of options pertaining to it.

QuVis f 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 f

Resizing f

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) f

Resolution (projector) f The maximum number of pixels that the projector can display horizontally and

vertically across an image, such as 1024 x 768 (called XGA).

Rise Time f The time required by the video amplifier of the projector to increase its output from

10% to 90% of the maximum value.

RGB Video f 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).

A common asynchronous data transmission standard recommended by the Electronics

Industries Association (EIA). Also called serial communication.

RS-232 f

A less common asynchronous data transmission standard in which balanced

differential voltage is specified. RS-422 is especially suited to long distances.

RS-422 f

Christie DS+60/DW30/Matrix 3000 User’s Manual A-5

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Appendix A: Glossary

S-Video f 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.

Scan Frequency f The horizontal or vertical frequency at which images are generated. Also known as

scan rate or refresh rate.

Scan Line f One horizontal line on the display.

Scan Rate f 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.

SECAM f

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 f

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.

Source f

Source Setup f See Channel.

A signal selector that can be connected to a projector for the purpose of adding more

sources.

Switcher f

This term refers to the part of the video signal that is used to stabilize the picture.

Sync can occur in three forms:

Sync f

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 f

TTL Video f A type of RGB video with digital characteristics.

A wire connecting a single video source to a display device, such as a projector, must

Terminated f

be terminated by a resistance (usually 75Ω 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 f

Throw Ratio f Throw ratio = throw distance / screen width. Typically used to differentiate lenses.

Tint f Balance of red-to-green necessary for realistic representation of NTSC signals.

The ability of a projector to synchronize to inputs with frequencies within a specified

range.

Variable Scan f

A-6 Christie DS+60/DW30/Matrix 3000 User’s Manual

013-100149-02 Rev. 1 (01/07)

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Appendix A: Glossary

Vertical Frequency f The frequency at which images are generated. Vertical frequencies vary amongst

sources. Also called vertical scan rate.

Vertical Offset f 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 f

Video Decoder f

Video Standard f

Viewing Angle f

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.

White Balance f The color temperature of white used by the projector.

White Boost f White Boost is an option that enables the recapture of some of the lost light from the

transition between each segment in the color wheel.

White Field f 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.

YCbCr f A high-end digital component video signal.

YPbPr f 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.

YUV f See YPbPr.

Zoom f The adjustment of image size by means of a zoom lens.

Christie DS+60/DW30/Matrix 3000 User’s Manual A-7

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Appendix B

IR Remote

Key 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.

Toggle keys marked with an “*” require you to press and hold or press twice or use with

the up/down arrow keys. Refer to the description of these keys and others in Section 3.

OSD

NOTE: To turn the OSD off you must press

and

Christie DS+60/DW30/Matrix 3000 User’s Manual B-1

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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.

Christie DS+60/DW30/Matrix 3000 User’s Manual C-1

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Appendix D

Throw Distance

Calculating Throw Distance

It is important throw distance be precisely

calculated for your installation using the

appropriate formula from the chart below.

To calculate throw distance you must

know the screen size and the lens type

installed in the projector. In general, the

larger you want the image to be the

greater the distance you must allow

between the lens and the screen.

NOTES: 1) Throw distance is the perpendicular distance from the screen to the center

of the projector’s front feet. 2) This measurement is not necessarily parallel to the

floor as the projector and screen may be inclined. 3) Due to lens manufacturing,

throw distance calculations have a tolerance of ± 5%.

Table D-1 SXGA+ Throw Formulas

Screen Widths **(cm)

Lens Throw Ratio

0.8 (fixed)

1.2 (fixed)

1.3-1.7 (zoom)

Throw Distance Formula (cm, +/-5%)

Min.

Max.

TD = .83*W + 1.46

TD = 1.15*W + 24.51

289

1208

1114

Min. TD = 1.31*W + 3.18

Max. TD = 1.72*W + 3.12

Min. TD = 1.70*W – 6.27

Max. TD = 2.39*W – 6.71

Min. TD = 2.45*W + 9.50

Max. TD = 4.01*W – 4.37

Min. TD = 3.84*W + 27.84

Max. TD = 6.67*W + 31.06

1.7-2.5 (zoom)

2.5-4.0 (zoom)

4.0-7.0 (zoom)

110

862

1150

973

Table D-2 720P Throw Formulas

Screen Widths **(cm)

Min. Max.

Lens Throw Ratio

0.88 (fixed)

1.31 (fixed)

1.42 – 1.86 (zoom)

Throw Distance Formula (cm, +/-5%)

TD = .88*W + 1.46

TD = 1.31*W + 24.51

289

1208

1114

Min. TD = 1.42*W + 3.18

Max. TD = 1.86+W + 3.12

Min. TD = 1.86*W – 6.27

Max. TD = 2.73*W – 6.71

Min. TD = 2.73*W + 9.50

Max. TD = 4.38*W – 4.37

Min. TD = 4.84*W + 27.84

Max. TD = 7.66*W + 31.06

1.86 – 2.73 (zoom)

2.73 – 4.38 (zoom)

4.38 – 7.66 (zoom)

Where:

110

862

1150

973

TD = projector distance from the screen to the center of the projector’s front feet (cm)

W = screen (image) width (cm)

**preliminary data

Christie DS+60/DW30/Matrix 3000 User’s Manual D-1

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Appendix E

System Integration

The GPIO 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

GPIO Pins

Pin #

Signal

+ 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 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

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

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)”)

E-2 Christie DS+60/DW30/Matrix 3000 User’s Manual

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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.

NOTE: Always unplug the projector or switcher before installing or removing any optional

input module.

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 f

38-804606-xx

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

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 f

38-804610-xx

RGB400BA Features

◊

accepts 3, 4, or 5 wire RGB video (sync-on-green, composite sync, or

separate horizontal and vertical sync)

◊

BNC connectors for RGB signal inputs

Buffered signals to a remote destination

NOTE: The audio connectors are not functional.

Christie DS+60/DW30/Matrix 3000 User’s Manual F-1

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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 f

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.

38-804607-xx

RGB400ALT Features

◊

accepts 3, 4, or 5 wire RGB video (sync-on-green, composite sync, or

separate horizontal and vertical sync)

◊

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 f

Input Module

38-804609-xx

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.

F-2 Christie DS+60/DW30/Matrix 3000 User’s Manual

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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 f

38-804635-xx

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)

This 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 f

38-804602-xx

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

The Dual SD/HD-SDI Module enables incoming serial digital 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

38-804656-xx

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

Christie DS+60/DW30/Matrix 3000 User’s Manual F-3

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Appendix G

300W P-VIP Product

Safety Data Sheet

Christie DS+60/DW30/Matrix 3000 User’s Manual G-1

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Appendix G: 300W P-VIP Product Safety Data Sheets

G-2 Christie DS+60/DW30/Matrix 3000 User’s Manual

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Appendix G: 300W P-VIP Product Safety Data Sheets

Christie DS+60/DW30/Matrix 3000 User’s Manual G-3

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Index

ChristieNET. See

Communications:ChristieNET

Clamp Tip, 3-29

Color Adjustment, 3-31, 3-42

Color Saturation Submenu, 3-44

XY Submenu, 3-43

Color Enable, 3-45

Color Matching, 3-55

Color Space, 3-26

Color Temperature, 3-32

Color Wheel

Adjusting Input Levels, 3-29

Advanced Image Settings, Submenu, 3-31

Anamorphic, 3-22

Arrow Key, 3-9

Arrow Keys, 3-9

Auto Input Level, 3-28

Auto Key, 3-5

Auto Setup, 3-5, 3-19

Automatic Gain Control (AGC), 3-26

AutoSource Checkbox, 3-19

Calibration of, 3-46

Communications

ASCII Messaging, 3-65

Baud Rate, 3-36

ChristieNET, 3-65

Bad Sync, 3-67

Ethernet, 3-65

Remote Control of Projector, 3-65

Submenu, 3-36

Baud Rate, 2-18, 3-36

Blacklevels and Drives, 3-29

Blanking, 3-23

Component Video

Connection, 2-13

Composite Video

Brightness Key, 3-7, 3-25

Brightness Uniformity

Canceling, 3-62

Connection, 2-14

Definition, 3-58

Configuration Menu, 3-34

Contrast Key, 3-7, 3-24

Custom Sizing, 3-20

Prerequisites, 3-58

Procedure, 3-58

Submenu, 3-42

Broadcast Key, 3-39

Broadcasting, 3-8

Built-in Keypad, 3-1, 3-3

Date and Time

Setting, 3-34

Decoder Luma Delay, 3-28

Detail, 3-25

Ceiling Mount, 2-10

Channel

Threshold, 3-34

Diagnostics and Calibration, Submenu, 3-

Locked, 3-19

Name, 3-18

Display

Number, 3-15, 3-18

Signal Type, 3-16

Channel List, 3-35

Error Messages, 3-35

Menu Location, 3-35

Slidebars, 3-35

Channel Copy/Delete, 3-17

Channel Edit Menu, 3-18

Channel Key, 3-6, 3-14

Channel Selection, 3-15

Channel Setup Menu, 3-16

And Enter Key, 3-17

And Function Key, 3-17

Channels

DVI Digital Video

Connection, 2-14

Edge Blending, 3-42

Description, 3-62

How Blends Are Used, 3-62

Main functions, 3-62

Enter Key, 3-9

Creating Automatically, 3-15

Creating in Channel Setup Menu, 3-17,

3-18

Definition of, 3-14

Deleting in Channel Setup Menu, 3-17

Checkbox Toggles, 3-12

Error Codes, 3-68

Error Conditions, 3-66

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Index

Error Messages

Input Level, Auto, 3-28

Input Panel, 3-2

Bad Sync, 3-67

H-Sync or V-Sync, 3-67

No Signal, 3-67

Input Video Black, 3-27

Installation

System Warnings/Errors, 3-67

Ethernet

Ambient Lighting, 2-5

Horizontal Position, 2-8

Other Considerations, 2-5

Quick Setup, 2-1

Communications, 2-16

Troubleshooting, 5-3

Ethernet Network, 2-18

Ethernet Settings, 3-37

Exit Key, 3-9

Types, 2-3

Vertical Position, 2-6

Interfaces,Optional, 2-14

Invalid Channel, 3-67

IP Address, 3-37

Setting, 2-18

IR Remote

Description of, 1

IR Remote Keypad, 3-4

IR Sensors, 3-3

Film Mode Threshold, 3-33

Frame Delay, 3-33

Frame Delay Monitor, 3-33

Frame Lock Enable, 3-33

Freeze Image, 3-45

Full Height, 3-21

IR Sensors, 3-39

Full Screen, 3-21

Full Width, 3-21

Function Key, 3-8

Kensington Security Lock, 3-3

Keypad

Backlight, 3-39

Built-in, 3-3

Enabling Wire Remote, 3-40

IR Remote, 3-4

Gamma Key, 3-7, 3-25

Gamma Table, 3-31

Gamma, Description of, 3-25

Glossary of Terms, 1

Wired Remote, 3-5

Keypad Commands, 3-3, 3-5

Keypad Guidelines, 3-5

Help

Context-sensitive, 3-10

From presentation level, 3-11

Lamp

Cleaning of, 4-4

Dual Lamp, 3-53

Replacement, 4-2, 4-5

Single Lamp, 3-53

Troubleshooting, 5-3

Lamp Door, 3-3

Lamp History, 3-54

Lamp Hours, 3-54

Lamp Limit, 3-53

Lamp Menu, 3-51

Lamp Message, 3-53

Lamp Mode, 3-53

Lamp Operation, 3-53

Auto-Switching, 3-51

Lamp Power, 3-53

Lamp Serial Number, 3-54

Lamp Status, 3-54

Language

Image

Orientation, 3-34

Troubleshooting, 5-1

Image Adjustments, 3-19

Image Position, 3-23

Image Resizing, 3-20

Image Size, 3-22, 3-23

InMenu Checkbox, 3-18

Input

Definition of, 3-14

Levels, 3-28

Selecting/switching, 3-14

Settings, Advanced, 3-31

Input 1, 2-12

Input 1 Key, 3-6

Input 2, 2-14

Choosing, 3-34

Laser Key, 3-10

Lens

Input 2 Key, 3-6

Input 3 Key, 3-6

Input 4 Key, 3-6

Input 5 Key, 3-6

Input 6 Key, 3-6

Cleaning of, 4-4

Offset Adjustment, 2-6, 2-8

Release Button, 3-2

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Index

Replacement, 4-8

Lens Mount, 3-2

Entering, 3-38

Power

Level Value, 3-47

Locked Channel Checkbox, 3-19

Luma Delay, 3-28

Connection, 2-20

Line Cord, 4-2

Requirements, 6-4

Power On/Off Key, 3-5

Powerup, Auto, 3-34

Primary Colors, Adjusting, 3-55

Projector

Channel Edit, 3-18

Channel Setup, 3-16

Configuration, 3-34

Image Settings, 3-24

Lamp, 3-51

Assigning/Changing Number, 3-36

Location, 4-2

Mounting, 2-10

Number, 3-13

Position and Mounting, 2-5

Resetting, 3-68

Main, 3-10

PIP and Switching, 3-48

Size and Position, 3-20

Status, 3-55

Projector Height, 3-2

How to Adjust, 2-11

Projector Number, 3-8

Pull-Down Lists, Use of, 3-12

Menu Font Size, 3-35

Menu Key, 3-7

Menu Location on Screen, 3-35

Menu Navigation, 3-10, 3-19

Menu Preferences submenu, 3-35

Motion Filter, 3-33

Multiple Projectors

Description, 3-55

Remote

Replacing Batteries, 4-5

Resizing, 5-1

RGB

Connection, 2-12

RS-232

Connection, 2-15

RS-422

Network Routing, 3-36

Network, Split. See Split Network

No Resizing, 3-21

Connection, 2-15

No Signal, 3-67

Noise Reduction, 3-26

Numerical Entry, 3-13

Screen Size, 2-4, 2-5

Seamless Switching, 3-48, See Working

with PIP or Seamless Switching

Fade Time, 3-50

Image Optimization. See Working with

PIP or Seamless Switching

Serial Ports

Communication Cables, 1

Service Requirements, 4-3

Setting RGB Levels, 3-28

Shutter Key, 3-8

Odd Pixel Adjustment, 3-45

Level Detector, 3-47

Offsets

Horizontal, 2-6, 2-8

Vertical, 2-6, 2-8

On Screen Display, 3-7

Optional Input Modules, 2-14, 1

OSD Key, 3-7

Simulation 3D

Frame Delay, 3-33

Frame Delay Monitor, 3-33

Frame Lock, 3-33

Peak Detector, 3-29, 3-47

PIP, 3-48

Simulation 3D, Submenu, 3-33

Slidebar Adjustment, 3-11

Slidebars

"Direct", 3-12

Using, 3-12

Source

Border Color, 3-50

Border Width, 3-50

Enable, 3-49

Image Settings. See Image Settings

Pixel Phase, 3-22

Pixel Tracking, 3-22

Port Number

Specifying a Location, 3-6

Source Setup. See Channel

Changing, 2-19

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Index

Splash Screen Setup. See Menu:Splash

Screen Setup

Split Network, 3-36

Split Networks

Options for Setup, 2-19

S-Video

Formulas, 1

Time-outs, 3-11

Troubleshooting

Displayed Image, 5-1

Ethernet, 5-3

Lamps, 5-3

Connection, 2-14

Power, 5-1

Swap Main and PIP Image. See PIP

Switcher, 3-18

Sync

Ventilation, 3-2, 4-3

Vertical Stretch, 3-22

Video Options, 3-26

Video Standard, 3-27

Video Standards, 3-27

Def. and types, 6

System Integration

GPIO Connector, 2-19

Temperature, 2-5

Non-Operating, 6-5

Operating, 6-5

Test Pattern Grey Level, 3-45

Test Patterns via Menus, 3-40

Text

White Boost, 3-32

Wired Remote, 3-5

Editing, 3-13

Throw Distance

YPbPr, 3-26

Connection, 2-13

Definition of, 2-5, 1

Christie DS+60/DW30/Matrix 3000 User’s Manual

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