Wolf Home Theater System DCX 1000FD User Manual

Owner's Manual

DCX-500i

DCX-500FD

DCX-1000i

DCX-1000FD

DCX-1500i

DCX-1500FD

Preliminary

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Table OF COnTenTs

1.1

1.2

1.3

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

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

Warranty............................................................................................................. 1-2

Introduction >

2.1

2.2

2.3

2.4

2.5

2.6

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

installation Considerations................................................................................. 2-3

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

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

System integration – GPiO Connector............................................................. 2-18

Power Connection............................................................................................ 2-18

Installation & setup >

3.1

3.2

3.3

3.4

3.5

3.6

3.7

3.8

3.9

3.10

3.11

3.12

about the Projector ............................................................................................ 3-1

Using the remote or Built-in Keypad................................................................. 3-3

navigating the menus ...................................................................................... 3-10

Using inputs and Channels.............................................................................. 3-14

adjusting the image ......................................................................................... 3-19

adjusting System Parameters and advanced Controls.................................... 3-33

Working with PiP or Seamless Switching ........................................................ 3-45

Working with the lamp..................................................................................... 3-48

achieving White Field Uniformity ..................................................................... 3-52

edge Blending.................................................................................................. 3-55

remote Control of the Projector....................................................................... 3-59

error Conditions ............................................................................................... 3-60

Operation >

4.1

4.2

4.3

4.4

4.5

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

Cleaning and maintenance Guide...................................................................... 4-4

replacing remote Batteries .............................................................................. 4-5

lamp replacement............................................................................................ 4-5

replacing the Projection lens ........................................................................... 4-9

Maintenance >

5.1

5.2

5.3

5.4

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

lamp .................................................................................................................. 5-3

ethernet.............................................................................................................. 5-3

3D Sync Output.................................................................................................. 5-3

Troubleshooting >

6.1

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

Speciﬁcations >

appendix a: Keypad reference........................................................................................a-1

appendix B: Serial Communications................................................................................B-1

appendix C: Throw Distance............................................................................................C-1

appendix D: System integration.......................................................................................D-1

appendix e: Optional input modules................................................................................e-1

Wolf Cinema User’s Operating Manual

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seCTIOn 1

InTRODUCTIOn

Wolf Cinema DCX-i and DCX-FD units

are all professional 3-chip projectors

based on next-generation Digital light

Processing™ (DlP™) technology by

Texas instruments™ to deliver high quality,

crisp, clean images.

1.1

Projector Overview

Wolf Cinema projectors provide

powerful combination of HD resolution,

high brightness and high contrast ratios to

produce ﬂawless, cinematic high deﬁnition,

as well as realistic three-dimensional

images for virtual reality and gaming.

•

native SXGa+, HD or HD2 resolution

(model dependant) with all others

fully scaleable

Main Features >

•

internal scaling of stereo signals (XXXX models)

10-bit video processing

Built-in multi-standard video decoder

Display of nTSC, Pal and SeCam video input

User replaceable Cermax® Xenon lamp

lamp Tracking Calibration for constant brightness

lens VariScope System (lVS™) to save and restore lens settings

motorized lens mount for all models

auto-setup feature

networking ability through rS232 and rS422 connectors

Status leD display on built-in keypad for easy projector status monitoring

Control with ir, wired or built-in keypad

Two input slots for Optional input modules

refer to Section 6 for a complete list of Speciﬁcations including Brightness and Contrast and

Optional input modules

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Section 1 ► Introduction

The following listed items are shipped with your projector. ensure you have received all these

items before using your projector.

1.2 Components

•

User’s manual

ir remote keypad (includes two, 1.5V aa batteries and a mini-stereo cable for conversion

to wired)

•

Power cord

Stereo 3D Cable (XXX only)

Warranty Card

lamp Type

Model name Resolution Wolf WaRP 3D Motorizedlens Mount

500W Models DCX-500i

DCX-500FD

HD 1080p

Optional

●



1000W Models DCX-1000i

DCX-1000FD HD 1080p

1200W Models DCX-1500i

HD 1080p

DCX-1500FD HD 1080p

Please see included Warranty.

1.3 Warranty

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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

Install the Projection Lens

Step 1 >

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 lens opening in the projector before installing the lens.

Remove the lens when shipping the projector and reuse the lens plug to prevent dust

and debris from entering and settling on critical optical components.

Step 2 >

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 >

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 or InPUT 6 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

Connect the Power Cord

Step 4 >

The north american-rated power cord is provided with each projector. ensure that

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

standards.

Plug the power cord to the aC receptacle located on the right hand side of the projector and the

3-pronged end into a grounded aC outlet. The input voltage to the projector must be capable of

100 – 240 VaC in 1000W models and 200-240VaC in 1200W models. (See also Section 6 –

Speciﬁcations for complete details on all power requirements.)

Use the approved north american-rated power cord supplied with the projector. if you are

connecting to an area outside of north america make sure you are using an appropriately rated

power cord.

Step 5 >

Turn the Projector On

Press the

POWer button on either the remote or built-in keypad to turn the projector on.

Wait a few minutes to allow the projector to warm up. The leD status window displays an active

pattern of segments to indicate the projector is changing its state from powered down to powered

up. The message “On” appears in the display when the projector has completed its initialization

and is ready for use.

select a source

Step 6 >

Step 7 >

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

the source you connected in Step 3.

adjust Image

adjust the more common Picture adjustments, such as Brightness, Contrast, Gamma, Focus,

Zoom etc. using the direct keys on the ir remote.

you can also access the menu system and adjust these and other Picture adjustments by

pressing

on the remote.

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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

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

inverted mount.

Installation Type >

Screen Type >

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 recommended with this projector. They offer a gain of about 1 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 1 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. The size of the room

and viewing distance are the deﬁning factors; a rule of thumb is that the primary viewing distance

be 1.5 x screen width.

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).

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 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.

Ambient Light >

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

Other considerations and tips that can help improve your installation:

Other Considerations >

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

heating and/or air conditioning vents. Changes in temperature may cause drifts in the projector

circuitry, which may affect performance.

• 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 or a 23° viewing angle.

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Section 2 ► Installation and Setup

Throw distance

Projector Position and >

Mounting

Throw distance is the distance measured from your projector’s lens 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, using a 0.75:1 lens, throw distance would roughly be 0.75

x screen width.

IMPORTanT: Once you determine the type of lens and screen size you’re going to use,

calculate the precise throw distance using the formula or graphs located in appendix D. Due to

lens manufacturing tolerances for lens focal length, actual throw distance can vary ±5% between

lenses described as having the same throw ratio.

Measured to center of

projector's front feet.

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Section 2 ► Installation and Setup

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 with 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 2.1 for some

illustrated examples of vertical offset.

Table 2.1 along with Figure 2.2 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

Offset Movement

Max. amount of Display

above or below lens Center

Max. amount of Display

Right or left of lens Center

lens Type

(all motorized lenses)

 or 

 or 

HD lenses

119%

42%

100%

71%

1183 pixels  or 

1363 pixels  or 

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

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Section 2 ► Installation and Setup

Figure 2.1 Vertical Offset Examples

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Section 2 ► Installation and Setup

Figure 2.2 Lens Vertical Offsets

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Section 2 ► Installation and Setup

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 percent of half the image width – the number

of pixels of shift to one side of lens center. refer to Figure 2.3 for some illustrated examples of

horizontal offset.

See also Table 2.1 along with Figure 2.4 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.

Figure 2.3 Horizontal Offset Examples

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Section 2 ► Installation and Setup

Figure 2.4 Lens Horizontal Offset Examples

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Section 2 ► Installation and Setup

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.

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 WOlF CIneMa approved ceiling mount kit designed for your projector.

Refer to the installation instructions and safety guidelines provided in the kit.

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 ±15 degrees. This tilt limit is required to ensure optimal performance of the lamp.

(Figure 2.5.)

Adjusting projector height

you can modify the height of the projector to remedy a slightly unlevel mounting surface by

adjusting the two feet threaded into the front bottom chassis. Turn each foot clock-wise or

counterclockwise until the project is level on all sides.

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 2.7. The position of the projector and mirror must be accurately

set—if considering this type of installation call your dealer for assistance.

Figure 2.5 Folded Optical Path

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Section 2 ► Installation and Setup

Sources connect to the Input Panel located at the back of the projector. See Figure 2.6.

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. Just beside these

BnCs, the DVi-i connector (INPUT 2) accepts digital or analog display signals from a computer.

Connect analog composite video at INPUT 3 or S-Video at INPUT 4 from devices such as VCrs,

laser disc players or DVD players.

There are also several optional interfaces available for connecting other sources — these

interfaces slide into the remaining unused option slot, and can be done while the projector is

running.

RGB (BNC)

Figure 2.6 Input Panel

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

2) Use high quality shielded cables only for all connections.

RGB Signals >

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. This projector supports multiple sync

types with rGB signals: sync-on-green, composite sync, and separate H & V syncs.

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

at the projector end and a different type of connector at the other (such as a 15-pin "D" connector

for some computer sources). Contact your dealer for details.

Connect the 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 2.7.

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Section 2 ► Installation and Setup

Video

Source

Figure 2.7 Connecting RGB and Sync

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

this Color Space option within the Picture Adjustments menu. See 3.5 Adjusting the Image.

2) To connect YPbPr signals–such as from DVDs or analog HDTV sources–to INPUT 1, use the

red, green and blue BNCs as described in YPbPr Signals (below).

Connect a yPbPr signal (component video) to InPUT 1 or InPUT 2 as shown in Figure 2.8.

YPbPr signals >

(COMPONENT VIDEO)

nOTes: 1) If, for some reason, the projector fails to recognize a YPbPr signal, specify this Color

Space option within the Picture Adjustments menu. See 3.5, Adjusting the Image. 2) Do not

connect digital component signals (known as YCbCr) to InPUT 1. Install an appropriate optional

module in INPUT 5 or INPUT 6 for this.

Signals

from YPbPr

Source

From

Digital

Figure 2.8 Connecting YPbPr sources

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Section 2 ► Installation and Setup

InPUT 3 and InPUT 4 provide simultaneous connection of both a composite video source

(InPUT 3) and an S-Video source (InPUT 4). See Figure 2.9.

Composite and S-Video >

Figure 2.9 Connecting Composite or S-Video sources

Use the DVi-i connector at InPUT 2 to connect either analog or digital video devices to the

projector. When connecting devices that transmit an analog video signal such as VCrs, laptops,

and PCs use the DVi cable provided with the projector. Plug the DVi-i (single link) connector

end to the projector and the 15-pin VGa connector to the device.

DVI Digital Video >

Use a cable with DVi-i connectors at both ends to connect devices that transmit digital and

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

nOTes: 1) To ensure true digital output from devices that transmit digital signals, connect to

the DVI-I connector. 2) DVI loop through is not available unless you have the optional DVI Input

Module installed at InPUT 5 or InPUT 6.

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

signal types, whether analog or digital. install in the areas labeled InPUT 5 or InPUT 6. Options

include:

Optional Inputs >

•

Serial Digital input module - HD (SDi)

DVi input module (standard on XXXX HD models)

Dual SD/HD-SDi module (standard on XXXX HD models)

nOTe: 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

as desired, direct the projector’s ir remote keypad towards the display screen or the projector’s

ir sensors. alternatively, connect a wired (tethered) version of the remote to the 3.5mm rCa

jack labeled as ReMOTe on the projector’s input panel. note that response to a wired keypad

must also be enabled in the Communications menu — see 3.6, Adjusting System Parameters

and Advanced Controls for more information.

Remote Keypads >

There are two types of serial ports available on the projector: rS232 and rS422. you can connect

a device with a serial interface, such as a computer to either of these connectors (not both) and

control the projector remotely by entering speciﬁc serial communication commands.

Serial Port Connections >

Connecting RS-232

The two nine-pin Din connectors labeled rS232 in and rS232 OUT on the input panel are

dedicated to serial communication (see Figure 2.10). 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.

From WC-Pro Processor

Figure 2.10 Connecting RS-232

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Section 2 ► Installation and Setup

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 (see Figure 2.11). 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.

#ONNECT A 23ꢀꢁꢁ

DEVICE ONLYꢂ

Figure 2.11 Connecting RS-422

Ethernet Communications >

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.

Upon connection to an ethernet network, the projector’s factory default iP address of 0.0.0.0.0

will automatically enable the DHCP function (if available on the network) to assign a new iP

address that is valid and unique for that network. Or, if there is no DHCP function available on

the network (or if a speciﬁc static IP address for the projector is preferred or required), you can

set the address in the Ethernet Settings menu or via an aSCii serial command.

regardless of how it is assigned, once a projector has a valid and unique address it will respond

to commands sent to this address. To determine the projector’s current iP address, consult the

Information or Communications menus.

refer to Section 3 for further information about setting up and using a projector connected via

ethernet.

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Section 2 ► Installation and Setup

seTTInG THe PROJeCTOR’s IP aDDRess: Upon connection to most ethernet networks,

each projector’s factory default iP address of 0.0.0.0 triggers the network’s DHCP (Dynamic

Host Conﬁguration Protocol) server function to automatically assign an IP address that is valid

and unique for use on that network. Depending on the network, this DHCP-assigned iP address

usually remains stable for a single session, but may change with subsequent power-ups and

logins. On some networks, the address will remain stable from session to session. in all cases,

the projector’s iP address and port appear in the Information menu as well as the Ethernet

Settings submenu. See Figure 2.15.

Figure 2.15. 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.

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. it is highly recommended not to use a port# below 1000, as these ports are typically

reserved for and used by common iP applications.

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, it must be assigned

before the subnet mask. The Default Gateway is an optional router device used to send and

receive data outside the subnet.

By default, communications originating from one type of serial controller — rS232 vs. rS422 vs.

ethernet — stay on the corresponding network path.a“Separate” setting indicates this separation

for “network routing” in the Communications menu. if you are using an rS422 controller, for

example, it will communicate only with the projector to which it is connected unless you change

this setting to either “rS232 and rS422 Joined” or “all Joined”.

Separating Networks >

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Section 2 ► Installation and Setup

The GPiO connector on the input panel can be used to provide a method of interfacing a wide

range of external i/O devices to the projector.

2.5 system Integration

- GPIO Connector

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

program the various pins on the connector.

2.6 Power Connector

The north american rated power cord is provided with each projector. ensure that

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

rating standards.

Plug the power cord to the aC receptacle located at the back of the projector, below the input

panel, and the three-pronged end into a grounded aC outlet. ensure the socket outlet is installed

near the equipment and is easily accessible. The input voltage to the projector must be capable

of 100 – 240 VaC in 500W and 1000W models and 200-240VaC in 1200W models. (See also

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

Use the approved north american-rated power cord supplied with the projector. if you are

connecting to an area outside of north america ensure an appropriately power cord rated for the

region of use is used.

always power down the projector before unplugging the aC power cord. Wait 5-10 minutes

for the main exhaust fan to turn off and for the lamp to cool sufﬁciently before unplugging the

projector.

WaRnInG

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.

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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

Input Panel

Rear IR sensor

built-in Keypad

Intake

status leD Display

Top

Front IR sensor

Projection lens

exhaust

lamp Door

aC Receptacle

adjustable Feet (4)

The built-in keypad is located at the back of the projector, beside the input panel. Use it similarly

to the ir remote to control the projector. a status leD display is also included on this keypad for

monitoring projector status.

Built-in Keypad >

AC Receptacle >

Adjustable Feet >

The aC receptacle is located at the back of the projector just below the input panel. Use this

outlet to plug in an appropriately rated power cord. refer to Section 6 —Speciﬁcations for

details.

located on the underside and on top, with the (i) models, of the projector are two fully adjustable

feet. raise or lower these feet when positioning the projector to ensure it is level on all sides so

the displayed image will appear rectangular without any keystone.

nOTe: The third foot, located at the rear of the projector (underside) is not adjustable.

refer to Section 2 - Projector Position and Mounting for instructions on how to adjust the

projector’s feet.

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.

Lens Mount & >

Projection Lenses

•

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.

•

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. Press the ‘mute’ button for 1-2 seconds on the remote to operate the

shutter.

•

IRIs — enables adjustment of light output and contrast ratio.

nOTes: Use the lens cap when transporting the projector to avoid scratching and damaging the

lens, which could affect your displayed image.

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Section 3 ► Operation

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. any of the available optional modules can be installed in

InPUT 5 and/or InPUT 6.

Input Panel >

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

located at the rear of the projector.

Intake collar and intake blank can be interchanged between intake 1 & 2 depending on where

ducting is originating from.

Intake and Exhaust >

Intake

intake Blank

intake 2

intake Collar

intake 1

exhaust collar and exhaust blank can be interchanged between exhaust 1 & 2 depending

where ducting is originating from. if exhaust 1 is used the exhaust divider must be attached using

noted screws. if exhaust 2 is used exhaust divider must be removed.

exhaust

exhaust Divider

exhaust Blank

exhaust Collar

exhaust 2

exhaust Divider Screws

exhaust 1

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 at the back of the projector just above

the status leD display.

Front and Rear IR Sensors >

The lamp door is located at the back of the projector, which provides easy access to the lamp

module for replacement. See Section 4 for lamp replacement procedures.

Lamp Door >

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Section 3 ► Operation

3.2 Using the Remote or

built-in Keypad

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

the beam of the remote.

The projector can be controlled using one of the following keypads:

•

Built-in Keypad located at the back of the projector

Keypad Commands >

Remote Keypad for tethered or tether-less 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 remote keypad has a single IR protocol and can be converted to a wired remote by

connecting the cable provided with the projector to the RCA jack labeled as ReMOTe on the

input panel.

Built-in >

To control the projector when signals from a remote keypad cannot reach the projector, use the

projector’s built-in keypad (Figure 3.1). The nearby leD display provides feedback indicating

current status and activities of the projector, (see Table 3.1). Because the built-in keypad has

fewer keys than the remote keypad, certain projector functions are accessible only through the

menu system rather than via a direct key.

Auto

Input 1

BNC

Input 2

DVI

Help

Exit

Setup

Lens

Shift

Input 3

Video

Input 4

S-Vid

Input 5

Opt.1

Input 6

Opt.2

Shutter

Figure 3.1 Built-in Keypad

nOTe: The built-in keypad cannot be disabled.

refer to the key descriptions provided for the ir remote – see Figure 3.2.

IR Remote >

The ir remote keypad controls the projector by way of wireless communications from a battery-

powered infrared (ir) transmitter. Use the ir remote keypad the same way you would use a

remote keypad supplied with a TV or VCr. When making key presses, direct the keypad either

toward the screen or toward the front or rear of the projector. One of the two ir sensors on the

projector will detect the signals and relay the commands for internal processing.

leD sTaTUs DIsPlaY:

DesCRIPTIOn

Table 3.1 >

LED Status Display

- -

aC power supplied, projector Off

Projector On

lens calibration in progress

Lamp has reached deﬁned “Lamp Limit” refer

to 3.9 Working with the lamp

# #

Closed shutter

System warning or error has occurred

Cooling down (rotating Horizontal Bars)

Power to Off state or Powering up (segments

spinning clockwise

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Section 3 ► Operation

Figure 3.2. Remote Keypad

Theater Master >

Remote Control

Quick

Setup

Quick Setup

Press and hold to toggle or press twice to toggle or press and release, followed by ▲ ON or ▼ OFF

* These are toggle keys, which require you to press and hold or press twice or press and

use the up/down arrow keys.

OSD



nOTe: To turn the OSD off you must press

and

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Section 3 ► Operation

you can convert the ir remote into a wired remote keypad using the cable provided with the

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

input panel labeled as ReMOTe. The wired remote is recommended when:

Wired Remote >

•

The built-in keypad is inaccessible

The lighting conditions are unsuitable for proper ir transmission



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

) to work.

Guide to Keypads >

Keep in mind the following guidelines:

•

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

note that the three keys — Power

Shutter

OSD

, Shutter

and OSD

are “press-and-hold”

keys that do not function with a typical quick press-and-release key press (see Figure 3.2).

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

networks, pause brieﬂy between adjustments to ensure that other devices can “keep up”

with the commands.

if you press a key while the projector is still responding to the previous action, such as during

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

•

Speciﬁc keypad commands are explained below:

Keypad Commands >

Power ON/OFF

Press and hold

for two seconds or press twice quickly to toggle the projector (on) or (off)



with a single keystroke. Or press and release

followed immediately by



(on) or

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

nOTes: 1) After powering down, the lamp cooling fan remains on for approximately ﬁve 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.

Test

Press

to step forward through all internal test patterns and this will eventually lead you to

Test

the current input. if you press

and then cycle by using the



and



right arrow keys,

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

Quick

Setup

Quick Setup

Press

auto

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.

Table 3.1 QuickSetup

What an "Quick Setup" Does

OPTIMIZes:

Pixel Tracking

Pixel Phase

seTs TO DeFaUlT:

Contrast

Brightness

Size and Blanking

SVertical Stretch

Position

auto input level (Off)

Detail (if video source)

Filter

Color Temp

luma Delay

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

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Section 3 ► Operation

Channel

Press

Channel

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

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

), the display will automatically change and update according to the numerous setup

parameters deﬁned for that channel. Note that a new channel is automatically created if you



adjust an image from a new source.

Channel

nOTe: Channel (

) key behavior during a presentation depends on whether or not the

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

Channel

use a scrollable list of channels when you press

, or you may prefer to enter the desired

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

section.

input 1

Input 1

Press

input 1

to display from the data or video input source connected to BnCs labeled InPUT

input 2

Input 2

Press

input 2

to display from the DVi source connected to InPUT 2.

input 3

input 4

input 5

Input 3

Press

input 3

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

to display from the S-Video source connected to InPUT 4.

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

Input 4

input 4

Press

Input 5

input 5

Press

nOTe: If you have the optional Dual SD/HD-SDI Module installed and there are two inputs

connected here, the second input (B) is considered INPUT 7. If you are using the built-in keypad

or the remote keypad, press INPUT 5 to access INPUT 7 as follows:

input 5

•

While displaying from INPUT 5, press

again. This switches to INPUT 7.

input 5

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

. This

switches to either INPUT 5 or INPUT 7, depending on which of the Dual SD/HD-SDI Module

input 5

inputs (A or B) was last used. Press

Module input.

again to display from the other Dual SD/HD-SDI

input 6

Input 6

Press

input 6

to display from the INPUT 6 interface module installed in the Option 2 slot.

nOTe: If you have the optional Dual SD/HD-SDI Module installed and there are two inputs

connected here, the second input (B) is considered INPUT 8. If you are using the built-in keypad

or the remote keypad, press INPUT 6 to access INPUT 8 as follows:

input 5

•

While displaying from INPUT 6, press

again. This switches to INPUT 8.

input 5

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

, which

switches to either INPUT 5 or INPUT 8, depending on which of the Dual SD/HD-SDI Module

input 5

inputs (A or B) was last used. Press

Module input.

again to display from the other Dual SD/HD-SDI

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Section 3 ► Operation

Contrast

Press

Contrast





to change the amount of white in your images. Use

keys until you reach

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

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

Conversely, low contrast causes dim images. See 3.5,Adjusting the Image (PictureAdjustments

subsection).

Bright

Brightness

Press

Bright





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 (Picture Adjustments

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 when using the Gamma control.

The normal gamma setting of 2.2 is correct for most video and 2.6 for ﬁlm. 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 and whites

Press

to enter or exit the projector’s menu system.

OSD

OSD (On-screen display)

OSD



Press

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

one of the following:

OSD

•

Press and hold

Press and release

for two seconds

OSD

followed immediately by



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.

nOTe: With OSD “on”, you can still hide error messages and slide bars by disabling these

options in the Menu Preferences menu.

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

followed immediately by





(closed) or

(open) to guarantee the correct toggle (useful if you are unsure of the

Shutter

present state). alternatively, press

to toggle from the present on/off state. a closed

shutter blanks the display (turns it to black). Close the shutter to mute all display while maintaining

access to projector functions. Opening the shutter restores the image.

nOTes: 1) The status display shows “5H”, when the shutter is closed. 2) The shutter is open

upon power-up.

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Section 3 ► Operation

Func

Function Key

Func

IF WITHIn a MenU: Using the

for special tasks within the menu system is noted with the

Func

appropriate topic elsewhere in Section 3. For example, press

to enable deletion or copying of a channel.

in the Channel Setup menu

Func

SETUP FUNCTIONS: Press

followed by a 2-digit number

to enable a speciﬁc color or colors in the display (see right). For

Func

example,

will display only red and green data,

will display all color data. eliminating one or

Func

more colors can help with certain diagnostics and setups.

nOTe: Color enabling can also be implemented from numerous

locations within the menu system.

Proj

Projector

Press

Proj

to access a speciﬁc projector within a group of projectors or to conﬁrm if the local

projector is listening. The number in the “enter number” window indicates which projector is

currently listening to commands, and will match the projector number that has been deﬁned in

the Menu Preferences menu.

The “Projector” checkbox (read-only) shows whether or not the projector physically connected

to a keypad is listening to commands from that keypad. a checkmark means that connected

projector is listening; if there is no checkmark, you are communicating with a different projector.

Proj

To control a speciﬁc projector with the keypad, press

and then 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 keypad

exclusively, since there is only one wired protocol available.

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. 2) See 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

Exit

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

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

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Section 3 ► Operation

Arrow Keys





Use the

keys to change a slidebar value or to select a different option within a pull-

down list without having to ﬁrst scroll through options. See also Editing Text later in Section 3.





Use the

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

Focus

Zoom

lens H

lens V

Lens Focus, Zoom and Lens H Shift, Lens V Shift

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”

keys to improve image clarity as desired.

keys to achieve a desired image size.





Use the “lens H”

it rectangular.

keys to position the image horizontally while still keeping





•

Use the “lens V”

rectangular.

keys to position the image vertically while still keeping it

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.



Laser



Press

to activate the laser pointer on the remote.

This feature is useful when making presentations -

just point the remote at the screen to highlight an area

of your presentation. The closer you are to the screen

the brighter the laser beam appears. The laser pointer

works best in an environment where ambient lighting

can be controlled.

CAUTION

LASER RADIATION

DO NOT STARE INTO BEAM

LASER DIODE

Wavelength 670nm

Max Output 1mW

CLASS II LASER PRODUCT



nOTe: Leave batteries in the wired remote keypad for the

key to work.

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Section 3 ► Operation

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

1. Geometry and Position

2. Picture Adjustments

3. Channel Setup

4. Display Setup

5. Lamp

at any time to display this main menu.

On the remote keypad, either enter the

6. Information

7. PIP

8. Test Pattern

number corresponding to the function menu

you wish to access, such as

for the



Picture adjustments menu, or use the



keys on any keypad to highlight



the desired option, then press

. The

corresponding function menu or pull-down

list of further options will then appear.

With a function menu displayed, navigate in a similar manner—enter a menu option number for

any numbered option, or use the keys to highlight the desired option, then press (enter). extra

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

menu. locked items or items that do not pertain to the current action or condition appear dimmed

and cannot be selected.

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 Information menu is read-only.

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

exit

• Press

to return to the previous screen

to leave the menu system and return to the presentation

Help

On-Line Help >

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

about the current menu or highlighted option. Press

to display summary information

Help

again to exit. in addition, a line of “hint”

text is included at the bottom of some menus.

Lamp

Lamp Hours

Lamp S/N

1. Lamp Message

Help

Lamp Limit

Lamp Mode

Power

1000

Power

500

Enable a notice upon power-up

indicating the lamp has logged a given

number of hours as specified by

the lamp limit (default is lamp specific).

Intensity

Iris

Lamp History

Change Lamp

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Section 3 ► Operation

Help

Press

from the presentation level to access general Help Topics. Scroll as necessary

Help

exit

within a topic; press

to return to your presentation.

1. Using Help

2. setup

3. Keys

4. source (Input) selection

5. 2 Digit status Display

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 >

The Global Icon >

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 >

Other Controls

•

enter the menu option number corresponding to the setting you wish to change (for example,

press

to select Vertical Stretch in the Size & Position menu).

•

move the highlight to the option desired and press

(enter).







•

to adjust immediately.

Bypass the menus entirely and use a single key to immediately access an adjustment during

your presentation (nOTe: applies only to options having their own key, such as Focus,

Zoom, etc.).

•

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

activated by their own key (such as Contrast, Brightness, etc.). Control by using the proper

keypress or numerical sequence of key presses.

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

the current function menu.

to save and return to



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Section 3 ► Operation

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

gradually adjust the setting up or down — both the number and the length of the bar change

accordingly. Hold for continuous adjustment. Or press

to activate a slidebar text box for



exit

speciﬁc number entry via the keypad, then press

to save (or press

to cancel).



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

Cont

slide bars without traveling the menu system. For example, simply press

to immediately

display the same contrast slide bar accessed with the Contrast option in the Picture Adjustments

menu.

Use the arrow keys to adjust a direct slide bar, or press

and enter a speciﬁc number from



to cancel). When you are done, press

exit

the keypad, then

to save (or







exit

to save and return to your presentation.

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

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

it is not used within 5 seconds.

Checkboxes—Conditions are present if its adjacent checkbox

contains a checkmark. To toggle the checkbox, simply highlight

and press

, or highlight and use

to check and

to uncheck. if a checkbox is







numbered, simply enter its number to immediately toggle the checkbox.

Pull-down lists—To see a pull-down list of options available for a given parameter labeled with

a ▼, you can:

•

Highlight it and press

(enter)



enter the menu option number





Use the

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

with a small ►). Press

to choose an option from the list, if desired. (See ﬁgure 3.3).



Front IR Protocol

Back IR Protocol

Wired Keypad Protocol

Figure 3.3 Example of Pull-Down List

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

use



or  . Press

when the desired choice appears.



nOTes: 1) Press





to jump between pages in an extra long pull-down list. 2) Press

exit

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

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Section 3 ► Operation

aCTIVaTe THe eDIT WInDOW: To enter or edit text, highlight the desired parameter (such as a

Editing Text >

channel name) and press

is displayed with its ﬁrst character highlighted in a square cursor, signifying that this character is

to activate its adjacent edit window. any previously entered text



ready for editing.

naVIGaTe WITHIn THe eDIT WInDOW: Press

move the cursor backwards as desired.



to move the cursor forward or



eDIT a CHaRaCTeR: To edit a highlighted character,



use

numbers, spaces and punctuation available. When

the character you need appears, press to select



and

to scroll through the alphabet,

2.35



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 3.3 Entering Text

aDD OR DeleTe a CHaRaCTeR OR sPaCe: To insert a space at the cursor location, press

Func

 . To delete a hi

ed character (or space), press

 .

ghlight

2.35

2.3 5

2.3

PRess

(enTeR) WHen FInIsHeD: To accept edits and leave the edit window, press



(enter).



nOTe: Press

exit

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

enter numbers directly from the keypad in order to specify numbers representing projectors,

channels (source setups) or slots. as each digit is entered, it is displayed and the cursor moves

on. Note that channel numbers are deﬁned with 2 digits—for example, if you enter only a single

digit (such as “7”) for a channel number, the channel will automatically be deﬁned as “07”. Enter

“07” to utilize this channel.

Editing Numerical Values >

nOTes: 1) Once you enter the ﬁrst digit, this digit replaces all old digits. 2) If you press any non-

numbered key, the number entered up to that point is accepted and updated as the new value.

exit

3) Press

to cancel editing of numerical values.

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Section 3 ► Operation

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

InPUT—an input is a source physically connected at the projector.

signal according to which input slot it is connected.

describes the source

Do I Select an Input >

or a Channel?

input 1

input 2

input 3

input 4

input 5

sWITCHInG InPUTs—Press the appropriate “direct” key —

input 6

to quickly display from one of the six 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 Picture adjustments

depend on the incoming source.

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

V-Position, etc., then a channel was automatically created and still exists in projector memory

input

(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.

nOTe: Inputs 7 and 8 require the Dual SD/HD-SDI module in either of the projector’s option

slots. For their selection, see also 3.2 Using the Remote or Built-In Keypad.

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,

aspect ratio, 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

Channel

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

channel list.

. This is typically called the

Channel

nOTe: The

key may display a channel list or

not, depending on what you have deﬁned for “Display

Channel List” (see Menu Preferences later in this

section).

Channel

in order to access channels by using

on the

keypad, you must ﬁrst create the channels. See

below.

Channel list

Creating a New Channel >

– AUTOMATIC –

To use a new source with the projector, a new channel must be added to projector memory so

that the projector will respond properly to an input signal from that source in the future. a new

channel can be created automatically, as described here, or it can be copied from an existing

channel and then edited as necessary (see Copying or Deleting Channels later in this section).

input 1

input 2

input 3

input 4

input 5

input 6

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

below). if you want to prevent a channel from appearing in this list, you must edit the channel as

described in Channel Edit later in this section. Such a channel can still be selected by entering

its number as shown at right.

nOTes: 1) The current channel is highlighted upon entering the channel list, or, if this channel is

not displayed here, the ﬁrst channel in the list is highlighted. 2) Channels created automatically

do not appear in the channel list unless a parameter for the channel has been changed.

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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 >

Are Deﬁned So Far?

Figure 3.9. All Channels Appear in the Channel Setup Menu

Press

from the presentation level 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 (see sample above), 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.

4WH

4WV

signal Type

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

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 on the next page.



Press

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

selected channel. See Editing a Channel Setup, on the following pages.

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Section 3 ► Operation

FUnCTIOns WITHIn THe CHannel seTUP MenU—To copy, delete or edit a channel,

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

Func

•

Press

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

Copying or Deleting a Channel below.

Press

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



selected channel. See Editing a Channel Setup, below.

Copying or Deleting >

Channels

TO COPY a CHannel, highlight the desired channel in the Channel Setup menu, then press

Func



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

— a new

channel will be created. It is identical to original, which still remains, but it is identiﬁed with the

next available number from 01-50. if you change your mind and do not want to copy the current

exit

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 aspect ratios in the future.

Figure 3.10. Copying A Channel

TO DeleTe a CHannel, highlight the desired channel in the Channel Setup menu, then

Func



press

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

— a

conﬁrmation window will appear to make sure that you really want to delete this channel. See

ﬁgure 3.5

Figure 3.5. Deleting a Channel

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Section 3 ► Operation

TO DeleTe MUlTIPle CHannels, highlight any channel in the Channel Setup menu and

Func

press

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

press

to delete all unlocked channels. Or select “Deleteall Channels” to delete all channels,



even those that are locked. In either case, the current channel will remain but will be redeﬁned

from projector defaults.

nOTe: For any deletion, a conﬁrmation box appears to make sure that you really want to delete.

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

Editing a Channel Setup >

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

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

submenu.

CHANNEL EDIT — STEP 1

CHANNEL EDIT — STEP 2

Press

from the presentation level to display the main menu. To display the Channel Setup



menu, press

Channel Setup menu will appear.

, or move the highlight to the Channel Setup option and press

. The

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 below.

Figure 3.12. Channel Edit Menu (SAMPLE)

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

CHANNEL EDIT — STEP 3

•

CHannel naMe: An alpha-numeric label can be deﬁned and/or changed here. Channel

names can be up to 12 characters in length.

CHannel nUMbeR: a 2-digit channel number can be changed here.

nOTes: 1) If you enter a channel number that already exists, a dialog message appears

indicating that this number is already in use–assign a different channel number. 2) You can

deﬁne up to 50 channels.

•

InPUT: 1-8, corresponding to where on the projector’s input panel the source is

connected.

In MenU: If checked (default, except for automatically deﬁned channels with unchanged

Channel

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

pressed. if unchecked, the channel must be accessed via

auto Source function.

key is

Channel

on the keypad or via the

nOTe: Onscreen 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 locate the selected

Channel

channel only when it is directly selected via

signal will not result in a channel change.

on the keypad — and a change in input

lOCKeD: if checked, all of the Picture adjustments for this channel are disabled. if

unchecked (default), all available Picture adjustments can be adjusted as desired. you

cannot use auto Setup with a locked channel.

•

PReVIOUs CHannel: Select this option to see or change Channel Edit settings for the

previous channel in the Channel Setup list.

neXT CHannel: Select this option to see or change Channel Edit settings for the next

channel in the Channel Setup list.

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

3.5 adjusting the Image

Geometry and Position (

) and Picture Adjustments (

), 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 slide bars, checkboxes and pull-

exit

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

Picture Adjustments menu.

to quickly access the “Gamma” option in the

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 (available for certain

Contrast

display parameters only). For example, press

to access the “contrast” slide bar immediately.

exit

Press

to return to your presentation.

nOTes: 1) To hide these “direct” slide bars, disable the “Display Slide bars” checkbox in the

Menu Preferences menu. 2) To hide the entire menu system from view, turn off the on-screen

OSD



display by pressing

Before You Begin >

auto

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

in the Geometry 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 Geometry

and Position controls to match

the image precisely to the

screen used at the site.

Geometry and Position >

Geometry and Position

Resize Presets No Resizing

Size 1000

Vertical Stretch 1000

Pixel Track 858

Pixel Phase

H-Position 360

V-Position 262

0. Advanced Size and Position

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 Geometry

exit

and Position menu are applied immediately and are saved when you exit the menu (press

Resize Presets

nOTe: The same resize presets are available to all HD and HD2 widescreen models. Please

note however, the graphics used to describe each preset in this section are of the SXGA+ models

only.

Selecta ResizePresetsoption toquickly display an image in itsnative resolution or toautomatically

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.

1. Default

2. No Resizing

3. Full Size

4. Full Width

5. Full Height

6. Letter Box

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” on the following page.

WHen “CUsTOM” aPPeaRs: The “Custom” re-size descriptor automatically appears in the

Geometry 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.

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Section 3 ► Operation

•

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

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

Select “nO ResIZInG” to display the image in its native resolution, which may or may

not match the projector’s 1400 x 1050 resolution. For example, for a source with a native

resolution of 800 x 600, “no resizing” 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 (1400 x 1050) for displaying the image, regardless of

source or original aspect ratio. incoming source material having a different aspect ratio than

the projector will be stretched for display.

Select “FULL WIDTH” to ﬁll the projector’s display from left-to-right without changing the

original aspect ratio of the image. Depending on the source, data at the top and bottom may

be discarded (cropped), or the display may have black borders at the top and bottom (called

“letterbox”).

•

Select “FUll HeIGHT” to ﬁll the display from top-to-bottom. Depending on the source, this

may create borders.•

Select “aleTTeRbOX” to display a letterbox image in its native 16:9 aspect ratio. The

image will ﬁll the screen from side-to-side and be centered.

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

(next page).

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Section 3 ► Operation

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. See Picture adjustments.

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.

Advanced Size & Position

Active Input Window

Top Blank

720x483

Bottom Blank

Left Blank

Right Blank

Plug & Display <EDID>

Native R es olution 60Hz

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Section 3 ► Operation

blanKInG(TOP,bOTTOM,leFT,andRIGHT):

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

(see Figure 3.6). For example, left Blanking

zooms the right side of the PIP image; Right

Blanking zooms the left side. There are no black

bars.

Blanking of a Primary Image

PIP Advanced S ize & Position

Active Input Window 1600x1200

Top Blank 49

Top Blank

Bottom Blank

Left Blank

Bottom Blank

Left Blank 485

Right Blank 67

Plug & Display <EDID> Native Resolution 60Hz

Right Blank

5. Plug & Display <EDID> Native Resolution 60Hz

Figure 3.6 Blanking of a PIP Image

PlUG & DIsPlaY (eDID): By default, a Plug & Play (EDID)

source outputs a signal according to the eDiD information

provided by the projector. To override this information and

display in a different format (for example, if your Plug & Play

[EDID] device does not support the projector’s resolution and/

or frequency), select the desired Plug & Play (EDID) resolution

from the list.

1. Native Resolution 60 Hz

2. 1400x1050 60 Hz

3. 720p (1280x720 60Hz)

4. DC2K (2048x720 60Hz)

5. 1024x768x116Hz 3D

6. 1280x1024x110Hz 3D

7. 1400x1050x102Hz 3D

8. 1080p 60Hz / 1080i 60Hz

9. 1080p 50Hz / 1080i 50Hz

0. 1080p 24Hz / 1080i 30Hz

EDID = Extended Display Identiﬁcation Data standard.

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Section 3 ► Operation

Use options in the Picture

Adjustments menu to alter your

image without affecting its size

or position. Changes made to

the Picture Adjustments menu

are applied immediately and are

saved when you exit the menu

Picture Adjustments Menu >

Picture Adjustments

exit

(press

). Options

not available for the projector

model or source are disabled and

appear dim (gray).

Contrast

(SHORT CUT: Press

Contrast

and adjust the slide bar.)

“Contrast” increases or decreases the perceived difference between light and dark areas of your

image (0-100). For best results, keep it under 50. if contrast is set too high, the light parts of the

image lose detail and clarity. if set too low, the light areas will not be as bright as they could be

and the overall image will be dim. For best results, start with a low value and increase so that

whites remain bright but are not distorted or tinted and that light areas do not become white (i.e.,

are “crushed”).

nOTe: If the environment lighting changes, an adjustment of Gamma is recommended (see

below).

Brightness

(SHORT CUT: Press

Bright

and adjust the slide bar.)

“Brightness” increases or decreases the amount of black in the image (0-100). For best results,

keep close to 50. Start with a high value and decrease so that dark areas do not become black

(i.e., are “crushed”). Conversely, high brightness changes black to dark gray, causing washed-

out images.

Gamma

(SHORT CUT: Press

Gamma

and adjust the slide bar.)

Gamma = 1

Gamma = 3

“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.

Signal Input Level

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 2.6 (default) indicates the

gamma table has not been adjusted. For more information, refer to Advanced Image Settings

submenu, Gamma Table. again, good gamma improves contrast while maintaining good details

for blacks.

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Section 3 ► Operation

Filter

The proper ﬁlter setting is automatically set for virtually all signals, and rarely

needs to be changed. It applies a low pass ﬁlter for noise reduction in the

incoming input signal, particularly for HDTV or SDTV. applied in the analog

domain before sampling, this ﬁltering removes high frequencies and thus

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

pixel tracking and phase adjustments do not adequately clear up a “noisy” video signal, or if a

graphics signal appears overly “soft”. Both instances indicate that “Filter” may be set to the wrong

option.

Detail

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

particularly useful if a signiﬁcant “Noise Reduction” adjustment has caused the image to appear

too soft. adjust until the display is as sharp as desired, keeping in mind that because “Detail”

adds some high frequencies back into the image, it can also re-introduce a certain degree of

noise.

Noise Reduction

“noise reduction” is similar to the “Filter” control, but operates in the post-sampling digital domain

with a more subtle effect. Higher settings are most useful for clearing up noisy rGB images such

as those from a PC. adjust as desired, keeping in mind that reducing noise (which reduces high

frequencies) may also soften the image.

Color Space

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

signal are decoded for accurate color in the display. Selecting a color space

option is useful only for analog signals connected to InPUT 1, InPUT 2,

InPUT 5 or InPUT 6. 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 on the projector, the

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

The current color space appears in the Picture Adjustments menu. Press

different option:

to select a



•

Select RGb unless you are using component video at InPUT 1, 2, 5 or 6.

Select YPbPr (Video) with a standard deﬁnition televised signal (SDTV)

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

nOTe: When certain RGB signals are ﬁrst connected, the projector may not initially recognize

them as RGB and will incorrectly decode their color information as YPbPr (video). These signals

can include:

•

RGB signals in NTSC, PAL, SECAM frequency ranges

Scan-doubled sync-on-green

Scan-quadrupled sync-on-green

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

use.

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Section 3 ► Operation

Video Options — SUBMENU

This submenu is used with video sources

only (InPUTs 3 or 4).

Video Options

Auto Color Level

Video Standard

Enhanced 0 IRE

3. Input Video Black

aUTO COlOR leVel: auto Color level

affects decoded video images only. enter

a checkmark (default) in most instances —

this activates the auto Color level circuit to

ensure properly bright images. Delete the

Color

Tint

6. Chroma Luma Delay

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 auto Color level.

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

nTSC

Where Used (SUBJeCT-TO-CHanGe)

n. america and Japan

nTSC 4.43

Pal

a tape-only standard for partially-translated hybrid signals

most of europe, China, australia, some of S. america, some of africa

Brazil

Pal-m

Pal-nC

Pal 60

SeCam

argentina, Chile, other latin american countries

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

1. Enhanced 0 IRE

2. Video 7.5 IRE

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:

•

enHanCeD 0 IRe – Used for DVD output with “enhanced black”, SeCam, most Pal

standards, and Japanese nTSC.

Video 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 “enhanced 0 ire”. if black appears excessively elevated, use “Video 7.5 ire”.

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Section 3 ► Operation

COlOR: This slidebar adjusts the Color Temp adjust 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 of the projector. For best results, adjust tint while displaying an

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

setting.

CHROMa 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

Input Levels

Auto Input Level

2. Red (Pr) Black Level

3. Red (Pr) White Level

4. Green (Y) Black Level

color temperature is properly 5. Green (Y) White Level

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.

6. Blue (Pb) Black Level

7. Blue (Pb) White Level

Auto Color Enable

Clamp Location

Peak Detector

Color Enable

Good rGB or input levels — that is, the drives and black levels for each of the three colors,

red, green and blue — ensure that images from analog sources other than decoded video

have maximum contrast without crushing black or white. By default (and in an “auto Setup”),

the projector automatically determines the best input levels by monitoring image content and

adjusting the controls appropriately — further adjustment is typically not required to obtain proper

blacks or whites.

nOTe: This automatic adjustment requires at least 6-12 consecutive white pixels in the image.

Without these pixels, input levels may produce skewed colors, particularly in nonvideo images.

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

caused by a noisy source causing blacklevel spikes), an experienced user may prefer to use

the Input Levels menu (shown above). These adjustments, which together serve as a calibration

process compensating for differences in sources and cabling, enable an experienced user to

perfect the source image input levels and eliminate the “overshoot” and “undershoot”. note that

Input Levels are of limited use with digital signals, but do offer some ability to tweak poorly

mastered source materials.

nOTes: 1) Input levels apply for the current source only, but for any color temperature used. 2)

Assuming that color temperature has been set up based on the internal test patterns, you can

then set up input levels for a given source so that it matches the color temperature of the internal

test patterns.

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Section 3 ► Operation

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 black levels (black)

that would cause “crushing” of light and dark colors in the image. after entering a checkmark,

wait for the six slide bar values to stabilize, then delete the checkmark and exit. The auto input

level is automatically turned off upon exit from the input levels menu.

blaCK leVels anD DRIVes - To check your image 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 black level 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. The projector automatically selects the best

1. Back Porch

2. Front Porch

clamp location for almost all sources. 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.

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Section 3 ► Operation

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.

PeaK DeTeCTOR – The Peak Detector is a tool to assist with deﬁning individual input levels,

enabling you to accurately set the input levels for any particular source with the appropriate

image. enabling the Peak Detector activates a special operating mode for detecting only pixels

that are considered black or white — all other levels are displayed as a mid-level gray. When used

with a smooth grayscale pattern in which black and white are known to be at opposite edges of

the image, you can watch these isolated areas while adjusting individual black levels and white

levels 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 3.7. 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.

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 “Black level” slide bar 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 “White level” slide bar 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. Go back and check the black band — adjust the black level slide bar if necessary.

nOTe: Readjusting the black levels affects the gain at this point; 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.

Input Levels

Auto Input Level

2. Red (Pr) Black Level

3. Red (Pr) White Level

4. Green (Y) Black Level

5. Green (Y) White Level

6. Blue (Pb) Black Level

7. Blue (Pb) White Level

Auto Color Enable

Clamp Location

Peak Detector

Color Enable

Figure 3.7. Adjusting Input Levels Using the Peak Detector (RED EXAMPLE SHOWN)

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Section 3 ► Operation

Advanced Image Settings

Advanced Image S ettings

—

SUBMENU Use the Advanced

Graphics

Max. Drives

7600

Gamma Table

2. Select Color Adjustment

Image Settings submenu to make the

adjustments necessary for lesser-used

but more specialized applications on

your projector.

Color Temperature

Iris

GaMMa Table: This control applies a

default video, graphics or simple gamma

table or “curve”toyour images, controlling

the intensity of mid-level colors and

producing maximum contrast, brightness

and color performance. as shown at

Simulation 3D

Motion Filter

8. 2/3 Pulldown Threshold

9. Detail Threshold

Auto

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.

Gamma Table

1. Graphics

2. Video

3. Simple

4. B&W Film

5. Film 1

Keep in mind that any Gamma Table choice sets the related

Gamma value (shown in the Picture Adjustments menu) to a 2.6

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.

6. Film 2

7. Fluorescent

8. Incandescent

9. Sunlight

seleCT COlOR aDJUsTMenT: in “Select Color adjustment”,

choose an overall color performance 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, which enables the nearby Color Temperature

slidebar and applies its current setting (default = 6500K). if none

of the pre-deﬁned “Select Color Adjustment” options or color temperatures suit your

application, select one of four color gamuts previously deﬁned by a user (User 1, 2, 3, 4).

a “User” option applies a customized color performance in which the user has precisely

set the hue and intensity of each color component in the Color Adjustment by X/Y or Color

Temp Adjust submenus, and 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

Temp Adjust submenu found in the Display Setup menu under Geometry and Color.

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

to SD Video unless the user has redeﬁned them. 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).

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Section 3 ► Operation

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 slide bar 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.

IRIs - The iriS inside the projector controls the diameter of the light beam passing through the

system. With a fully open aperture (slide bar default of “0”), the maximum amount of light passes

through for maximum brightness in your images. increase the slide bar setting to reduce the

aperture diameter and maximize contrast ratio instead. Performance of aperture depends on the

lens in use.

nOTe: IRIS also appears in the lamp menu.

Simulation 3D — SUBMENU OF ADVANCED IMAGE SETTINGS

Use the options in the Simulation 3D menu to make the timing adjustments necessary for realistic

simulation and 3D images.

FRaMe DelaY MOnITOR — This slide

S imulation 3D

bar monitors the latency between input

Frame Delay Monitor

Frame Delay

1047

1000

and output. For best results, the bar width

and value should remain fairly constant,

indicating that timing of input and output

frames is locked; the Frame Delay Monitor

value should stay within 5-10 lines or so of

the Frame Delay setting. if a frame is lost

or “dropped”, the bar will move suddenly

and the values will change, indicating that

the frame input is no longer equal to the

output.

6. Frame Lock Enable

Locked

FRaMe DelaY — Set the number of lines delayed between the input signal and its appearance

on screen, keeping in mind that projector processing always adds one frame of delay to the

frame delay setting. For applications such as simulation, where the feeling of “real time” image

response is a priority, a minimum setting is usually preferable. For projectors capable of 3D

(stereographic) applications where alternating left-right frames must be synchronized with the

corresponding l/r shutters in 3D glasses, a total frame delay setting of two (or multiple of two)

may be more useful. if set too high or low, frame locking will not be possible — most sources

require approximately 50 lines of delay to ensure frame locking.

FRaMe lOCK enable — This option allows the projector to control the

Locked

Rate Matched

Free Run

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.

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Section 3 ► Operation

Advanced Image Settings - SUBMENU (continued)

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.

2/3 PUllDOWn THResHOlD — This setting determines how sensitively the projector can

detect if an incoming video signal originated from ﬁlm or not.

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.

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Section 3 ► Operation

Use the Display Setup menu to

deﬁnegeneraloperatingparameters

and communications with other

3.6 adjusting system

Parameters and

Display Setup

Language

Image Orientation

English

Front

advanced Controls

projectors and equipment, and to 2.

access other advanced processing

and image adjustments affecting

overall performance. in addition,

the Display Setup menu provides

access to diagnostics, calibration

tools and the Service submenu

(password-protected).

Auto Power Up

Set Date and Time

Menu Preferences

Communications

Geometry and Color

9. Diagnostics and Calibration

0. Service

Option Card 1 : Dual HDSDI Input

Keep in mind that settings in the Display Setup menu (and its submenus) are typically “global”

settings applied regardless of the type of source being used. This characteristic is identiﬁed

with the (globe) icon alongside the option. The ﬁrst six options in the Display Setup menu are

explained below:

nOTe: The Display Setup menu is recommended for experienced users/technicians only.

The ﬁrst six options in the Display Setup menu are explained below:

System Conﬁguration >

— GENERAL —

Language

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

immediately.

Image Orientation

Set the orientation of the image according to the orientation of your projector. if the setting is

incorrect, projected images will be reversed and/or upside down.

Auto Power-up

enter a checkmark to enable the projector to automatically power up after losing power due to a

power failure or due to unplugging the projector during operation. Wolf Cinema recommends that

this be left unchecked, as a power loss in an unattended house will result in the projector turning

on without anyone realizing it is on. 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

Use the options in this submenu to adjust the appearance, content and/or location of on-screen

menus and messages.

Display Bar Scale

Splash Screen Setup

Always On

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 list

Channel

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 also enables on-screen

Channel

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

Contrast

Bright

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

. 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

“Serial Ports” to receive messages via rS232 or rS422 serial communication only. To hide error

message displays, such as during shows and presentations, select “Off” or “Serial Ports”.

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Section 3 ► Operation

Settings in the Communications submenu deﬁne and control how single or multiple projectors

are linked with each other and with a controlling device.

System Conﬁguration >

— COMMUNICATIONS —

10. Wired Keypad Protocol

Any

Figure 3.14. 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. 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, 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 the menu shown above). numerical identity for projectors enables you to

Proj

communicate with a single projector within a multiple-projector application (see also

key in

3.2, Using the Keypads). if you make a mistake in assigning or changing the projector number,

exit

press

to cancel.

nOTe: When multiple projectors are being used and you want to adjust the color and edge

blending settings for individual projectors to create one seamless image, you must assign

different numbers for each projector to allow switching back and forth between projectors while

adjustments are being made.

Network Routing

nOTe: Not applicable for stand-alone projectors or simple serial networks with only one type of

controller and linking.

sePaRaTe: Select “Separate” (factory default) to keep rS232, rS422 and ethernet messages

on their respective paths instead of being broadcast to the other types of ports. in Figure 3.8a,

rS422 controls only the projector to which it is connected. in Figure 3.8B, either rS232 or

rS422 will control the network.

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Section 3 ► Operation

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

nOTe: 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.

IPaDDRess: enter a valid and unique iP address for use on the network to which the projector is

currently connected. This address will overwrite any previous iP address such as the projector’s

factory-deﬁned default (0.0.0.0), or one that has been assigned by a DHCP server or other user.

it takes approximately 10 seconds for the projector to respond at its new address.

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

projector be changed from its default of 3002. if so, enter a new valid port number here. it is

highly recommended not to use a port # below 1000, as these ports are typically reserved for and

used by common iP applications.

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.

neTWORK naMe: Set the name for the projector, as it should appear on the local network.

The control is most useful when DHCP is enabled, since the iP address may change from one

session to another.

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Section 3 ► Operation

Broadcast Key

enter a checkmark if you want keypad commands sent to one projector to be relayed to all

projectors in a serial network. note that the 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 the built-in keypad lighting on/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.

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.

System Conﬁguration >

— GEOMETRY & COLOR —

in the Display Setup menu, select

the Geometry and Color submenu

when you need to modify overall

color performance and/or image

geometry for all sources.

Geometry and Color

Grid

50.0

Test Pattern

Keystone



White Field Uniformity

Edge Blending

Color Adjustments by X,Y

Color Temp Adjust

Black Edge Blending

Default Color Adjustment

Lens VariScope (LVS)

Test Pattern

Choose the desired internal test

pattern or select OFF to turn off a

test pattern. alternatively, use the

Keystone and Warping if Wolf Cinema warping module is present

(standard in Wolf Cinema models, optional in all others).



Test

key for cycling through test

patterns.

Keystone (Not recommended to use Keystone on Wolf Warp pictures)

Use to correct a keystoned image shape in which both sides of your image are inclined toward

the top or bottom edge. Keystone is typically caused by tilting the projector in relation to the

screen, so that the lens surface and screen are no longer parallel to each other.

Figure 3.16. Keystone Adjustment

nOTe: Wolf Cinema recommends that the keystone feature not be used unless absolutely

necessary, as it may cause some artifacting in the image.

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Section 3 ► Operation

White Field Uniformity — SUBMENU

Corrects for shadows caused by short throw or anamorphic lenses.

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.

Thesecontrols,whichprimarilyaffectwhitelevels,aretypicallyusedinconjunctionwithmechanical

lens blinders (optional), which are installed on the front of the projector and which primarily affect

black levels. There is a centerline (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.

nOTes: 1) There is a centerline (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. 2) See also 3.10,

Using Multiple Projectors.

Color Adjustments by X/Y, and Color Temp Adjust — SUBMENUS

nOTes: 1) For deﬁning or changing a User 1, 2, 3, or 4 color performance or “gamut”. Sometimes

known as Comprehensive Color Adjustment™. 2) Factory-deﬁned primary color levels, which

ensure a speciﬁc color performance from projector-to-projector, can be calibrated in the Service

menu only. If you suspect alteration of these defaults, the factory settings can be recovered with

selection of “Reset to Factory Defaults?” in the Color Primary Settings submenu accessed

via the Service menu (password-protected).

From the factory, the projector can utilize any

of the three 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.

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Section 3 ► Operation

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 Temp Adjust 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 Temperature Adjustment — adjust color slide bars 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 3.10)—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 violet, which will in turn affect all

displayed colors having a red component. Adjust the slide bars or enter new speciﬁc coordinates

as desired to deﬁne or change up to four “User” color gamuts needed for your environment and

applications. apply at any time in the Advanced Image Settings menu.

Color Adjustments by X,Y

1. Select Color Adjustment User2

Color Temperature 6521

Red X 0.655

Red Y 0.341

Green X 0.332

Green Y 0.575

Blue X 0.144

Blue Y 0.093

White X 0.320

White Y 0.330

Auto Color Enable

Color Enable Red

Copy From Max Drives

Figure 3.19. Custom Color

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Section 3 ► Operation

Figure 3.10. Chromaticity Diagram

(without Yellow Notch Filter)

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 Temp adjust: Use this submenu

Color Temp Adjust

if you do not have speciﬁc color

coordinates in mind and will simply

judge color performance by 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.

nOTe: A Color Temp Adjust 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 Temp Adjust

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

Black Edge Blending — SUBMENU

Black Edge Blending is a feature that eliminates the differences between black levels when

edge blending multiple projectors. The Black Edge Blending submenu provides many controls

to allow the edges of adjacent images to be smoothly overlapped creating a “seamless” image.

edge blending smoothes white levels, and if edge blending is not in use, Black edge Blending

is disabled. Black edge Blending provides a simple solution for uneven black levels, without

the need for external hardware, by matching up black level hues with a “target area” hue (the

intersection of the center lines), and adjusting the overlaps (edges) surrounding the target area.

nOTes: 1) Refer to section 3.10, Using Multiple Projectors for additional information. 2)

There is a centerline (both horizontal and vertical) in the Black Edge Blending test pattern. The

intersection of these lines is the true center of the projector’s display area. 3) Adjust white levels

before adjusting black levels. 4) Blinders are recommended for ﬁxed installations.

Default Color Adjustments — SUBMENU

refer to System Conﬁguration – Geometry and Color, Color Adjustments by X,Y for

description.

Lens VariScope™ (LVS™) — SUBMENU

lVS™ provides the ability to recall focus and zoom settings speciﬁc to each source input. Custom

lens settings you’ve chosen for any source will be quickly and accurately applied when you

select a source that has already been calibrated. Place a checkmark in the checkbox to enable

lVS™. if no calibration has previously been done you may be prompted to do a full calibration.

if a motion calibration has been done, you will be prompted to complete a reference calibration.

if both calibrations have been done, the checkbox will be checked and lVS™ enabled. if lVS™

is enabled, a reference calibration will be done on power up and the lens will return to the

saved position of the source that is active at the time of power up or to the position the lens was

located when it was powered on. Further adjustments to the zoom, focus and position will be

automatically saved for source the selected source. if you switch to a source with different lens

settings and switch back, the lens will automatically move to your saved settings upon return.

Other sources can be used without using lVS™ .

nOTes: 1) See System Conﬁguration – Diagnostics/Calibration, LVS Calibration for further

details about calibration. 2) LVS™ control is a preference setting and will be retained between

power cycles.

Test Pattern

Choose the desired internal

test pattern to display, or

select OFF to turn off a test

System Conﬁguration >

DIAGNOSTICS/CALIBRATION

Diagnostics and Calibration

Test Pattern

Grey Level

Grid

512

Freeze Image

Color Enable

pattern. alternatively, use

Test

White

the

key for cycling

through test patterns.

Odd Pixel Adjustment

nOTe: There is a centerline

(bothhorizontalandvertical)

in the Edge Blending test

pattern. The intersection of

these lines is the true center

of the projector’s display

area.

Peak Detector

Level Detector

Level Value

512

Aspect Ratio Overlay

Lamp Tracking Calibration

LVS Calibration

Calibrate Lamp Tracking

Full Calibration

Automatic LVS Lens Calibration

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Section 3 ► Operation

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 remote keypad.

Odd Pixel Adjustment

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

When using certain rGB sources, you may need to adjust the normal gain or offset of odd

pixels in relation to even pixels. This will smooth out very narrow (one-pixel wide) “checks” or

vertical stripes that indicate adjacent “on” and “off” pixels. Using the Level Detector simpliﬁes

this process (see Figure 3.11):

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 slide bar.

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

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

8. repeat Steps 3-7 for all remaining colors. your rGB source should now be OK.

Two sets of values are automatically saved with these controls — one value for input #1, and one

for input #2 (analog). The current set of values depends on which source is in use. This enables

a source to be processed correctly via two different inputs.

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Section 3 ► Operation

Figure 3.11. 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 “one pixel on, one

pixel off” artifact only, not any type of larger artifacts.

Reserved

no function.

Peak Detector

The “Peak Detector” is a fast method for deﬁning individual input levels, and can improve the

accuracy of input levels set by the auto input level function. enabling the “Peak Detector”

activates a special operating mode for detecting only pixels that are considered black or white

— all other levels are displayed as a mid-level gray. When used with a 16-step grayscale pattern

in which the two black and white bands are known to be at opposite edges of the image, you

can watch these isolated areas while adjusting individual black levels and white levels 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.

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Section 3 ► Operation

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.

Lamp Tracking Calibration

nOTes: 1) Lamp Tracking Calibration takes up to two minutes. 2) For best results, allow the

projector to warm up for 15 minutes prior to calibration.

Lamp Tracking Calibration deﬁnes the range of power needed to maintain lamp brightness.

Select Calibrate Lamp Tracking for calibration using your projector’s unique speciﬁcations

(recommended) rather than standard speciﬁcations. The projector will revert to the default back-

up in the event of a power failure.

Lens VariScope System (LVS™) Calibration

This option allows you to choose between three types of lens calibrations. Reference calibration

determines a reference point that is used as a deﬁned starting position for relative motion of the

lens. all positioning is measured from this reference point. a reference calibration is lost when

power is removed from the projector and will occur on every power up as long as lVS™ is

enabled. a Motion calibration determines the characteristics of each motor and values are saved

in the projector’s memory. if lVS™ is enabled and a motion calibration has previously been

done, the projector will automatically recall these settings from memory when it’s being powered

up and a motion calibration will not take place. a Full calibration performs both a reference and

motion calibration.

Automatic LVS Lens Calibration

When this option is selected (default) and the projector is in lVS mode, the projector will perform

a lens calibration on each power-up. During calibration, the shutter will be closed and the status

leD will display ‘lC’. if lVS is not selected, the alC setting will be ignored. if, during power-up,

alC is not selected and lVS is, the last stored location from the previous lVS calibration will be

assumed to be true and the lens will moved to that position upon power-up if necessary.

System Conﬁguration >

OPTIONAL INPUT MODULES

The two “Option Card”

entries in the Display

Setup menu identify which

optional input modules

(a.k.a. cards) are present

at InPUT 5 (Option 1)

Option Card 1: Dual S D/HD-S DI Module

1. Loop Thru Output Selection

2. Configure Channels

Input A to C, Input B to D

Automatic

1. Input A to C, Input B to D

2. Input A to D, Input B to C

3. Main to C, PIP to D

and InPUT

(Option

2). if either of these

option slots is empty, the

corresponding read-only

menu entry does nothing.

4. Main to D, PIP to C

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.

System Conﬁguration >

Select automatic mode or a series of manual modes. in automatic mode the input video payload

information is read and compared to that of the SmPTe 352 standard to detect the dual link

format and the primary channel. Single video input will also work in this mode without any

payload information. Dual link input video which does not contain payload information must be

set up manually. Select the format and which of the two channels is the primary input.

CONFIGURE CHANNELS

- SUBMENU

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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

nOTe: To control the primary image, access all picture controls through the Main menu. To

control the secondary (PIP) image, access picture controls through the Picture-in-Picture and

Switching menu.

Working with PIP >

Use the ﬁrst of six

options in the PIP

Picture-In-Picture (PIP)

Swap Main and PIP Image

PIP Enable

menu to enable and

deﬁne how you want

to use PiP.

Picture

-in-

Picture

Options

PIP Size & Position

PIP Image Settings

PIP Border Width

PIP Border Color Red

Image Optimization

Switching

Options

(n/a)

Fade Time

Numbers Select Main Image PIP Only

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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

PiP

on the Remote if menu not present.

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

mostcontrolsin the PIPSizeandPosition

menu adjust the PiP (secondary) image

PIP Size and Position

Position Presets Bottom Right

Size 0.729

in the same fashion as their counterparts

in the main Geometry and Position

menu adjust the main image — see

3.6, Adjusting the Image for details.

exceptions are:

Vertical Stretch 1.090

Pixel Track 858

Pixel Phase

H-Position 360

V-Position 262

POsITIOn PReseTs – Set the location

of the PiP (secondary) image in the

display.

Aspect Ratio Presets Letterbox

0. Advanced Size and Position

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 3.6, adjusting the image for details

PIP Border Width

Set the desired line thickness for your PiP window border.

PIP Border Color

Select the desired color for the PiP window border.

nOTes: 1) Numbers 7 and 8 on the Picture-in-Picture and Switching submenu control switching

parameters. 2) Disable PIP in order to work with Seamless Switching. 3) Disable PIP and Best

Switching for Interlaced sources > 35kHz.

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Section 3 ► Operation

Seamless Switching is the ability to instantly and/or smoothly switch sources, and is controlled

with options 7 and 8 in the PIP menu. To use Seamless Switching, PiP must be disabled.

Working with Seamless >

Switching

Tips for best source switching:

•

Ensure a channel has been conﬁgured for each source.

Progressive digital and analog sources are recommended.

Set image Optimization to Seamless 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 Smooth Switching.

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

to activate it.

Numbers Select Main Image

Use Numbers Select Main Image to use the numeric keys #1-8 as input keys. This remapping

of the keypad (see right) can be particularly useful with PiP displays, providing a convenient

shortcut for changing the primary (background) image without ﬁrst having to return to the Main

menu. 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.

PIP

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Section 3 ► Operation

Whenever you install a new lamp in the projector,

access the Lamp menu to record the lamp serial

number in the projector’s memory. you can also

choose a lamp mode for regulating power and light

output, change iris size, and access other read-

only information pertaining to past and present

lamps.

3.8 Working with the

lamp

Lamp Message

Lamp Limit

Lamp Mode

Power

laMP HOURs (read-only) shows the number

of hours logged on the current lamp. Whenever

you record a new lamp serial number this value

automatically resets to “0”, where it begins to

log time for the new lamp. This information also

appears in the Information menu.

Intensity

Iris

Lamp History

Change Lamp

laMP s/n (read-only) is the serial number recorded for the current lamp. When you install a new

lamp and enter its serial number, the number will appear here.

enter a checkmark for lamP meSSaGe to enable a warning message that will appear upon

power-up when the lamp has reached the speciﬁed lamp limit and should be replaced. Delete

the checkmark to prevent display of this message — instead, when your lamp expires, only the

status display messages on the back of the projector will provide the visual warning to replace

the lamp.

nOTes: 1) It is recommended that the Lamp Message checkbox remain enabled. 2) When a

exit

lamp warning message appears, press

to temporarily cancel the message. The message

will continue to appear upon power-up until you install a new lamp.

Set laMP lIMIT to the number of hours you expect to log on the current lamp before replacing

it. This will trigger a lamp message on-screen (if enabled).

nOTes: 1) If you change modes over the life of a lamp, the lamp limit you originally expected

may no longer be possible. 2) Turning the lamp on and off reduces lamp life signiﬁcantly, as do

other factors. 3) It is recommended that Lamp Limit not exceed the expected lamp life, otherwise

a lamp could become dangerously fragile with overuse.

Set which laMP MODe you want to use in order to control the light

output. you can choose to run the lamp as bright as possible (i.e.,

always using maximum power — this is the default upon power up)

or you can power the lamp with a speciﬁc wattage appropriate for

Figure 3.22.

the installed lamp or you can set a speciﬁc intensity (brightness) to

maintain. although there are exceptions, generally higher light output or higher power settings

can shorten lamp life.

Use the lamp mode that best suits your brightness needs. For example, in a tiled application you

may want to precisely match brightness levels between adjacent images — judge by eye and

set each individual lamp Power setting as necessary. Or if you want images to be as bright as

possible — choose Max brightness. always keep in mind that higher lamp power settings can

shorten lamp life.

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Section 3 ► Operation

lamp modes are described below:

•

Max brightness: The lamp will always burn as brightly as possible, driven by 100% of the

power level rating for the installed lamp (see Section 6, Speciﬁcations). Keep in mind

that the “maximum brightness” for any lamp gradually diminishes with age — images will

become dimmer over time. its current output level appears in the “Intensity” option (not in

lumens).

Intensity: Brightness will remain close to a speciﬁed level for as long as possible. Once

you select this option, enter a number representing the intensity level (brightness) you

wish to maintain — the projector will automatically adjust power as needed to maintain this

intensity as closely as possible. note that the intensity value is a correlation only and does

not represent an actual lumens level. See “Intensity” below.

Power: The power supplied to the lamp will remain at your speciﬁed wattage level. Once

you select this option, enter the number of watts representing the power level you wish to

maintain. See “Power” below.

POWeR – This slidebar and number indicates how many

watts are applied to the lamp. you can apply anywhere from

approximately 60-65% of the maximum power intended for the installed lamp up to 100% of the

lamp rating. Set for the number of watts as desired, keeping in mind that lower power levels

produce dimmer images. When in either Power or Max brightness modes, the power level

remains constant. Specifying a maximum power level here is the same as operating in Max

brightness mode.

nOTes: Power level can be set only if the lamp is in Power mode.

InTensITY – This value and slidebar represents the current

brightness of your lamp, decreasing over time when you are

operating in Max brightness mode or at a speciﬁc Power level. When you are operating in

“Intensity” mode this value remains at the original “Intensity” setting chosen and cannot be

adjusted.

nOTe: The number shown for “intensity” is not the actual lumen output, but rather a correlated

value only — 1246 may represent 3500 lumens, for example.

To use “Intensity” mode, judge by eye (or use a meter) and set the level as desired for your

application. Over time, the projector will automatically increase the power supplied to the lamp

as needed to maintain the chosen intensity as closely as possible.

HOW lOnG Can I MaInTaIn bRIGHTness? Software can maintain your “Intensity” setting

until the required power reaches the maximum rating for the lamp. The lower the setting, the

longer it will take to reach this threshold and the longer you can maintain the desired brightness.

Keep in mind that once the lamp power reaches its maximum wattage (see “Power”, above), this

tracking is no longer possible. at this point, the lamp will gradually begin to dim as usual, even

though your original “Intensity” value will still appear in the menu. To resume accurate tracking,

reduce the intensity setting so that the resulting “Power” value is less than its maximum — the

lower the intensity, the longer it can be maintained.

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Section 3 ► Operation

For example, a 1000 watt lamp can be driven at no more than 1000 watts. To produce desired

brightness at the screen, a new lamp would likely need less than this maximum rating—perhaps

812 watts (example only). Over time, however, the lamp will require more and more current in order

to generate the desired light, until eventually the lamp wattage reaches its 1000-watt maximum

and the lamp power automatically levels off. at this point, the tracking function terminates (i.e.,

the power level stabilizes) and the lamp will begin to dim normally. either reduce your “Intensity”

setting or replace the lamp.

Do not lower the “Intensity” so much that the corresponding “Power” value reaches its minimum

— the intensity setting will be inaccurate and cannot be maintained. For best results in achieving

uniform intensity amongst tiled images, choose an “Intensity” setting that enables all lamps to

operate at less than the maximum number of watts available in your projector but high enough to

keep the corresponding lamp power above its minimum. See “Power”, above.

nOTes: 1) Lamps become more stable over time, thus a speciﬁc intensity is more easily

maintained as the lamp ages. 2) Intensity can be set only if the lamp is in “Intensity” mode 3)

Intensity cannot exceed the output of Max Brightness mode.

IRIs – The iriS inside the projector controls the diameter of the

Iris

light beam passing through the system. With a fully open aperture

(slidebar default of “0”), the maximum amount of light passes

through for maximum brightness in your images. increase the

slidebar setting to reduce the aperture diameter and maximize

contrast ratio instead.

laMP HIsTORY – This read-only option lists the lamps most recently installed

and recorded in the projector. lamp History automatically updates whenever

you record a new lamp serial number — the new lamp is added to the bottom

of the list.

Use CHanGe laMP to record the serial number for a newly installed lamp:

in the Lamp S/N window, use the number text entry keys to record the new lamp serial number

and press again to accept the change. See Using Slidebars and Other Controls if you need help

entering the number. Once entered, the new lamp serial number will be added to the Lamp

History menu and the Lamp Hours timer will reset to “0”. Lamp Mode and Lamp Limit remain as

they were for the previous lamp and can be changed at any time. See Figure 3.12.

Iris

Figure 3.12. Recording the New Lamp Serial Number

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Section 3 ► Operation

nOTe: Enter a serial number only if you have just installed a new lamp. This will help ensure

that lamp timer is not reset on an old lamp and that the number of hours logged on the lamp will

be accurate.

IMPORTanT: always record the serial number of a neW lamp.

How Old is My Lamp >

When a new lamp is installed and its serial

number recorded by selecting “Change lamp”

in the Lamp menu, the lamp timer resets to

“0” and begins logging time for the new lamp.

This tally appears in both the Lamp menu (see

right) and the Information menu.

To review the number of hours logged for

previous lamps, consult the Lamp History

menu.

Iris

if the “lamp message” checkbox has been

enabled in the Lamp menu (recommended),

an expiry message will appear upon power-up

when the lamp has reached its deﬁned “Lamp

limit”. The lamp should be replaced.

When to Replace the Lamp >

The “lamp limit” setting should not exceed the expected lamp life, as an old lamp becomes

increasingly fragile and more prone to sudden failure.

The read-only Information menu lists a variety of details about the standard and optional

components currently detected in the projector. refer to the Information 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 Information menu identiﬁes the current channel, its location, its frequencies and

other details.

Information Menu >









Scroll the full Information menu using

. Use

for page up/down.

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Section 3 ► Operation

WHaT Is WHITe FIelD UnIFORMITY?

3.9 achieving White

Field 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

Before You Begin

read through the entire procedure before attempting to adjust White Field Uniformity controls,

and keep in mind the following checklist of prerequisites and guidelines:



aDJUsT COlORs FIRsT —always adjust the primary colors as described in the “Matching

Colors in Multiple Screens” procedure (above) before attempting to work with White Field

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 White Field Uniformity results.



RUn laMPFOR100HOURs — Light output and White Field Uniformity can vary signiﬁcantly

during the ﬁrst 100 hours of lamp use. For best results with new lamps, either set up White

Field Uniformity after this period, or do an initial setup and re-check at 100 hours

seT laMP POWeR — ensure that 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 White Field 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 slIDe baRs — White Uniformity slide bar values may not reduce to

“0”. Each slide bar 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 slide bar to stop earlier than expected.



JUDGe bY eYe OR Use a MeTeR — Good White Field Uniformity can be achieved with

either.

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Section 3 ► Operation

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 White Field Uniformity

checkbox. This will enable access to the

uniformitycontrols and will apply the settings

to your image.

White Field Uniformity

1. Uniformity Enable

Test Pattern

Off

Left Uniformity

Right Uniformity

Top Uniformity

Bottom Uniformity

Top Uniformity

8. Color Adjustment by X,Y

Color Temp Adjust

Lamp

1c) Select the 13-Point test pattern for display. This pattern

provides nine screen “zones” with 13 targets.

FOR besT ResUlTs: rather than examining the CenTer

of each zone when assessing White Field 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 slide

bars 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. Donotexceed50.0

for “Overall”—a higher level will likely

interfere with achieving White Field

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.

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Section 3 ► Operation

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 eight target zones (four edges and

four 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 White Field Uniformity menu. Beginning with the screen that exhibits the most

obvious color shift(s), for each edge that exhibits a noticeably different color temperature

from the center, select the corresponding Uniformity adjustment menu — Left, Right, Top or

Bottom. For example, if any part of the left side is too blue, too red or too green, go to the

Left Uniformity menu and adjust the colors (i.e., change their light output) until all portions of

the left side closely match the center color temperature. Adjust an edge ﬁrst (focusing on its

center), and then adjust its corners. See Figure 3.17.

Figure 3.16. 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 Eight 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 3.17). 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.

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Section 3 ► Operation

Figure 3.17. Match Zones to Center Light Output

Step 4: Readjust Color Temperature (level of red/green/blue) in Eight Zones

nOTes: 1) At this point, ignore the brightness of individual zones. 2) Always ignore menu

colors.

4a) return to Steps 2a & 2b and, if necessary, ﬁne-tune the zones so that they all still exhibit a

single color temperature.

Cancelling White Field Uniformity

if you do not want to use or apply White Field Uniformity settings, delete the checkmark from the

“Uniformity enable” checkbox at the top of the White Field Uniformity menu.

3.10 edge blending

Edge Blending is an innovative set of software functions that can quickly and easily blend white

levels along the edges of multiple adjacent projected 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).

How Are Blends Used?

in multiple-projector walls, complementary blends between

neighboringimagescan compensate for the extra “brightness”

or intensity where these edges overlap. By controlling blend

width and other properties, you can achieve uniformity across

the group of images. Visible

overlaps will disappear:

Figure 3.18. Edge Blending Concept

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Section 3 ► Operation

For best results, use the same projector model and type throughout your display wall. in addition,

avoid high-gain screens whenever possible—the optical performance of such screens demands

minimal image offset, thus projectors must be located very close to one another.

edge blending software controls are located in the two-page Edge Blending submenu—access

via Display Setup menu, then go to the Geometry and Color menu and select Edge Blending.

The More option opens the second page of the Edge Blending submenu.

Main Functions

Use 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.

Slide bar values represent the number of eight-pixel steps used for the blend. For example,

a setting of “eight” 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 3.20). Decreasing the

Blend Shape setting slows the rate of change

so that more of the region appears mid-gray.

For most applications, this subtle control is

best left close to 50.

Figure 3.20. “Shape” Examples

•

blend Midpoint determines the white level

at the blend midpoint (the point equidistant

between the beginning and end of the blend).

increasing the Blend Midpoint setting creates

a blend that appears brighter than the rest of

the image. Decreasing the Blend Midpoint

setting creates a blend that is darker than

the rest of the image. a setting of 50 means

the midpoint is approximately 50% black—

for best results in most applications, keep

fairly close to this default.

Figure 3.21. “Midpoint” Examples

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Section 3 ► Operation

•

show blending Overlap turns your deﬁned

blend width area to solid gray so that, if

needed, simply overlapping the gray bars

can seamlessly align two adjacent images.

Toggle the Show Blending Overlap off to

reactivate the blend effect.

nOTe: Blending Overlap appears as

Reserved when Wolf WARP is installed.

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

nOTe: Before attempting to work with edge blending software functions, you must 1) physically

align the projectors/images by correctly overlapping the displays from your intended external

source, and 2) Match colors and White Field Uniformity.

IMPORTanT: For a shared edge, all Blend procedures and settings should be identical on BOTH

projectors.

1. Start with two projectors. Display full white ﬁeld test pattern from both.

2. in the Edge Blending submenu, enable Edge Blending by entering a checkmark in the top

checkbox.

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 3.21. Set Starting Points for Each Projector

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Section 3 ► Operation

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 blend” 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. Use the following

as a guide (examples show overlapping width only — values for overlapping height will differ):

•

recommended overlap is 12.5% - 25%

Black Edge Blending >

Similar to edge Blending, Black edge Blending allows you to adjust the black level hues of

multiple adjacent projected images to create one large seamless display. edge blending must be

enabled in order to use the Black edge Blending features.

Black Edge Blending Procedure

nOTes: 1) Adjust white levels before adjusting black levels. 2) The zones in BLB menu

correspond to the Edge Blend zones. If a given Edge Blend zone width is set to 0 (i.e. no blend

on that side) then the corresponding BLB zone is disabled. It only becomes accessible when that

Edge Blend zone is active.

1. Start with two projectors. Select the black test pattern for both projectors from the Geometry

and Color submenu.

2. in the Black Edge Blending submenu, enable black blending by putting a checkmark in the

checkbox for each projector.

Black Edge Blending

3. Working with one projector at a time, use the center brightness slide bar to adjust the center

brightness (brightness of the non-blended region) so that the center intensity matches that

of the brightest blended region (the center of all images when blending a 2 x 2 display is the

target area).

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Section 3 ► Operation

4. Use the following three color slide bars, Black red level, Black Green level and Black Blue

level, so the black hue of each projector matches.

5. you can choose which of the next four options, Top, Bottom, left, right, to use depending on

which edge of the projector you are working with has been edge blended. The blend width

can be adjusted to line up properly but by default it corresponds to the edge blending setting

determined for that edge.

6. The brightness and black hues of the blended region can be adjusted in more detail in case

ﬁne-tuning is needed (may be only necessary for blending a 2 x 2 projector display because

of blending differs for the sides and center).

nOTes: 1) The menu options vary depending on the Edge Blending parameters. 2) You may

need to re-adjust the black level hues following the overlap adjustments on each blended edge.

3) When adjusting six or more projectors, you need to ensure that the hue and brightness of each

target area is matched at closely as possible.

3.11 Remote Control of

the Projector

as an alternative to using a keypad, most projector functions can be controlled remotely, typically

at a controller such as a PC, via 1) simple bi-directional aSCii messaging on an ethernet or serial

communication link or 2) a web interface or 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.

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 Serial

Communications document available at the Wolf Cinema 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 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

slide bars.

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 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.

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Section 3 ► Operation

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

•

Toseeerrormessagesdisplayedon-screen,selectthe“screen”or“all”option(recommended

by Wolf Cinema).

•

To be notiﬁed via a serial communication only, select the “Rs232” option.

To receive both types of notiﬁcations, select “all”.

To disable error messages (except for “invalid user key entry”, which can’t be hidden), select

“Off”.

note that a two-digit error code appears in the status leD display window located beside the

built-in keypad at the rear of the projector. normal operation is indicated by the “On” status

code.

Auto

Input 1

BNC

Input 2

DVI

Help

Exit

Setup

Lens

Shift

Input 3

Video

Input 4

S-Vid

Input 5

Opt.1

Input 6

Opt.2

Shutter

Invalid User Entry

User Errors >

a keypad entry not recognized by the projector triggers a short on-screen error message

identifying the problem. For example, if you specify a channel number that is not available,

the message “invalid Channel will appear. Or if you try to enter the wrong password, you’ll see

exit



“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 >

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 is 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 Information menu. if they are correct, the

projector does not recognize the signal. On some PCs you may be able to change the settings

to generate a compatible signal. if the frequencies shown in the Information menu are incorrect,

check the cabling to see where the problem might originate.

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Section 3 ► Operation

System Warnings / Errors >

When the projector encountersa system malfunction, either a System Warningmessage

or a System error message may appear. Both types of messages are accompanied by

a numerical error code on the status leD display. a system malfunction can be cleared

exit

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

exit

should be investigated. you can press

results you should reset the projector — power the projector down and up again with

the (power) key.

to remove the message, but for best

system errors

a system error message indicates that a serious malfunction has been detected and

must be investigated as soon as possible (see Status leD Codes, below). The projector

will no longer operate and must be reset — power the projector down and up again with

the

(power) key.

The status leD Codes

if the status code display on the back of the projector shows one of the following values,

you have encountered a likely system error requiring the attention of a qualiﬁed service

technician (see System Warnings and System Errors, above). acknowledge and clear the

exit

error with

from presentation level, or try resetting the projector by powering it

off and on again, cooling when necessary. Consult Table 3.5 and contact your dealer if the

problem persists.

The speciﬁc code number identiﬁes the source of the error detected, and is particularly

useful in cases where the projector is far away. For example, the code “27” means the

lamp could not be turned on. error codes for this projector are listed in Table 3.5 on the

next page.

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Section 3 ► Operation

Code Description

GENERAL

BUILT-IN KEYPAD

Software bug. Contact dealer/factory.

Unable to access eePrOm on the built-in keypad

eePrOm memory re-initialization on the built-in keypad

PANEL DRIVER AND FORMATTER

Unrecognized Panel Driver

CRC error in ﬂash ROM. Download new software.

engineering-only programming is complete. Call Wolf Cinema, replace TiPm.

attempting to download code without being in boot mode

invalid interrupt. Power off/on. if it persists, contact dealer/factory.

User forced system to stay in boot mode

Jumper for programming boot not installed

LAMP FAILURES

Unable to program device on Panel Driver

TI ﬂash download failure

lamp turned on unexpectedly (fault related to ballast)

Lamp airﬂow low, overheating imminent

Cannot read valid ballast iD

Ti-i2C write failure

One or more Formatters not responding — Probable Formatter s/w fault

Formatter reports rDram failure

lamp 1 interlock: lamp door open, lamp not installed

Can’t turn lamp on

red modular Formatter communication failure

Green modular Formatter communication failure

Blue modular Formatter communication failure

modular formatter architecture error

lamp turned off unexpectedly

lamp ballast overheated

POWER AND COOLING

modular formatter DmD mismatch

red DmD temperature probe overheated

Projector shutdown due to critical error

lamp blower failure (lamp not turned on)

lVPS fan failed (Fan 1)

modular formatter sequence mismatch

MISCELLANEOUS

Unable to program the optional module

Unable to power the optional module

Unable to program the Dual Slot Backplane module (DSBP)

Unable to program the optional Post Processing module (Warp module)

lVPS/ red cooling fan failed (Fan 2)

DC lamp fan failed in 500W / 1kW models (Fan 3)

red DmD heatsink fan failed on 1kW and 1.2kW models (Fan 4)

Green DmD heatsink fan failed on 1kW and 1.2kW models (Fan 5)

Blue DmD heatsink fan failed on 1kW and 1.2kW models (Fan 6)

TiPm fan failed (Fan 7)

exit

Clear system errors with

. If necessary, try resetting the

projector by powering it off and on again (cooling if necessary). For

detailed information, monitor the RS232 IN port. Contact dealer/

factory if error persists. Codes omitted from this table should not

appear in your projector.

TiPm fan failed (Fan 8)

TIPM (Image Processor)

Boot code CrC failed

Unable to program Digmux PlD

Unable to program Control PlD

Unable to program Bubks PlD

Unrecognized rOm type

Write to ﬂash ROM failed

TiPm failure

Downloaded code will not ﬁt

Table 3.5 Error Codes

Scaler communication problem

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seCTIOn 4

MaInTenanCe

The projector is an international regulatory agency approved product designed for safe and

reliable operation. To assure complete safety at all times it is important to acknowledge the

following precautions while operating the projector.

4.1 Warnings and safety

Guidelines

WaRnInG

always power down the projector using appropriate procedure and disconnect

all power sources before cleaning or servicing.

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.

CaUTIOn

Qualiﬁed personnel should perform installation ONLY.

Labels and Markings >

Observe and follow all warnings and instructions marked on the projector.

The exclamation point within the equilateral triangle alerts the user to important

operatingandmaintenance(servicing)instructionsintheliteratureaccompanying

the projector.

The lightning ﬂash and arrowhead symbol within the equilateral triangle alerts

the user to uninsulated “dangerous voltage” within the projector’s enclosure

that may be of sufﬁcient magnitude to constitute a risk of electric shock.

Instructions >

read all operating instructions prior to using the projector.

Projector Location >

Operate the projector in an environment, which meets the operating range speciﬁed in

Section 6 – Speciﬁcations.

•

Do not operate the projector close to water, such as near a swimming pool. Do not

operate in extremely humid environments.

Do not place the projector on an unstable cart, stand or table. a projector and cart

combination should be used with care. Sudden stops, excessive force and uneven

surfaces may cause the projector and cart combination to overturn.

•

Only use Wolf Cinema-approved ceiling mount ﬁxture, if the projector is to be

ceiling mounted.

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Section 4 ► Maintenance

lamp: The projector uses a Cermax® Xenon lamp to deliver its high brightness. a lamp should

be replaced when it has reached its end of life or if a noticeable change in brightness occurs.

Keep track of the number of hours the lamp has been in use (Lamp Menu) and be aware of

any changes to brightness. These indicators will help you effectively maintain operation of the

projector.

Lamp >

WaRnInG

Wait approximately ﬁve minutes after powering down the projector to allow

internal cooling fans to stop and for the lamp to cool sufﬁciently before

removing.

never attempt to remove the lamp housing directly after use. The lamp is under

great pressure when hot and may explode, causing personal injury and/or

property damage. allow cooling completely.

WaRnInG

Use only lamps supplied by Wolf Cinema.

Use lamps of the correct wattage for your projector model when replacing.

Filter: Replace the ﬁlter when you replace the lamp or sooner if required. It is important the ﬁlter

be replaced regularly to ensure sufﬁcient airﬂow through the projector, otherwise it could cause

the projector to overheat.

WaRnInG

Use only ﬁlters supplied by Wolf Cinema.

refer to 4.4 Lamp and Filter Replacement for instructions.

Power Cord and >

Attachments

The north american rated power cord is provided with each projector. ensure that

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

rating standards.

Use only the attachments and/or accessories recommended by Wolf Cinema.

Use of others may result in the risk of ﬁre, shock or personal injury.

WaRnInG

Use only an aC power cord recommended by Wolf Cinema.

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

voltage and power range.

•

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.

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.

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Section 4 ► Maintenance

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 >

•

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 insert 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.

Servicing >

if any of the following conditions exist, immediately unplug the projector from the power outlet

and ask a qualiﬁed service technician to look at it.

•

The power cord has been damaged.

The internal cooling fans do not turn on within two minutes 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

Wolf Cinema 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 other

damage.

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Section 4 ► Maintenance

4.2 Cleaning and

Maintenance Guide

Part

Description

Frequency

action

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

solventsthatcontain ammonia. Use compressed

air to remove any particles remaining on the

lens.

lens

as required

Clean: Clean if absolutely necessary. never

touch the glass surface of the lamp. Fingerprints

left on the glass 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.

as required

1000 hrs or

lamp

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 and Filter

sooner if required Replacement procedure later in this section.

Clean: Clean dust from external covers using

a clean, lint free cotton cloth as required.

Covers

(external)

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.

Table 4.1. Maintenance Guide

WaRnInG

Proper face shield and protective gloves are required if

the lamp module is removed from the projector.

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Section 4 ► Maintenance

The ir remote Keypad uses two aa size, 1.5V batteries (preferably alkaline). To install new

batteries:

4.3 Replacing Remote

batteries

1. Open the battery compartment at the backside of the keypad by placing your thumb in the

oval depression and sliding the cover out about ½ inch. See Figure 4.1. remove the old

batteries and properly discard. Wait a minute or two.

Figure 4.1.Replacing Batteries

2. Place the new batteries in the compartment, orienting the positive/negative of each battery

according to the labels in the compartment. When the batteries are in place, replace the

cover by placing the cover ½ inch from its closed position and slide it into place. Do not

force the cover.

nOTe: Always wait a minute or two when replacing batteries so that the internal electronics

discharge and can recognize the change.

4.4 lamp Replacement

Use the following instructions when replacing the lamp. The lamp is located at the back of the

projector (below the input panel) and can be accessed by removing the lamp access panel. Use

only the Wolf Cinema approved Lamp and Filter Kit for your speciﬁc projector model. See Table

4.2 below.

Projector Model

DCX-500i

lamp (Watts)

500W

Part number

DCX-500i

DCX-500FD

DCX-1000i

500W

DCX-500FD

DCX-1000i

DCX-1000FD

DCX-1500i

DCX-1500FD

1000W

1225W

DCX-1000FD

DCX-1500i

DCX-1500FD

a lamp should be replaced when it reaches its end of life (2000 hours, typical) or sooner if a

noticeable degradation in brightness occurs (typical in aging lamps). you can set the number of

hours you expect to log with the lamp before replacing it, by setting the lamp limit in the lamp

menu. you can also enable a warning message to appear upon powering up the projector that

will indicate the lamp has reached the limit you set, by entering a checkmark beside the lamp

message option. nOTe: The lamp mode you choose to run the projector in may have an impact

on the number of hours expected for the lamp.

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Section 4 ► Maintenance

nOTe: The lamp mode you choose to run the projector in may have an impact on the number

of hours expected for the lamp.

Tools required: #2 Phillips screwdriver

Warnings

A qualiﬁed service technician must perform lamp replacement.

Cool the lamp completely and handle by the housing only.

Install the correct wattage lamp supplied by Wolf Cinema (see above) and read the

lamp Replacement procedure in its entirety before proceeding.

Do not touch the glass surface of the lamp. Fingerprints left on the surface can

lead to an intense accumulation of heat called a “hotspot”, which could potentially

result in the lamp shattering. It is recommended you wear clean, lint-free gloves

and a face shield when working with the lamp.

1. TURn THe laMP OFF

Press

(power) to turn the lamp off. allow the cooling fans to stop automatically (within

approximately ﬁve minutes) before proceeding with Step 2. This wait period is also required

to allow the lamp to sufﬁciently cool before handling.

2. UnPlUG THe PROJeCTOR

When the cooling fans have stopped, turn the projector’s main switch off, and unplug.

WaRnInG

always power down and unplug the projector prior to servicing.

allow the lamps to cool before handling.

3. ReMOVe THe laMP DOOR

WaRnInG

Protective gear required. Wear a face shield.

Using a #2 Phillips screwdriver, remove the two (2) screws securing the lamp door, which is

located at the rear of the projector below the input panel. See Figure 4.2.

Lamp Door - 2 Screws

Figure 4.2. Open Lamp Door

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Section 4 ► Maintenance

4. Release THe laMP lOCK

Pull out and turn the lamp lock lever, which is located to the left of the lamp module, and turn

it ¼ turn counter clockwise to the “unlock” position. See Figure 4.3.

Top_FiV_gureie_4.3.w_{Release the Lamp Lock}

5. ReMOVe THe laMP MODUle

Firmly grasp the lamp by its housing only and pull it straight out (lamp slides along guides)

until it is free. See Figure 4.4. Discard the lamp using safe disposal/recycling practices.

Figure 4.4. Remove the Lamp Module

6. InseRT THe neW laMP MODUle

align the new lamp with the top and bottom guides on the left side of the lamp compartment

(see Figure 4.5). Slide the lamp all the way in – a slightly harder push may be required right

at the end to ensure it’s fully seated into the terminal block.

nOTe: The lamp module must make full contact with the terminal block. The projector will

not power up again if the lamp is not fully connected to the terminal block.

Figure 4.5. Insert New Lamp Module

WaRnInG

Improper installation could cause a serious meltdown inside the projector.

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Section 4 ► Maintenance

7. lOCK In THe neW laMP MODUle

Pull out and turn the lamp lock lever (turned up in Step 4) ¼ turn clockwise to “lock” the lamp

in place.

nOTe: If you can’t turn the lamp lock into position, it is likely the lamp is not fully inserted. In

this case, partially remove the lamp and try pushing it back in again. Then, try switching the

lock lever to the “lock” position.

8. RePlaCe THe laMP DOOR

replace the lamp door and secure it with the two (2) screws removed in Step 2.

IMPORTanT: The lamp module is calibrated for maximum performance and brightness in

this projector. Do not attempt to re-align or adjust the lamp module.

9. ReCORD THe seRIal nUMbeR OF THe neW laMP

•

Plug in the projector and power it up.

in the lamp menu, select “Change lamp”.

in the lamp S/n text box, enter the serial number.

Press to record the number and to reset the lamp timer. The timer will now begin to log time

for the new lamp.

Lamp

Lamp Hours

Lamp S/N

1. Lamp Message

Lamp Limit

Lamp Mode

Power

1000

Power

500

Intensity

New serial# entry

automatically updates

Lamp History...

Iris

Lamp History

Change Lamp

S/N Hours

5679 1001

1234 0

Lamp S/N

...and resets Lamp

Hours to “0”

IMPORTanT: if you neglect to enter a serial number, the lamp timer will not reset to “0” and

will therefore be inaccurate. The lamp life limit may then expire prematurely.

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Section 4 ► Maintenance

A variety of lenses can accommodate different throw distances and speciﬁc types of installations.

Refer to Section 6 - Speciﬁcations for details. To change a lens, follow the steps below. No tools

are required for “compact” lenses shown.

4.5 Replacing the

Projection lens

Turn off the projector, cool and unplug

STEP 1 >

nOTe: If necessary, a lens can be swapped out while the projector is running, but this can result

in dust being drawn into the projector. Avoid if possible.

Before removing or installing any lens, turn off the projector and allow the fans to cool the lamp

before unplugging the projector. ensure that the lens cap is on.

WaRnInG

Unplug the projector.

Figure 4.8. Lens Assembly

Install the lens cap and press the lens release button.

See Figure 4.9.

STEP 2 >

Figure 4.9. Depressing Lens Release

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Section 4 ► Maintenance

STEP 3 >

Rotate the lens

rotate the lens counter-

clockwise until the tabs are

free from the lens retainer ring.

See Figure 4.10a.

nOTe: The connector slide

assembly allows the connector

to move as the lens is rotated.

STEP 4 >

STEP 5 >

Pull lens out

lensconnectorswilldisconnect

when you pull the lens straight

out from the projector. See

Figure 4.10B.

Figure 4.10. Rotating the Lens

Insert new lens

NOTE: Remove small rear cap! Keep front cap on.

•

Electrical connector: line up male connector on the lens with the female connector on the

connector slide assembly.

Insert lens: align the tabs on the lens plate lock with the slots in the lens retainer ring. Push

the lens in approximately ½ inch.

Rotate the lens: rotate the lens clockwise until the tabs are tightly secured and the lens

release button CliCK.

Secure lock-down screws (optional): For added

stability, secure the adjustment screws provided

on the lens-retaining ring (see Figure 4.11). if you

have installed a large zoom lens, one or more of the

screws may be inaccessible—simply tighten those

that are accessible (Figure 4.12).

nOTe: Recommended for heaviest lenses such as

0.73:1 and 1.2:1.

Figure 4.11. Adjustable Screws on

STEP 6 >

STEP 7 >

Power Up

Retaining Ring

remove the lens cap and power up the projector.

Reposition the Projector for New Lens

reposition the projector closer or further from the

screen as necessary for the screen and the new lens

type – refer to lens descriptions in Section 2, Section

6 and Appendix D, Throw Distance. in a permanent

installation, always use the appropriate throw distance

formula to calculate the best position for the projector.

Figure 4.10. View with Zoom Lens installed

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seCTIOn 5

sPeCIFICaTIOns

DCX-500i and

DCX-500FD

DCX-500i

Cinema Contrast three chip DLP™ light engine

Filmic Color Correction Filter

DCX-500FD

Cinema Contrast three chip DLP™ light engine

Filmic Color Correction Filter

light engine

Color Filter

lamp

Xenon lamp 500W

lens system

lens Options

VariScope constant height lens system

†

.67:1** RP lens

1.1:1** FP lens

1.45-1.8:1*

1.86-2.58:1*

2.65-4.0:1*

4.5-6.7:1*

.67:1** RP lens

1.1:1** FP lens

1.45-1.8:1*

1.86-2.58:1*

2.65-4.0:1*

4.5-6.7:1*

Gamma

Correction

Film 1 Correction

Film 2 Correction

B&W Film Correction

Film 1 Correction

Film 2 Correction

B&W Film Correction

Incandescent Light Correction

Fluorescent Light Correction

Sunlight Correction

Incandescent Light Correction

Fluorescent Light Correction

Sunlight Correction

Picture Quality

Multi Standard Color Management and

Calibration Control

Multi Standard Color Management and

Calibration Control

White Field Uniformity/Correction

Communications RS232 in and out

RS232 in and out

IR input

Wolf Sentry IP monitoring and control

Inputs

6 HDMI 1.3 inputs (1 on front panel),

2 Component, 1 S-Video, 1 Composite

6 HDMI 1.3 inputs (1 on front panel),

2 Component, 1 S-Video, 1 Composite

Outputs

1 HDMI 1080P Video (set to native rate of

display)

1 HDMI 1080P Video (set to native rate of

display)

1 HDMI audio loop out with delay

Contrast Ratio

lumens

2,500- 50,000:1 full on/off ***

2500***

2,500- 50,000:1 full on/off ***

2500***

lamp life

Power

2500 to 4000 depending on lamp power setting

100 VAC to 240 VAC ± 10% @ 50/60 Hz,

Power consumption: 900W maximum,

Thermal dissipation: 3000 BTU/hr,

100 VAC to 240 VAC ± 10% @ 50/60 Hz,

Power consumption: 900W maximum,

Thermal dissipation: 3000 BTU/hr,

Operating current: 9.5A @ 100V/5A @ 200V

Dimensions

Length: 21 1/2

Width: 28 1/4

Height: 11 1/2

Length: 41 5/8

Width: 29 7/8

Height: 12 1/8

Dimensions with

Variscope 2.35

Length: 31 3/4

Width: 28 1/4

Height: 11 1/2

Length: 41 5/8

Width: 29 7/8

Height: 12 1/8

Options

VariScope 2.35

Automated 2.35 lens and motor for use with

VariScope lenses

Automated 2.35 lens and motor for use with

VariScope lenses

Wolf Warp

Geometric distortion correction for more ﬂexible

installation solutions

Geometric distortion correction for more ﬂexible

installation solutions

** VariScope feature not available with this lens option.

*** Depending on lamp power setting, installed iris and iris setting.

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Section 5 ► Speciﬁcations

DCX-1000i and

DCX-1000FD

DCX-1000i

Cinema Contrast three chip DLP™ light engine

Filmic Color Correction Filter

DCX-1000FD

Cinema Contrast three chip DLP™ light engine

Filmic Color Correction Filter

light engine

Color Filter

lamp

Xenon lamp 1000W

lens system

lens Options

VariScope constant height lens system

†

.67:1** RP lens

1.1:1** FP lens

1.45-1.8:1*

1.86-2.58:1*

2.65-4.0:1*

4.5-6.7:1*

.67:1** RP lens

1.1:1** FP lens

1.45-1.8:1*

1.86-2.58:1*

2.65-4.0:1*

4.5-6.7:1*

Gamma

Correction

Film 1 Correction

Film 2 Correction

B&W Film Correction

Film 1 Correction

Film 2 Correction

B&W Film Correction

Incandescent Light Correction

Fluorescent Light Correction

Sunlight Correction

Incandescent Light Correction

Fluorescent Light Correction

Sunlight Correction

Picture Quality

Multi Standard Color Management and

Calibration Control

Multi Standard Color Management and

Calibration Control

White Field Uniformity/Correction

Communications RS232 in and out

RS232 in and out

IR input

Wolf Sentry IP monitoring and control

Inputs

6 HDMI 1.3 inputs (1 on front panel), 2

Component, 1 S-Video, 1 Composite

6 HDMI 1.3 inputs (1 on front panel), 2

Component, 1 S-Video, 1 Composite

Outputs

1 HDMI 1080P Video (set to native rate of

display)

1 HDMI 1080P Video (set to native rate of

display)

1 HDMI audio loop out with delay

Contrast Ratio

lumens

2,500- 50,000:1 full on/off ***

5500***

2,500- 50,000:1 full on/off ***

5500***

lamp life

Power

2500 to 4000 depending on lamp power setting

100 VAC to 240 VAC ± 10% @ 50/60 Hz,

2500 to 4000 depending on lamp power setting

100 VAC to 240 VAC ± 10% @ 50/60 Hz,

Power consumption: 1500W maximum, Thermal Power consumption: 1500W maximum, Thermal

dissipation: 5460 BTU/hr, Operating current:

10.4A @ 100V/8A @ 200V

dissipation: 5460 BTU/hr, Operating current:

10.4A @ 100V/8A @ 200V

Dimensions

Length: 21 1/2

Width: 28 1/4

Height: 11 1/2

Length: 41 5/8

Width: 29 7/8

Height: 12 1/8

Dimensions with

Variscope 2.35

Length: 31 3/4

Width: 28 1/4

Height: 11 1/2

Length: 41 5/8

Width: 29 7/8

Height: 12 1/8

Options

VariScope 2.35

Automated 2.35 lens and motor for use with

VariScope lenses

Automated 2.35 lens and motor for use with

VariScope lenses

Wolf Warp

Geometric distortion correction for more ﬂexible

installation solutions

Geometric distortion correction for more ﬂexible

installation solutions

** VariScope feature not available with this lens option.

*** Depending on lamp power setting, installed iris and iris setting.

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Section 5 ► Speciﬁcations

DCX-1500i and

DCX-1500FD

DCX-1500i

Cinema Contrast three chip DLP™ light engine

Filmic Color Correction Filter

DCX-1500FD

Cinema Contrast three chip DLP™ light engine

Filmic Color Correction Filter

light engine

Color Filter

lamp

Xenon lamp 1225W

lens system

lens Options

VariScope constant height lens system

†

.67:1** RP lens

1.1:1** FP lens

1.45-1.8:1*

1.86-2.58:1*

2.65-4.0:1*

4.5-6.7:1*

.67:1** RP lens

1.1:1** FP lens

1.45-1.8:1*

1.86-2.58:1*

2.65-4.0:1*

4.5-6.7:1*

Gamma

Correction

Film 1 Correction

Film 2 Correction

B&W Film Correction

Film 1 Correction

Film 2 Correction

B&W Film Correction

Incandescent Light Correction

Fluorescent Light Correction

Sunlight Correction

Incandescent Light Correction

Fluorescent Light Correction

Sunlight Correction

Picture Quality

Multi Standard Color Management and

Calibration Control

Multi Standard Color Management and

Calibration Control

White Field Uniformity/Correction

Communications RS232 in and out

RS232 in and out

IR input

Wolf Sentry IP monitoring and control

Inputs

6 HDMI 1.3 inputs (1 on front panel), 2

Component, 1 S-Video, 1 Composite

6 HDMI 1.3 inputs (1 on front panel), 2

Component, 1 S-Video, 1 Composite

Outputs

1 HDMI 1080P Video (set to native rate of

display)

1 HDMI 1080P Video (set to native rate of

display)

1 HDMI audio loop out with delay

Contrast Ratio

lumens

2,500- 50,000:1 full on/off ***

7250***

2,500- 50,000:1 full on/off ***

7250***

lamp life

Power

2500 to 4000 depending on lamp power setting

200 VAC to 240 VAC ± 10% @ 50/60 Hz,

2500 to 4000 depending on lamp power setting

200 VAC to 240 VAC ± 10% @ 50/60 Hz,

Power consumption: 2000W maximum, Thermal Power consumption: 2000W maximum, Thermal

dissipation: 6825 BTU/hr, Operating current: 10A dissipation: 6825 BTU/hr, Operating current: 10A

@ 200V

Dimensions

Length: 21 1/2

Width: 28 1/4

Height: 11 1/2

Length: 41 5/8

Width: 29 7/8

Height: 12 1/8

Dimensions with

Variscope 2.35

Length: 31 3/4

Width: 28 1/4

Height: 11 1/2

Length: 41 5/8

Width: 29 7/8

Height: 12 1/8

Options

VariScope 2.35

Automated 2.35 lens and motor for use with

VariScope lenses

Automated 2.35 lens and motor for use with

VariScope lenses

Wolf Warp

Geometric distortion correction for more ﬂexible

installation solutions

Geometric distortion correction for more ﬂexible

installation solutions

** VariScope feature not available with this lens option.

*** Depending on lamp power setting, installed iris and iris setting.

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aPPenDIX a

KeYPaD ReFeRenCe

nOTe: The IR remote is a standard component provided with the projector. Use the extension

cable also provided to convert the IR remote to a wired remote, if desired. Refer to Section 3 for

a speciﬁc description of each key and how to use them correctly.

Quick

Setup

Quick Setup

Press and hold to toggle or press twice to toggle or press and release, followed by ▲ ON or ▼ OFF

* Toggle keys, which require you to either, press and hold, or press twice or press and use the

up/down arrow key.

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aPPenDIX b

seRIal COMMUnICaTIOns

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 nine-wire rS232 serial cable to the Rs232 In port. Or, for long-distance

(>100 ft.) links with an rS422-compatible PC or controller, connect rS422 cable to the

Rs422 port.

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Appendix B ► Serial Communications

DCX Projector serial Communications

Quick start

Protocol:

baud Rate:

Data bits:

Parity:

stop bits:

Flow Control:

115200

none

Controls:

Power

Command string

(PWr 1)

OFF

(PWr 0)

Input select

Channel 1

Channel 2

Channel 3

Channel 4

Channel 5

Channel 6

Channel 7

Channel 8

Channel 9

Channel 10

Channel 11

Channel 12

Channel 13

Channel 14

Channel 15

Channel 16

Channel 17

Channel 18

Channel 19

Channel 20

------To------

Channel 99

Command string

(CHa1)

(CHa2)

(CHa3)

(CHa4)

(CHa5)

(CHa6)

(CHa7)

(CHa8)

(CHa9)

(CHa10)

(CHa11)

(CHa12)

(CHa13)

(CHa14)

(CHa15)

(CHa16)

(CHa17)

(CHa18)

(CHa19)

(CHa20)

----To----

(CHa99)

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Appendix B ► Serial Communications

1. Overview

Overview

This document describes how to use aSCii text communications to control one or more of the

following Wolf Cinema projectors from a remote location:

•

DCX-500i

DCX-500FD

DCX-1000i

DCX-1000FD

DCX-1500i

DCX-1500FD

COnneCTIOn and Use: Once you have connected your computer to either the Rs232 In or

Rs422 In port (depending on which standard is supported by your computer) or to the eTHeRneT

port on a projector listed above, you can remotely access projector controls and image setups,

issue commands or queries, and receive replies. Use these bi-directional messages to:

•

Control multiple projectors

Obtain a projector’s status report

monitor sequences of events

Diagnose performance problems

NOTES: 1) Refer to the User’s Manual provided with the projector for all cable requirements and

other connection details. 2) Some commands are operational only when projector is powered

up.

2. Understanding

Message Format

Understanding Message Format

all “remote control” information passes in and out of the projector as a simple text message

consisting of a three letter command code and any related data. Opening and closing round

brackets (parentheses) surround each message as shown below. messages can be a command

to set a projector parameter at a speciﬁc level, such as changing to a certain channel. Or the

controller can request information, such as what channel is currently in use—the projector then

returns the data in a reply message. regardless of message type or origin, all messages use

the same basic format and code as shown here.

Message Format

Function

Examples

(CHA 24)

(

)

Code

(

Data

Code

Data

SET (set channel to 24)

From

Controller

(CHA24)

REQUEST (what's current channel?)

(CHA?)

From

Projector

(

Code

REPLY (channel is 24)

(CHA!24)

Figure 1. . The 3 Message Formats (SHADED MESSAGE IS FROM PROJECTOR)

Where applicable, a message may expand to include additional parameters of related details.

and, if desired, you can choose to include optional information such as acknowledgements,

checksums, and network addressing.

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Appendix B ► Serial Communications

basic Message structure

2.1 basic Message

The following component ﬁelds comprise a standard ASCII message. Optional ﬁelds, such as

extra characters for special modes, restrictions or added functionality, are shown in shaded

areas.

structure

sTaRT anD enD OF MessaGe: every message begins with the left “(“character and ends

with the right “)“ character. note that if the start character is received before an end character of

the previous message, the partial (previous) message is discarded.

PREFIX CHARACTERS (OPTIONAL): For acknowledgement that the projector has responded,

and/or to maximize message integrity, insert one or two special characters before the 3-character

function code:

Acknowledgment. See 2.4, Maximizing Message Integrity

Checksum. See 2.4, Maximizing Message Integrity

FUnCTIOn CODe: The projector function you wish to work with, such as channel selection or

gamma, is represented by a three-character aSCii code (a-Z, upper or lower case). This function

code appears immediately after the leading “(“ that starts the message. in messages sent to the

projector, a space between the function code and the ﬁrst parameter (or special character) is

optional.

ReQUesT/RePlY sYMbOls: if the controller is requesting information from the projector,

a “?” question mark appears directly after the function code. if the projector is replying, a “!”

exclamation mark appears directly after the function code. For set messages to the projector,

neither of these characters appear—the code is followed by the data itself (see next).

OTHER SPECIAL FUNCTIONS (OPTIONAL): To add functionality to the current message,

include one or more of the following special characters between the function code and ﬁrst

parameter. If more than one (M SP), add in any order.

Auto Mode adjustment (rare—for video standard selection only). See 2.6, Other

Special Functions

Enable Control Inquiry. See 2.6, Other Special Functions

Global Control Inquiry. See 2.6, Other Special Functions

Return the Help text for a control. See 2.6, Other Special Functions

Used as an index for controls containing many values. See 2.6, Other Special

Functions

Keypad emulation. See 2.6, Other Special Functions

Return a list of options for ‘list’ controls. See2.6, Other Special Functions

Find min/max adjustments (i.e., range). See 2.6, Other Special Functions

Return the name of the control. See 2.6, Other Special Functions

Adjust a speciﬁc source setup only. See 2.6, Other Special Functions

Return the type of control (i.e. Slidebar etc.). See 2.6, Other Special Functions

Adjust image in PIP window. See 2.6, Other Special Functions

DaTa: The value for a given projector state, such as “on” or “off”, appears in aSCii-decimal

format directly after the request/reply symbol. you can add an optional space after the symbol—

i.e., before the data—in a set message, but data in replies follow the “!” symbol without a space.

Other details to remember about data:

•

All values returned by the projector (reply messages) have a ﬁxed length of either 3 or

5 characters regardless of the actual value—the value is padded with leading zeros as

necessary.

•

Data in set messages to the projector does not require padding with zeros.

For any given parameter, data is always the same number of characters. e.g., the shutter

value, which is either “on” (1) or “off” (0) is always 3-digits: 001 or 000.

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Appendix B ► Serial Communications

•

Within each message, multiple parameters of data must be separated by one “space”

character.

Data pertaining to a source setup other than the current source setup is preceded by: the

letter “S”, the source setup number (i.e., channel), and a space. This is similar to an “extra”

parameter P0.

•

Text parameters such as channel names are enclosed in double quotes following the data,

as in “name”.

TeXT PaRaMeTeRs: most data is simply a numerical value, however some messages also

require text. For example, a channel naming message typically includes a text-based name

after the channel number—enclose this text in double quotation marks, as in “Tilt the Wagon”.

Use all characters as desired except for the following special characters shown in the left column

below—these require a 2-character combination as shown:

Table 1. special Characters for Text

If you want this... enter this... Description

\“

Backslash

“

Quote

(

left bracket

)

right bracket

0x01

0x0a

Start of binary message (control code)

new line - if the text can be displayed on more than one

line, this will set the line break.

0x1b

0x0e

0x11

0x13

control code (eSC)

end of binary message (control code)

Xon (control code)

Xoff (control code)

2.2 sampling Messages

sampling Messages and Their Meaning

and Their Meaning

Desired action

Message

(CHa?)

Description

Get current Chan#

Chan# reply from proj.

Set Chan#

request by controller for current channel #

reply from proj. that current channel is 24

Switch to the ﬁrst channel on the TPC

request by controller for OSD state.

(CHa!24)

(CHa 24)

(OSD?)

Get on-screen display status

On-screen display is disabled. (OSD!000) reply from proj. that menus are not displayed

Set on-screen display to On

(OSD 1)

Turn the menu system on.

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Appendix B ► Serial Communications

• For Single Projector

• For Broadcasting

Message Format

Function

Examples

(

)

Code

(

Data

(con64)

SET (set contrast to 64)

Code

(Con?)

REQUEST

(what's current contrast?)

(

Code

Data

(CON!064)

REPLY (contrast is 64)

SET AND

ACKNOWLEDGE MESSAGE

(message processed?)

Code

($con64)

space

(

(&CON64 240)

SET WITH CHECKSUM

Code

Data

Checksum

• For Specific Projector Within a Network

• 1 Controller Present

Message Format

Function

Examples

(

)

Dest. Addr.

Code

Data

(5pwr1)

SET (turn proj.#5 on)

SET AND

ACKNOWLEDGE MESSAGE

(message processed?)

(

($5pwr1)

• For Specific Projector Within a Network

• Multiple Controllers Present

Message Format

space

Function

Examples

)

(

Dest. Addr.

Src. Code

REQUEST (get contrast from

(5 2con?)

proj. #5 to controller #2)

space

SET AND

(

Src. Code Data

($5 2con?)

ACKNOWLEDGE MESSAGE

(is message from controller #2

processed by proj. #5?)

)

REPLY (from proj. #5 to

controller #2: contrast is 64)

(002 005CON!06

Dest. Addr.

What is actually sent in a Message

2.3 What is actually

sent in a Message

although you will send and read messages as strings of aSCii characters, the actual message

travels as a sequence of bytes. each character in this sequence requires 1 byte. See example

below, which illustrates a “lamp limit is 2000 hours” reply from the projector.

(

)

ASCII =

HEX =

0x28 0x4c 0x50 0x28 0x21 0x32 0x30 0x30

0x30

0x29

Figure 2. ASCII as Hex

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Appendix B ► Serial Communications

Maximizing Message Integrity

For additional reassurance and/or maximum message integrity, you can insert one or two special

characters:

2.4 Maximizing Message

Integrity

aCKnOWleDGMenTs: if you want

Message from Controller

Code Data

Next Message from Controller

Code Data

assurance from the projector (or group

of projectors) that a set message has

been processed, request this simple

acknowledgment by inserting a “$”

just after the start code “(“. When the

projector executes the required action

Message

Processed

(

)

(

)

Simple Acknowledge from Projector

(such as a source switch, for example), the projector will send a “$” (only) back. This is a

quick way to conﬁrm success with set messages, and is particularly useful with long-distance

communication links or where the projectors and/or images are not visible from the controller.

Acknowledgements can also be a type of ﬂow control. Note that requesting an acknowledgement

serves no purpose when included in a request message, since the acknowledgement will be

redundant to the actual reply from the projector. However, if requested, the “$” acknowledgement

from the projector will follow the reply.

CHeCKsUMs: For maximum message integrity, add a checksum character “&” just after the “(“

as shown below. you must then also include the correct checksum total (0-255) just before the

“)” end code. make sure to add a space before the calculated checksum to separate it from the

last data parameter:

(&con64 240)

The checksum is the low byte of the sum of the aSCii values of all characters between the “(“

and the beginning of the checksum. Calculate the checksum for the above “set contrast to 64”

command as follows:

CHeCKSUm eXamPle = & + c + o + n + 6 + 4 + ‘space’

= 26h+63h +6Fh +6eh +36h +$34h +$20h

= 01F0h

= F0h when only the low byte is used

= 240

The projector collects all of the message bytes as deﬁned in the ﬁrst byte of the message, then

creates its own checksum value for comparison with the checksum included in the controller’s

message. if the values match, the message is considered to have been correctly received—

otherwise the message is discarded.

NOTES: 1) ‘h’ indicates a hex number. 2) If a “request” message has a checksum so will the

reply. 3) If using both “acknowledge” and “checksum”, either character can occur ﬁrst.

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Appendix B ► Serial Communications

Accessing Speciﬁc Source Setups

2.5 Accessing Speciﬁc

For aSCii messages described in this document, it is assumed you are adjusting the current

source setup (channel) rather than a different speciﬁc one. However, for several commands

(for example, aSr, Auto Source) you can direct the message to particular source setup. To do

this, insert an “s” and a source# (such as “S5”) before the parameter value—the source setup

number can be thought of as a “P0” parameter prior to the ﬁrst parameter, and can be preceded

with an optional space. For example:

source setups

(aSr S25 1)

= Turn auto-Source on for source setup #25

Use “S0” if your setting should be applied to all source setups (channels):

(aSr S0 1) = Turn auto-Source on for all source setups

The “S” source setup function cannot be used for parameters affecting the projector as a whole

such as projector address.

Other examples:

(aSr 1)

(aSr? S5)

= Turn aSr on for the current source setup

= What is the aSr status for source setup #5?

(aSr!S005 001) = aSr is on for source setup #5

(aSr? S7)

= What is the aSr status for source setup #7?

(err 006 "aSr: Source does not exist")

= Source setup #7 does not exist

(aSr?)

(aSr!000)

= What is the aSr status for current source setup?

= aSr is off for current source setup

Other special Functions

2.6 Other special

To add functionality to a message, include one or more of the following special characters directly

after the start code “(“. if you add more than one, they can be in any order.

Functions

PaRaMeTeR lIMITs: For single-parameter projector function codes, you can ﬁnd out the

current range of adjustment by adding the letter “M” to your request message. For example:

(lPl?M)

What is the minimum and maximum lamp limit?

(lPl!M000 5000)

minimum lamp limit = 0, maximum lamp limit = 5000.

ranges cannot be determined in this manner if the function has multiple parameters. note also

that for text-based parameters, the “m” values represent the shortest and longest text strings

possible.

“aUTO” MODe: For certain projector functions, you can add the letter “a” to your set message if

you want software to choose the appropriate setting. a reply with an “a” indicates that the choice

was auto-selected. For example:

(sTD a)

(sTD?)

Set the video standard to the most appropriate option.

What is the current video standard?

(sTD!a4)

The video standard was automatically set to option 4 (such as

Pal-m).

note that in these projectors, auto mode is supported only for selecting a video standard.

although other functions (such as motion Filter) may offer an “auto” choice in its list of options,

a reply message from the projector will not include “a” to indicate that “auto” it is selected—auto

is simply an option chosen like any other.

aDJUsTInG a PIP IMaGe: When there are two images on screen, all messages affect the

primary image—that is, the larger “background” image. To direct a message to the PiP window

instead, add the letter “P” to your set message. For example:

(COn P47)

(sTD? P)

in the PiP window, set contrast to 47.

What is the current video standard used in the PiP window?

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Appendix B ► Serial Communications

HelP TeXT: To have the Help Text for a speciﬁc command returned as a reply from the projector,

add the letter “H” to your request message. For example:

(COn?H)

What is the help text for the Contrast Control?

(COn! “The Contrast is crushed”) reply from the projector.

GlObal InQUIRY: add the letter “G” in your request message to ﬁnd out if the control is global.

a reply of “001” is returned if the control is global. For example:

(bDR?G)

(bDR!001)

is BDr a global control?

BDr is a global control.

InDeX ValUe: When a control uses indexes for multiple values, insert an “i” into your request

message to ﬁn out the speciﬁc value of the index parameter. For example:

(bRU? I22)

(bRU! 123)

What is the value for White Field Uniformity speciﬁed by index 22?

The value is 123 for index 22.

aCCessInG a lIsT: For a control with a list of available options, add the letter “l” to your

request message to get a reply of the available options in that list control in the order they appear

in the menu. The reply message includes the following four parameters:

P1=1, item selectable

P2=1, item displayable

P3=value of item

P4=text for item

examples:

(sTD?l)

What are the list options for the STD list control?

(sTD!l001 001 00008 “auto”)

(sTD!l001 001 00007 “nTsC”)

(sTD!l001 001 00003 “nTsC4.43”)

(sTD!l001 001 00000 “Pal”)

(sTD!l001 001 00004 “Pal-M”)

(sTD!l001 001 00005 “Pal-C”)

(sTD!l001 001 00006 “Pal-60”)

(sTD!l001 001 00002 “seCaM”)

(sTD!l001 001 00009 “?”)

(sTD!l111 “—enD—”)

The end of the list is marked with P1=111. You can also access the text for a speciﬁc item in that

list by adding the value of that item after the l. For example:

(sTD?l4)

What is the text for item for in the Video Standard list?

(sTD!l001 001 00004 “Pal-M”)

COnTROl naMe: To ﬁnd out the name of the control you are using, add the letter “n” to your

request message. if the control uses indexes for multiple values, insert the index number after

the “n” to read the name of the index. For example:

(COn?n)

What is the name of the COn control?

(COn! “Contrast”)

(bRU?n2)

What is the name for index parameter 2 for BrU?

(bRU! “left side, R”)

(bRU?n6)

What is the name for index parameter 6 for BrU?

(bRU! “Top left Corner, R”)

COnTROl TYPe: To ﬁnd out the type of control it is that you are using, add the letter “T” to

your request message. if indexes are being used for control with multiple values, insert the

index parameter after the “T” to ﬁnd out the type of control that the index is. For some slide

bar or number controls, an additional parameter may be returned to specify the number of

decimal places the control uses and if the control is to be displayed as a percentage (0=min and

100=max). if the reply message does not contain the letter “T”, than this function is invalid for

that control. The parameters for control types are:

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Appendix B ► Serial Communications

0 = special Format

1= slide bar

2 = Checkbox

3 = list

5 = Text

6 = “Reserved Control”

7 = Date

8 = Time

4 = number

9 = IP (dotted quad)

examples:

(sTD?T)

What type of control is STD?

(sTD! T003)

(COn?T)

STD is a list.

What type of control is COn?

(COn! T001 %000)

(ebb?T8)

(ebb! T004 237)

COn is a slidebar that is currently at 0%.

What type of control is index parameter 8 of eBB?

eBB is a number control and it’s current value is 237.

enable InQUIRY: add the letter “e” in your request message to ﬁnd out if the control is

enabled in the current context. a reply of “001” is returned if enabled. if the control has and index

for multiple values, that index should be used to read the enable status.

(sTD?e)

(sTe!e001)

is STD enabled in the current context?

STD is enabled.

KeYPaD eMUlaTIOn: add the letter “K” in your set message to change to a quick “keypad

mode” within the message. The next value in the message now represents the adjustment of

the parameter.

Stop the adjustment

Toggle check box state

Start decreasing a value, or moving the current image left/up

Start increasing a value, or moving the image right/down

examples:

(lHO K2)

Start moving the image left

(lHO K0)

(FRZ K1)

Stop moving the image horizontally

Freeze or unfreeze the image on the active window

Keypad emulation is required in aPr, FCS, lHO, lVO and ZOm messages set messages.

Flow Control

2.7 Flow Control

normally messages can be sent to the projector before processing of earlier messages is

complete—the projector will just store messages in a buffer until ready to process. However, if

a series of messages is sent it is possible that the projector may not be able to process them as

fast as they arrive and the buffer will become full. if this happens, the projector will send the 13h

(Xoff) code to instruct the controller (or any devices preparing to transmit) to cease transmission.

at this point, the controller must respond immediately and send no more than 10 extra characters

or they may be lost (i.e., the projector is able to accommodate the receipt of up to 10 more bytes

after it sends 13h [Xoff]). When the buffer is once again available, the projector will send a 11h

(Xon) command to resume transmission.

NOTE: Xon and Xoff controls apply to both directions of communication. The projector will not

send more than 3 characters after it has received a 13h (Xoff) code.

FlOW COnTROl WITH “aCKnOWleDGe”: if the controller waits for each message to be

acknowledged before sending the next and the controller does not send a message that is longer

than 20 characters, then the projector will never send an Xoff and the controller does not have

to handle them. if the projector has not received an Xon after receiving an Xoff code, after a time

out it will assume that the Xon was lost and start transmitting again. if the controller has received

an Xoff and no Xon within a reasonable time, it can assume that the Xon was lost. These two

time outs are projector-speciﬁc and are in the range of 3s-60s.

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Appendix B ► Serial Communications

3. asCII Codes

asCII Codes

This section lists all aSCii message codes for controlling the projectors listed on page 3. To

fully understand how an adjustment works or what it does in the projector and/or image, always

consult the User’s manual provided with your projector.

General notes to Remember:

•

When a parameter for a speciﬁc source setup is accessed (see 2.5 Accessing Speciﬁc

Source Setups) an “S” is inserted between the command code (space) and P1 (no space

The smallest increment for adjusting any parameter is always 1.

For some controls (Contrast, e.g.), the value displayed on the screen is a percentage while

the actual hardware has a range of 0-255. in these cases, remember that aSCii values

are correlations to the screen values, and will not match numerically (aSCii 0 = 0%, aSCii

128=50.2%, etc.).

•

aCe auto Color enable

3.1 aCe

Use to automatically project a speciﬁc color or colors when working with controls such as Input

levels, Odd Pixel adjustment, Color Temp adjust adjustments, etc.

auto Color enable

aDR Projector number

ADR identiﬁes or sets the projector’s assigned number (0-999) so that it can be controlled

separately within a group of linked projectors. To change the ethernet iP address via aSCii, see

XiP.

3.2 aDR

Projector number

aGC automatic Gain Control

aGC automatically tracks the sync amplitude of the incoming signal.

3.3 aGC

automatic Gain Control

aIl auto Input levels

3.4 aIl

ail allows the projector to continuously monitor the input signal levels and make adjustments as

necessary to prevent crushing.

auto Input levels

aPJ active Projector

3.5 aPJ

active Projector

Use APJ to temporarily disable (0) or enable (1) the IR and wired keypad inputs to a speciﬁc

projector in a network of projectors. aPJ is essentially the same as using the

Proj

key, and is

Proj

best understood as a way of changing a projector’s listening status even though

and

still work. nOTeS: 1) aPJ does not affect the built-in keypad. 2) an aPJ to disable the keypad

does not change the state of the Communications menu checkboxes for Front ir, rear ir, Wired

keypad—these will remain checked (on). 3) The keypads revert to “enabled” after a power-down,

or if the projector is unplugged and plugged in again.

aPR Iris

3.6 aPR

Used aPr to adjust the iris size from 0-9. raise to improve contrast, lower to improve

brightness.

Iris

(aPr K2) - start increasing the aperture size (higher brightness)

(aPr K3) - start decreasing the aperture size (higher contrast)

(aPr K0) - stop changing the aperture size

To “nudge” the aperture size, script in a delay between (aPr K3) and (aPr K0). Depending on

your application, a delay of at least 20-30 milliseconds may be sufﬁcient.

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Appendix B ► Serial Communications

aPW auto Power Up

Set aPW to automatically power up (1) or remain off (0) after a power failure.

3.7 aPW

auto Power Up

aRO aspect Ratio Overlay

3.8 aRO

This is a function used when setting up the projector. When turned on (1), it overlays a number

of common aspect ratio boxes on top of the source image. Turning off the overlay (0), will return

to your source image.

aspect Ratio Overlay

asR auto source

3.9 asR

auto source

Use aSr to automatically select a particular source setup (P1= S1-50) when switching channels.

Enable (P2=1) or disable (P2=0) this function as desired. See section see 2.5 Accessing Speciﬁc

Source Setups.

nOTe: in an aSr reply, on/off state is P3 and the availability of the source setup is P2. See

below.

asU auto setup

3.10 asU

Use aSU to do an auto Setup of optimized settings based on the incoming signal detected.

auto setup

3.11 bbl

bbl bottom blanking

Use BBl to blank (turn to black) the bottom of the image. range depends on the incoming

signal.

bottom blanking

baud Rates

3.12 bDR or bDs

bDR: Set the rS232 (only) baud rate to 1200, 2400, 9600, 19200, 38400, 57600 or 115200.

Omit the “00” if desired.

baud Rates

bDs: Set the rS422 (only) baud rate to 1200, 2400, 9600, 19200, 38400, 57600 or 115200.

Omit the “00” if desired.

Wait at least 2s before sending the ﬁrst message at the new rate. A reply returns a 7-digit value:

the complete number, plus leading zeros (see below). an invalid setting will trigger an error

message.

examples:

bdr96)

(bds38400)

(BDr?)

Set the rS232 baud rate to 9600

Set the rS422 baud rate to 38400

What is the current rS232 baud rate?

(BDr!0019200) The current rS232 baud rate is 19200

(BDS!0115200) The current rS422 baud rate is 115200

bGC base Gamma Curve

Select the base gamma curve. “0” represents the default 2.2 curve, 1-21 are user-deﬁned

arbitrary Gamma Curves.

3.13 bGC

Gamma Curve

bKl backlight

Turn the built-in keypad backlighting off (0) or on (1).

3.14 bKl

backlight

bKY broadcast Keys

enable (1) or disable (0) broadcasting of commands to all projectors on a network.

3.15 bKY

broadcast Keys

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blb blue blacklevel

Set or request the blue Blacklevel (0-511) for a speciﬁc source setup.

3.16 blb

blue blacklevel

3.17 blD

blD blue Drive

blue Drive

Set or request the blue Drive (0-511) for a speciﬁc source setup.

3.18 bOG

bOG blue Odd Gain

blue Odd Gain

Set or request the blue Odd Gain (0-255) for a speciﬁc source setup. You can set an Odd Gain

value for two separate analog input paths. The ﬁrst input path is Input 1 (BNC connectors). The

second input path is one of: input 2 (DVi-a connector), or input 5 or input 6 (one of the analog

option cards).

To leave one of the input values unaffected, enter a value of 0 for the input. if only one value is

speciﬁed, then both input paths will have the same value.

examples:

(BOG 130 135) Sets the BnC analog path to 130, the DVi/option card path to 135. (BOG 0 120)

leaves the BnC path as it was, the DVi/option card path to 120. (BOG 125) Sets both paths to

125.

bOO blue Odd Offset

3.19 bOO

Set or request the blue Odd Offset (0-255) for a speciﬁc source setup. You can set an Odd Offset

value for two separate analog input paths. The ﬁrst input path is Input 1 (BNC connectors). The

second input path is one of: input 2 (DVi-a connector), or input 5 or input 6 (one of the analog

option cards).

blue Odd Offset

To leave one of the input values unaffected, enter a value of 0 for the input. if only one value is

speciﬁed, then both input paths will have the same value.

bRT brightness

3.20 bRT

Set the image brightness from 0-1000. The BrT value represents a percentage, e.g. 1000=100.0

% or 0505=50.5%.

brightness

bRU White Field Uniformity

3.21 bRU

Use BrU to adjust light output in the 8 zones around the central zone in the image, and/or to

turn BRU on/off. To ﬁnd out if BRU is on, send a request with no parameters. The reply will be

“off” (0) or “on” (1).

White Field Uniformity

examples:

(BrU 2 0 65)

(BrU 5 G 24)

(bru? 0 B)

(bru! 0 B 039)

(BrU 1)

Set right red zone to 65.

Set top left green zone to 24.

What is the overall brightness of blue?

The overall brightness of blue is 39.

enable White Field Uniformity feature (if feature is available).

What is the status of the Uniformity enable feature/checkbox?

White Field Uniformity is enabled.

(bru?)

(bru! 1)

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Appendix B ► Serial Communications

Parameter

Description

P1 = Where to adjust?

or (if Wolf WarP and

no other parameters)P1 2 = right

= Which type of White

Field Uniformity

0 = Overall

1 = left

5 = Top left

6 = Top right

7 = Bottom left

8 = Bottom right

3 = Top

4 = Bottom

if Wolf WarP and no P2 or P3 parameters, P1=

0 = Disable

1 = enable normal White Field Uniformity

2 – 4 = User-deﬁned White Field Uniformity (requires s/w v1.1 or

higher)

P2 = Which color to adj. 0 or r = red

1 or G = Green

2 or B = Blue

P3 = Setting

0 – 255 for “Overall” and 0 – 127 for all other zones

3.22 bUs

White Field Uniformity

select

bUs White Field Uniformity select

This enables or disables White Field Uniformity. if a WarP module is installed the control

changes to a list and allows several different uniformity maps to be selected.

Without WarP module: 0 = disabled, 1 = enabled

With WarP module: use the (BUS?l) request to read the list.

3.23 CCa

Comprehensive Color

adjustment

CCa Comprehensive Color adjustment

Use the CCaservice function to change the factory-set native colors (max Drives) in the projector,

or to deﬁne one or more custom color palettes (i.e., color gamut). CCA changes x/y coordinates

for red, green, blue and white points for a given gamut. Can be applied with CCS command.

NOTE: Remember that Max Drives represents the measured native colors of the projector, and

that all color performance depends on these native colors. A new CCA for Max Drives will change

all color performance and gamut (palettes).

Parameter

Description

P1 = Which gamut 0 = This is a duplicate of 1 (max Drives)

(palette) to adjust.

1 = max Drives

5 = User 1

2 = Color Temperature**

3 = SD Video*

4 = HD Video*

6 = User 2

7 = User 3

8 = User 4

* NOTE: Factory-set to industry standards. Adjustment is not

recommended as it will change this performance standard.

* Affects only the current color temperature setting. Changing Color

Temp coordinates with CCA is not recommended.

red x

red y

Green x

Green y

Blue x

Blue y

White x

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Appendix B ► Serial Communications

White y

P10

P11

P12

P13

P14

P15

magenta x

magenta y

Cyan x

Cyan y

yellow x

yellow y

examples:

(CCa?)

= What is the current color adjustment?

(CCa 1 661 341 332 575 144 93 320 330) = Set “max Drives” to these x/y coordinates

3.24 CCC

Comprehensive Color

Clear

CCC Comprehensive Color Clear

The CCC command will copy the data from one of the comprehensive color setups into the

currently selected user setup (USer1-4). See CCS for a list of possible selections.

CCI Color Temperature

3.25 CCI

Use CCi to implement a color temperature from 3200K-9300K. This control changes just the

white point (x/y) of the current gamut, and is applied only if you are using color temperature

(CCS) as your “Select Color adjustment” choice.

Color Temperature

3.26 CCs

select Output Color

CCs select Output Color

Use CCS to select a predeﬁned or user-deﬁned color palette for use with a given source.

0 = max Drives (default) 1 = Color Temperature 2 = SD Video 3 = HD Video 4 = User 1 5 = User

2 6 = User 3 7 = User 4

3.27 CHa

Channel select

CHa Channel select

Use CHa to select a channel (1-99). This is the same as SrC command.

Cle Color enable

3.28 Cle

Enable a speciﬁc color to be projected on the screen (1=red, 2=green, 3=blue, 4=yellow, 5=cyan,

6=magenta, 7=white, 8=black). nOTe: Colors will always revert to white (full color) upon power-

up and if “exit” at presentation level.

Color enable

3.29 ClP

ClP Clamping

Use CLP to deﬁne the blacklevel clamping location for the current signal (0 = Sync Tip, 1 = Back

Porch, 2 = Tri-level).

Clamping

3.30 ClR

ClR Color

Set the color intensity (1-1000) for video images. The Clr value represents a percentage, e.g.

1000=100.0 % or 0505=50.5%.

Color

3.31 COn

Contrast

COn Contrast

Use COn to set the contrast level (0-1000). The COn value represents a percentage, e.g.

1000=100.0 % or 0505=50.5%.

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CRM Chroma / luma Delay

Use Crm to set the time delay (20-50) between the chroma and luminance in decoded signals.

3.32 CRM

Chroma / luma Delay

CsP Color space

3.33 CsP

CSP speciﬁes which color space the input signal uses. 0=RGB, 1=YprPb, 2=YPbPr (HDTV).

Color space

DeF Factory Defaults

3.34 DeF

Use DeF to reset all parameters in the projector to factory defaults—all source setups are

deleted, all factory-deﬁned color palettes are restored, and all user adjustments/preferences are

set to default values. DeF may also change your baud rate and projector number. nOTe: you

must include P1 = 111 in any DeF message. This requirement prevents accidental use of DeF.

Factory Defaults

Because the DeF message can take a fairly long time, it is a good idea to include the optional

acknowledge code ($) to determine when the defaults have been completed—i.e., ($def 111).

Dls Delete source

3.35 Dls

Use DLS to delete a speciﬁc locked or unlocked source setup (1-50), or to delete all unlocked

source setups (0). To delete all setups, even those that are locked, you must ﬁrst unlock all

source setups using the memory lock command (mlK S0 0).

Delete source

DlY Delay

3.36 DlY

Use Dly to delay a real-time event for a number of milliseconds (1-65535ms).

For example:

Delay

(rTe G 5 H “(Dly 100) (PWr 0)”) = When pin 5 goes high, Delay 100ms, then power off.

DRK Dark Interval

3.37 DRK

Use DrK to control the time interval—in active output lines—between frames projected to the

screen, so that active 3D applications are well-synchronized with shutters in 3D glasses. range

depends on source frequency. For 3D models only.

Dark Interval

DTa source Data

3.38 DTa

Use DTa to read from the projector (or load into the projector) all of the settings related to a

speciﬁc source setup (1-99), or pertaining to system parameters. This essentially creates a back-

up. If a source setup does not exist, use DTA to deﬁne all settings for it. This essentially creates

a back-up.

source Data

Keep in mind that a DTa request triggers reply messages for each setting in a source setup.

Because of the large number of replies, requesting an acknowledgement from the projector

($) is a good idea—receiving the ($) back conﬁrms that the projector has returned all data and

completed the full DTa reply.

ReaDInG seTTInGs (DaTa) FOR a sPeCIFIC sOURCe seTUP

message

the number of the source setup to read – must have leading ‘S’:

For example, ($DTa? S5)

If P1 = source#1-99, this identiﬁes a speciﬁc source setup to read

P1 = the number of the source setup being read (1-99)

P2 = switcher number (0=projector)

P3 = slot number

P4 = the vertical frequency (cHz)

P5 = the horizontal frequency (10’s of Hz)

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P6 = input polarity & routing

Bits 2-0 // horizontal sync source

0 = no sync

1 = horizontal on vertical input

2 = horizontal on horizontal input

3 = horizontal on green input

4 = horizontal on red input

5 = horizontal from Vid1 input

6 = horizontal from Vid2 input

Bit 3 // set if composite sync (H & V on same wire)

Bit 4 // set if horizontal sync has negative polarity

Bit 5 // set if vertical sync has negative polarity

= reply message for ﬁrst source setup setting

= reply message for second source setup setting

= reply message for third source setup setting

etc…

Setting 1

Setting 2

Setting 3

Setting n

= reply message for last source setup setting

acknowledge of DTa message (if requested)

example:

($DTa? S5)

(DTa! S005 000 001 05996 03150 059)

(COn! S005 045)

(BrT! S005 167)

etc…

ReaDInG seTTInGs (DaTa) FOR all sOURCe seTUP

To request all settings for all sources, use P1=0 ($DTa? S0). The reply will be a sequence of

replies for each source. if you requested an acknowledgement ($), it will arrive after the last reply

for the last source.

example:

($DTa? S0)

(DTa! S005 000 001 05996 03150 059)setup

(COn! S005 045)

(BrT! S005 167)

etc.…

(DTa! S034 000 001 05996 03150 059)

(COn! S034 022)

(BrT! S034 137)

etc.…

DOWnlOaDInG sOURCe seTUP seTTInGs (DaTa) TO a PROJeCTOR

Send a DTA message to deﬁne a new source setup, or redeﬁne an existing source setup, and

include the speciﬁed parameters (refer back to the “Reading Setting for a Speciﬁc Source Setup”

list of parameters shown above).

example:

(DTa S005 000 001 05996 03150 085)

(COn S005 045)

(BrT S005 167)

etc.…

(DTa S034 000 001 05996 03150 085)

(COn S034 022)

(BrT S034 137)

etc.…

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Appendix B ► Serial Communications

ReaDInG PReFeRenCe seTTInGs

Settings for projector preferences are either Transferable or Projector-speciﬁc:

 Transferable: Valid for any projector of the same model. Single DTa parameter = T.

 Projector-speciﬁc: Unique to an individual projector. Single DTa parameter = P.

example:

($DTa? T)

= request for all preferences that can be used in other

projectors of the same model

(BDr! 09600)

(lPi! 00345)

etc.…

($DTa? P)

= request for preferences that are unique to an individual

projector

(CTm! 001 002 00000 000 01187)

(CTm! 002 007 05400 012 043)

etc.…

DOWnlOaDInG PReFeRenCes TO a PROJeCTOR

To download preference settings to a projector, just send the various settings as separate

commands—DTa is not used. Take special care when sending BDr (Baud rate) and aDr

(Projector # or address) messages, as they change the way your network operates and you

may accidentally break communication. For example, BDr should always be broadcast to all

projectors or you will be unable to talk to some projectors.

DTl Detail

3.39 DTl Detail

Use DTl to set the detail for rGB and video images.

3.40 DTT

Detail Threshold

DTT Detail Threshold

Sets the minimum change required before the detail (DTl) function is activated. This sharpens

images without increasing background noise.

3.41 ebb edge blending

black levels

ebb edge blending black levels

The eBB control is only active when edge Blending (eBS) and Black edge Blending (BeB)

have been enabled. The particular edges that have been blended with the edge Blending (eBl)

command will be active for blending the black levels. For example, you cannot adjust the edge

Blend Black level for the top edge, if there is no edge blending active for the top edge. Similar to

the EBL control, data can be speciﬁed by zones or edges, or by index.

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Appendix B ► Serial Communications

Parameter Value

Description

1-16

1 = Center

2 = Top

(P1: 1-9 = blend edge/zone brightness)

(P1: 10-13 = edge zone width)

3 = Bottom

4 = left

(P1: 14-16 = color components of overall black level) 5 = right

6 = Top left

7 = Top right

8 = Bottom left

9 = Bottom right

10 = left Width

11 = right Width

12 = Top Width

13 = Bottom Width

14 = Black red level

15 = Black Green level

16 = Black Blue level

When P1 = 1-9, P2 = 0-247

When P1 = 10-13, P2 = 0-255

When P1 = 14-16, P2 = 0-255

Brightness (0-247)

Zone Width (0-255)

Color level (0-255)

examples:

(BeB 2 15)

(BeB?)

(BeB! 1)

Set Brightness of top edge to 15

request state of Black edge Blending

Black edge Blending is enabled

ebe edge blending black levels select

This command enables (1) or disables (0) the Black edge Blending feature. This feature can only

be enabled when edge Blending has been enabled (eBS).

3.42 ebe

edge blending black

levels select

3.43 ebl

edge blending

ebl edge blending

Use eBl to blend together the overlapping edges of adjacent images, and/or to turn eBl on/off.

To ﬁnd out if EBL is on, send a request with no parameters. The reply will be “off” (0) or “on” (1).

note that on-screen values do not match values through aSCii messaging.

Parameter

Description

P1 = Which blend edge? or

(if Wolf WarP and no other

parameters)

0 = left

1 = right

2 = Top

P1 = Type of edge blending to

use.

3 = Bottom

Or, if Wolf WarP and no P2 or P3 parameters, P1=

0 = Disable

1 = enable normal Christie edge Blending

2 – 4 = User-deﬁned custom blend (requires s/w v1.1 or

higher)

P2 = Which blend characteristic? 0 = Width of blend 1 = Shape of blend 2 = midpoint of

blend

P3 = Setting

left/right Width = 0, 5-80, Top/Bottom Width 5-60, Shape

2-30, midpoint 2-30

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Appendix B ► Serial Communications

examples:

(eBl 2 0 15)

Set width of top blend to 15

(eBl?)

(eBl! 1)

What is the current status of edge Blending—on or off?

edge Blending is currently enabled

ebO edge blending Overlap

3.44 ebO

Use eBO in conjunction with edge Blending to simplify the aligning of edge-blended projectors.

enabling eBO (1) sets the blend region to a uniform gain of 25% and the rest of the image to

100%. Disable eBO (0) to restore previous gain settings.

edge blending Overlap

ebs edge blending select

3.45 ebs

This enables (1) or disables (0) edge blending. if a WarP module is installed the control changes

to a list and allows several different edge blends to be selected. Use the (eBS?l) request to read

the list.

edge blending select

eMe error Message enable

Use EME to turn all notiﬁcation off, or to choose how you wish to be notiﬁed of projector errors.

3.46 eMe

error Message enable

0 = Off

1 = On-screen display

2 = aSCii message (i.e., via err messages)

3 = Both

eRR error Message

3.47 eRR

The projector broadcasts an err message when an error is detected. each err message

includes the error code (P1), error type (P2), and a text explanation. error messages also include

the address of the source projector.

error Message

NOTE: The type of error and the text explanation are enclosed together in quotation marks,

separated by a colon and a space. Below, the text explanation appears as -----.

error Code (P1)

Type of error (P2)

Meaning

001

002

003

004

005

006

007

“System error: -----”

System crash.

“System Warning: -----”

“invalid parameter:—“

“Too many parameters:”

“Too few parameters:-----”

“Source does not exist:-----”

“Could not be executed:”

System error.

invalid parameter number.

message requires fewer parameters

message requires more parameters

The source setup# is wrong

Current content prevented the

command from executing.

008

009

“Checksum error:-----”

“Unknown request:-----”

The checksum is incorrect.

Message code undeﬁned. If the

message sent as a command it is

ignored and no error is returned.

010

“Communication error:-----”

error receiving serial data on one of the

rS-232 ports.

011

012

“rX Break

a serial break was received.

Supplementary info

additional information about the error.

message content depends on the

nature of the error.

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Appendix B ► Serial Communications

examples:

NOTE: The 65535 signiﬁes the port address of the controller receiving the message.

SynC no longer responding

(65535 00030err 001 "System error: SynC no longer

responding")

attempt to delete the current source(65535 00030err 002 "System Warning: The current

source cannot be deleted")

(BDr38900)

(BlB 25 25)

(aSr S10)

(aSr S10 1)

(COn 45) with no source

(&con 64 250)

(aBC?)

(65535 00030err 003 "BDr: invalid parameter 1")

(65535 00030err 004 "BlB: Too many parameters")

(65535 00030err 005 "aSr: Too few parameters")

(65535 00030err 006 "aSr: Source does not exist")

(65535 00030err 007 "COn: Could not be executed")

(65535 00030err 008 "COn: Checksum error")

(65535 00030err 009 "aBC: Unknown request")

3.48 FaD

Fade Time

FaD Fade Time

Use FaD to set the time for dissolving one display image into the next (0=seamless, 100=1

second). Or, if using v1.0 software, FaD sets the time for fading to black and then to the new

display image.

3.49 FCs

FCs Focus

Focus

The FCS adjusts lens focus on projectors having a motorized lens mount, and requires keypad

emulation.

examples:

(FCS K3)

(FCS K2)

(FCS K0)

–ve Focus direction

+ve Focus direction.

Stop focus adjustment (if not issued, lens movement will continue

until it reaches the end stop).

To “nudge” the focus a minimum amount, script in a delay between (FCS K3) and (FCS K0).

Depending on your application, a delay of at least 20-30 milliseconds may be sufﬁcient.

FIl Input Filter

3.50 FIl

Use FIL to force an internal ﬁlter for HDTV (1), SDTV (2), EDTV (3), Graphics/RGB (4) or to turn

the automatic ﬁltering feature off (0). This automatic ﬁlter is for analog sources only.

Input Filter

Fle Frame lock enable

3.51 Fle

Use FLE to deﬁne how the projector controls the output frame timing based on the input signal.

Use the following parameters to achieve the desired output frame timing.

Frame lock enable

P1 = 0: rate matched – the output runs at close to the input frequency but is not locked to it so

the output will drift in phase relative to the output.

P1 = 1: locked – if possible the output image is phase locked to the input frames

P1 = 2: Free run – the output runs at 60Hz frame rate

For older versions of software (v1.1 and earlier) this control is a checkbox to enable a “locked”

output. When unchecked the output is “Frame matched”.

FMT 2/3 Pull Down Threshold

3.52 FMT

Use FmT to adjust the threshold (0-255) at which the projector will consider an incoming video

signal as ﬁlm vs. video.

2/3 Pull Down Threshold

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FRD Frame Delay

3.53 FRD

Use FrD to adjust the number of lines of delay between the input and output frames (range

varies with incoming signal).

Frame Delay

FRZ Freeze Image

FrZ 1 = freeze the image. FrZ 0 = unfreeze the image.

3.54 FRZ

Freeze Image

Fse Fan sensor enable

3.55 Fse

Use FSe if you want the projector to shut down 3 minutes after a critical cooling fan failure. FSe

1 = enabled, FSE 0 = disabled. NOTE: Deﬁnition of a which cooling fan is critical varies with

projector model.

Fan sensor enable

FYI For Your Information

3.56 FYI

The projector broadcasts an Fyi message when it detects a change in status. The Fyi message

contains the relevant status code followed by its new state (P1), up to 2 additional parameters of

detail, and a brief text description. The address of the source projector precedes the Fyi code.

For Your Information

NOTE: FYI messages are gated by the Error Message Enable (EME) control. Turning off EME

also turns off FYI.

status Code

001 Power

new state (P1)

Meaning and additional Parameters

P1 value indicates the new “Power” state

0 = Off 1 = On 2 = Boot 10

= Cool Down 11 = Warm Up detected.

002 Proj. address

##### (5-digit address) P1 value indicates the new address of

this source projector.

003 Proj. Selected 0 = rS232 inactive, Ui

This projector has been activated or

inactive 1 = rS232 inactive, inactivated via the PrOJ key or the aPJ

Ui active 2 = rS232 active, serial message.

Ui inactive 3 = rS232

active, Ui active

004 Baud rate

005 Standby

####### (7-digit baud rate) P1 value indicates the new baud rate.

0 = Off 1 = On

P1 value indicates whether the system is

in standby mode

006 Signal

0 = Good Signal 1 = Signal P1 describes signal detection P2 = hor.

missing 2 = bad sync

frequency of signal P3 = vert. frequency

of signal

007 OSD

009 Shutter

010 input

0 = Off 1 = On

P1 value indicates whether the on-

screen display is on or not.

0 = Open 1 = Closed

P1 value indicates whether the shutter is

open or closed.

P1 describes the current channel

number P2 = Switcher# (projector is

always switcher “000”) P3 = Slot#

011 Picture mute.

012 PiP.

0 = Off 1 = On

P1 value indicates whether the picture is

displayed or not

P1 value indicates whether Picture-in-

Picture mode is on or not

255 General / misc. ### (3-digit channel

number)

P1 describes miscellaneous general

state detected

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examples: (Status code for each Fyi is shown as bold)

(00030Fyi 001 000 "Powered Off")

(00030Fyi 002 00057 "Projector address changed from 30 to 57")

(00057Fyi 003 001 "Projector Ui active, rS-232 inactive")

(00057Fyi 004 38400 "Baud rate changed to 38400")

(00057Fyi 006 000 01573 05994 "Good Signal")

(00057Fyi 006 002 "Bad Sync: HSync is too high")

(00057Fyi 007 000 "OSD Off")

(00057Fyi 009 001 "Shutter Closed")

(00057Fyi 010 034 000 003 "Switched to channel 34, projector input 03")

(00057Fyi 010 035 000 004 "Switched to channel 35, projector input 04")

GaM Gamma

3.57 GaM

Use Gam to set a 3-digit gamma level interpolated between a base curve (2.2 by default, or an

arbitrary gamma curve, selected via the BGm Base Gamma control), a high curve (3.0), and a

linear curve. range is 100-280 (=1.8-2.0).

Gamma

3.58 GIO

GIO General Input Output

Use GIO to conﬁgure and control the General Purpose Input and Output (GPIO) bits. There are

7 GiO pins available on the 9pin Din GPiO connector, plus power and ground.

General Input Output

GPIO Pins

Connector Pin #

Signal

+12V (200ma)

GPiO 1

GPiO 2

GPiO 3

Ground

GPiO 4

GPiO 5

GPiO 6

GPiO 7

General Message format:

(GIO?)

// Request state and conﬁguration of all pins

(GIO? C#)

// Read conﬁguration for speciﬁc pin

(GIO C# <Input/Output>)

(GIO C# “List of conﬁgurations”)

<”iOxO”> (GiO # <state>)

GiO # “list of states”)

(GiO # P <Duration in ms>)

// Set pin # conﬁguration to <Input = I, Output = O>

// Set multiple pin conﬁgurations starting at pin <#> i.e.

// Set pin <#> to <state> H= High, l= low

// Set multiple pin states, starting at pin <#> i.e. <”Hlxl”>

// Pulse pin <#> for <n> milliseconds

Where

C = conﬁgure

# = desired pin number or start pin number

x = no change

notes:

1. When a command is issued to a pin conﬁgured as an input, the command triggers the

same functions as if the input pin actually changed state.

2. The GIO conﬁguration and state take time to save to the projector. Leave your projector

running for several after your setup is complete.

3. GPiO numbers start from 1 not zero.

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Appendix B ► Serial Communications

examples:

(GIO?)

// Request state and conﬁguration of all pins

// Reply of pin state and conﬁguration

// Set Pin state and conﬁguration. The above commands

can be used to save and restore Preference information

// Set Pin 1 as output

(GIO! "HLLLLHL" "IOOOOII")

(GIO "HLLLLHL" "IOOOOII")

(GiO C1 O)

(GIO? C1)

(GIO!C1 O)

// Get Conﬁguration for pin 1

// Reply for get pin conﬁguration

(GiO C2 “OOiO”)

(GIO 1 H)

// Set pin 2=out, 3=out, 4=in, 5=out

// If conﬁgured as output, set to high

// If conﬁgured as input, perform task equivalent to the

input going high

(GIO 1 “HLLL”)

// Assuming conﬁg as outputs 1=high, 2,3,4=low

(GiO 1 P 100)

// Pulse pin 1 for 100mS

3.59 Gnb

Green blacklevel

Gnb Green blacklevel

Set or request the green Blacklevel (0-511) for a speciﬁc source setup

3.60 GnD

GnD Green Drive

Set or request the green Drive (0-511) for a speciﬁc source setup.

Green Drive

GOG Green Odd Gain

3.61 GOG

Set or request the green Odd Gain (0-255) for a speciﬁc source setup. You can set an Odd Gain

value for two separate analog input paths. The ﬁrst input path is Input 1 (BNC connectors). The

second input path is one of: input 2 (DVi-a connector), or input 5 or input 6 (one of the analog

option cards).

Green Odd Gain

To leave one of the input values unaffected, enter a value of 0 for the input. if only one value is

speciﬁed, then both input

examples:

(GOG 130 135) Sets the BnC analog path to 130, the DVi/option card path to 135.

(GOG 0 120)

(GOG 125)

leaves the BnC path as it was, the DVi/option card path to 120.

Sets both paths to 125.

3.62 GOO

Green Odd Offset

GOO Green Odd Offset

Set or request the green Odd Offset (0-255) for a speciﬁc source setup. You can set an Odd

Offset value for two separate analog input paths. The ﬁrst input path is Input 1 (BNC connectors).

The second input path is one of: input 2 (DVi-a connector), or input 5 or input 6 (one of the

analog option cards).

To leave one of the input values unaffected, enter a value of 0 for the input. if only one value is

speciﬁed, then both input paths will have the same value.

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Appendix B ► Serial Communications

HDC DHDM Conﬁguration

3.63 HDC

When the Dual SD/HD-SDI module is present, the HDC command speciﬁes how the card is

being used. The module can be used to support a Dual link setup or have two independent

single HD channels. By default the conﬁguration is set to two single channels. You may select a

dual link setup where the 'a' channel on the module is the primary video channel or the selection

can be made to have the 'B' channel as the primary video in a dual link format. P1 is the Option

Slot number (1 or 2) and P2 is the value you want to set for the conﬁguration (see table below).

DHDM Conﬁguration

Value

Conﬁguration

Two Single HD Channels

Dual link, Channel a Primary

Dual link, Channel B Primary

examples:

(HDC 2 2)

(HDC? 2)

(HDC?)

Set conﬁguration on Option slot 2 to be: Dual Link, Channel B

primary

Request conﬁguration for slot 2 only; returns (HDC! 002 002) for

above setting.

Request conﬁguration for either slot; returns (HDC! 001 000)

(HDC! 002 002) if cards exist in both slots.

HDD DHDM Dual link Format

3.64 HDD

When the Dual SD/HD-SDI module is present, it can be conﬁgured to accept a Dual Link 292M

serial input by combining the separate SDi inputs to allow a higher bandwidth / higher resolution

(1920 X 1080) source. The table below shows how to conﬁgure the projector to properly display

the Dual link source. This command is only available when the module is present and is only

used for Dual Link sources. Parameter 1 is the option slot number you wish to conﬁgure (1 or 2),

and Parameter 2 the value to select the desired format.

DHDM Dual link Format

Value

selected Format

4:4:4 rGB 10bit

4:4:4 yCrCb 10bit

examples:

(HDD 2 1)

(HDD? 2)

Conﬁgure slot 2 to accept 4:4:4 YCrCb 10bit Dual Link Video

Request current conﬁguration for slot 2 only; from above this would

return (HDD 001)

(HDD?)

(HDD? p)

request Dual link format for the main video.

request Dual link format for the pip video.

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Appendix B ► Serial Communications

HDl DHDM loop Thru setting

3.65 HDl

When the Dual SD/HD-SDi module is present, a serial input may be routed to a serial output to

allow chaining of signal sources using the HDl command. you can specify which input is routed

to which output. Primary and Secondary sources may also be used as designated inputs to loop

to outputs. P1 deﬁnes the option card slot you wish to conﬁgure and P2 refers to what loop thru

inputs and outputs are desired. The table below lists the value options.

DHDM look Thru setting

Value

Input

Output

Primary

Secondary

Primary

Secondary

examples:

(HDl 2 3)

(HDL? 2)

(HDL?)

Set loop thru on option slot 2 to be: Primary thru to D and

Secondary thru to C

Request loop thru for slot 2 only; returns (HDL! 002 003) for above

setting.

Request loop thru for either slot; returns (HDL! 001 001)

(HDl! 002 003) if cards exist in both slots.

HIs lamp History

3.66 HIss

Use the read-only HiS request to obtain the projector’s lamp history. note for dual-lamp, this

information is stored separately for each lamp (P1 identiﬁes Lamp 1 or 2)—see examples

below.

lamp History

examples:

(HiS? 1) What is the lamp 1 history?

(HIS! 001 001 00555 “000000014”) // Lamp 1, sn.=”000000014”, ﬁrst lamp

used, on for 555 hours

(HiS! 001 002 00095 “000000018”) // lamp 1, sn.=”000000018”, second

lamp used, on for 95 hours

(HiS?) What is the complete lamp history for lamp 1 and lamp 2?

(HIS! 001 001 00555 “000000014”) // Lamp 1, sn.=”000000014”, ﬁrst lamp

used, on for 555 hours

(HiS! 001 002 00095 “000000018”) // lamp 1, sn.=”000000018”, second

lamp used, on for 95 hours

(HIS! 002 001 00666 “000000022”) // Lamp 2, sn.=”000000022”, ﬁrst lamp

used, on for 666 hours

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Appendix B ► Serial Communications

HlP Help

3.67 HlP

Use HlP for a list of all serial commands supported in your projector—send the (HlP?) request.

each item in the list has 3 parameters stating if the command is disabled (and why), its 3-character

code, and the menu label or brief description:

Help

P1 = current on/off state of the command

0 = enabled

1 = disabled because power is off

2 = disabled because the required hardware is missing

3 = disabled because the function has not been licensed

4 = disabled because the factory option has not been enabled

5 = disabled because the command is not valid in the current context

6 = disabled because the user has an insufﬁcient security level

7 = disabled because the function has been locked in the service menu

8 = this is a read-only function

P2 = 3-letter aSCii code for the command (aSr, BrU, etc.)

P3 = menu label for the command. For those commands for which there is no equivalent

menu item, short descriptive text is returned

HOR Horizontal Position

Use HOr to adjust the horizontal position of the image.

3.68 HOR

Horizontal Position

lVs lens Variscope system

3.69 lVs

This enables (1) the lens settings to be saved / restored when the channel is changed. When off

(0), changing the channel does not affect the lens settings. When lVS is activated it may cause

a query to proceed with lens motor calibration (see lCB). lens calibration is necessary for lVS

to function. Since calibration will take a couple of minutes, the user is allowed to decline and

leave lVS turned off.

lens Variscope system

InM In Menu

3.70 InM

Use inm to specify whether a source setup is to be included in (1) or excluded from (0) the

source setup selection menu. See section See also 2.5, Accessing Speciﬁc Source Setups.

In Menu

IOP Image Optimization

3.71 IOP

With the iOP control, the user can choose whether raw image quality or the cleanness of image

transitions is more important.

Image Optimization

Choosing Best image Quality allows scaler resources to be allocated under some conditions to

improve image quality in the form of deeper pixel depth. However, when switching sources, the

screen will go blank and increase your switching time.

Choosing Smooth Switching allows for cleaner transitions and/or fading when a user selects a

new source to be displayed. The images will fade from the old image to the new image according

to the Fade Time control (FaD).

Seamless Switching overrides the Frame lock enable (Fle) settings and forces the output to run

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

Parameter

Value

0 = Best image Quality

1 = Smooth Switching

2 = Seamless Switching

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Appendix B ► Serial Communications

ITG Test Pattern Grey

3.72 ITG

Use ITG to set the grey level for the ﬂat ﬁeld internal test pattern. The range of adjustment

depends on the bit depth available in your projector model.

Test Pattern Grey

Use ITP to display an internal test pattern, or to ﬁnd out what test pattern is currently displayed.

The basic test pattern collection is shown listed below - your projector may vary slightly.

3.73 ITP

Internal Test Pattern

Pattern #

Description

User image - no test pattern displayed.

Grid + grey scale + color bars + circle + convergence marks

Gray Scale 16

White

Grey - slide bar selects value 0-1023

Black

Checker

13 point

Color Bars

rGBW Grey Scale

multi Color

edge Blend

aspect ratio

red & Blue ramp

Ken Keypad enable

3.74 Ken

Use Ken to set the keypad input protocols, Wired, ir Front and ir rear, to respond to the

protocol of the desired keypad. The following table outlines how to use the command parameters

to set the desired protocols. note: the built-in keypad cannot be disabled.

Keypad enable

NOTE: Protocols B – G are used with the ‘Brick’ style rental staging keypad.

Parameter

Value

0 = Wired

1 = ir Front

2 = ir rear

0 = Off

1 = responds to any protocol

10 = Protocol a

11 = Protocol B

12 = Protocol C

13 = Protocol D

14 = Protocol e

15 = Protocol F

16 = Protocol G

Example:

(Ken i2 12): Sets ir rear to Protocol C

(Ken? i1) returns (ken! i001 001): the current protocol for ir-front

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Appendix B ► Serial Communications

KeY Key Code

3.75 KeY

To emulate use of the projector’s keypad, you can send codes representing each keypress.

NOTE: For most keys, sending a key code to depress a key also sends a code to release the

key. Key codes for arrow keys and lens keys, however, cause continual adjustment that must be

stopped with a separate code.

Key Code

Quick

Setup

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Appendix B ► Serial Communications

KsT Keystone

3.76 KsT

Use KST to correct vertical keystone (14-50) so that the sides of the image do not slope away

from each other, and the image is rectangular. The default value is 32 (no keystone).

Keystone

For advanced 2D keystone using the Warp module, see Warp Keystone Corners (WKC).

3.77 lbl

left blanking

lbl left blanking

Use lBl to blank the left edge of the image (0-1000). The amount of blanking feasible depends

on the incoming source data.

3.78 lCb

lens Calibrate

lCb lens Calibrate

lCB forces the projector to calibrate the lens/motors and is intended for use in conjunction with

Wolf Cinema's lens VariScope System (lVS). lens Calibration is not necessary if lVS is not

used.

lCB provides three types of calibrations to be performed. a reference calibration locates a

positional reference point for repeatable motor positioning. a motion calibration calculates

and sets motion parameters that optimize individual motors response for accurate positional

placement. a Full calibration executes both of these calibrations.

if lVS has already been enabled (refer to lVS command), a reference calibration will be

performed when the projector is powered up. motion calibration only needs to be done once when

lVS is initially enabled because the results are retained in memory for future use. Therefore, if

lVS is to be used, it is only necessary to perform motion calibration once.

lVS can only be enabled if both calibrations have been performed at least once. if lVS is

disabled, neither calibration is necessary.

refer to the tables below for the parameters to control the lVS calibration process.

Command Values:

Parameter

1 - relative

2 - manual

3 - Calibrate

Description

Calibrate motor Zero reference Position

Calibrate motion Parameters for lens motors

Calibrate both reference and motion Parameters

Query Values:

1 = calibration has been done, 0 = calibration has not been done

Parameter

Description

reference Calibration

motion Calibration

examples:

(lCB 3) Stop Horizontal movement, lens will not stop until this command is issued or

the end stop is reached.

(lCB?) Query the current status of calibration, responds with (lCB!1 0) indicates

that reference is calibrated but motion parameters are not.

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Appendix B ► Serial Communications

lDT level Detector

3.79 lDT

enable (1) or disable (0) the lDT (level Detector Test) mode that can aid in setting up input

levels. Use in conjunction with LDV (Level Detector Value), which deﬁnes a threshold below

which all incoming colors will be turned black, and above which all colors will turn to white. at this

point, the level Detector will be enabled.

level Detector

3.80 lDV

level Detector Value

lDV level Detector Value

Use an lDV setting of 1 to 1023 when the lDT (see above) will be enabled. This is a threshold

below which all incoming colors will be turned black, and above which all colors will turn to white,

and is an aid for setting up input levels.

3.81 lHO

lens Horizontal Offset

lHO lens Horizontal Offset

lHO adjusts horizontal offset on projectors having a motorized lens mount, and requires keypad

emulation.

examples:

(LHO K3)

(LHO K2)

(lHO K0)

Move the image to the right •

Move the image to the left •

Stop horizontal movement (without this, lens movement will

continue until it reaches the end stop).

To “nudge” the image a minimum distance, script in a delay between (lHO K3) and (lHO K0).

Depending on your application, a delay of at least 20-30 milliseconds may be sufﬁcient.

lTC lamp Tracking Calibration

Use lTC to calibrate the current lamp and optical response.

3.82 lTC

lamp Tracking

Calibration

Parameter

Description

P1 = Calibration

0 = Use default settings

1 = run automatic calibration on current projector

or, if more parameters present,

1= Set custom gain and offset

P2 = Gain

Gain value can be from 0 to 32767

P3 = Offset

Offset value can be between -32768 to 32767

notes: lTC calibration can take several minutes to complete and will vary the lamp output during

calibration. all lamp settings will return to their initial condition once the calibration has been

completed.

Warning: Custom settings allow the user to set LTC to any value within the speciﬁed range. The

software does not check that the speciﬁed values are functional.

3.83 lMe

lMe lamp Message enable

Use lme to enable (1) or disable (0) display of the lamp timer message when the lamp has

reached its Lamp Limit setting.

lamp Message enable

lnG language

3.84 lnG

language

Use lnG to get/set the current language used in the projector’s menu system.

1 = english

2 = French

3 = Spanish

4 = German

5 = italian

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Appendix B ► Serial Communications

lPC lamp Changed

3.85 lPC

Use lPC to record a new lamp serial number (8 characters max.) in projector memory. This will

automatically reset the projector’s lamp timer so that it begins to log time for the new lamp.

lamp Changed

lPH lamp Hours Of Use

Use the request LPH to ﬁnd out the number of hours logged on the current lamp.

3.86 lPH

lamp Hours of Use

lPI lamp Intensity

3.87 lPI

Use lPi to specify a desired light intensity setting (0-9999 for any model) for the lamp, and

automatically put the lamp into the “intensity” mode also known as litelOC.

lamp Intensity

lPl lamp limit

3.88 lPl

Use lPl to specify the number of hours the lamp can operate within the projector before a

warning message appears telling the user that the lamp limit has expired and the lamp needs

replacement (System Warning also given: LEDs ﬂash). The range varies with projector—do not

set beyond the expected life for the type of lamp installed.

lamp limit

lPM lamp Mode

3.89 lPM

Use lPm to control how you run the lamp (0=max brightness, 1=maintain intensity setting for

models with litelOC, 2=maintain power setting). if you choose constant intensity or constant

brightness, you must also specify the desired level using the corresponding lPi (intensity) or

lPP (power) command. See lPi and lPP.

lamp Mode

lPP lamp Power

3.90 lPP

Use lPP to set the desired lamp power level (in watts—range depends on the projector model),

and automatically put the lamp into the “Power” mode.

lamp Power

lPs lamp status

3.91 lPs

Use the read-only request LPS to ﬁnd out the status of the current lamp(s):

0 = Good lamp

lamp status

1 = lamp fan has failed (nOTe: in dual lamp models, Fan 8 cools lamp 1, and Fan

10 cools lamp 2)

2 = lamp can’t ignite

3 = lamp turned off unexpectedly

4 = lamp interlock problem

5 = Color wheel failure (nOTe: dual lamp models only)

6 = lamp compartment too hot (nOTe: dual lamp models only)

7 = Driver Vcc too low (nOTe: dual lamp models only)

8 = lamp not installed (nOTe: dual lamp models only)

9 = Operation error (nOTe: dual lamp models only)

lVO lens Vertical Offset

3.92 lVO

The lVO adjusts vertical offset on projectors having a motorized lens mount, and requires keypad

emulation.

lens Vertical Offset

examples:

(lVO K3)

(lVO K2)

(lVO K0)

move the image down

move the image up

Stop vertical movement (without this, lens movement will continue

until it reaches the end stop).

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Appendix B ► Serial Communications

To “nudge” the image down a minimum distance, script in a delay between (lVO K3) and (lVO

K0). Depending on your application, a delay of at least 20-30 milliseconds may be sufﬁcient.

MFT Menu Font

3.93 MFT

Menu Font

Use mFT to choose whether menu font size is normal (0) or large (1).

3.94 MlK

source Memory lock

MlK source Memory lock

Use MLK to lock (1) or unlock (0) a speciﬁc source setup. See also 2.5, Accessing Speciﬁc

Source Setups.

MnU Menu status

3.95 MnU

The mnU command has two uses. One is to get the current status of the menus and customize

the menu structure and the other is to deﬁne and activate a custom menu.

Menu status

When using serial commands to operate the menu, likely don’t want the menu to appear on the

screen. To prevent the menu from appearing on the screen while using serial commands, use the

OSD command. in addition, you may want to disable the keypads using the Ken command.

Some menus automatically change particular settings to make adjustments easier. Depending

on the context, you may also need to send:

aCe x

to enable or disable automatic Color enables

mnU 3 x

to enable or disable automatic Test Pattern selection

Parameter Value

Description

0-3

0=presentation level

1=main menu

2=sub menu

3=enable or disable automatic test patterns

When P1=2, #=0-9

When P1=3, #=0-1, to

#= the number of the submenu you wish to go to

#=0, restore normal operation

enable or disable automatic #=1, disable automatic test pattern

test patterns

mnU can also be used to create a custom menu. For example, (mnU “my menu” “BrT” “COn”

“PiP”), produces a custom menu called “my menu” consisting of the Brightness, Contrast, and

Picture in Picture enable controls.

you can combine this with a rTe FUnC key event to make the custom menu available from a

keypad. For example, (rTe F 3 “(mnU “my menu” “BrT” “COn” “PiP”)”), will pop up the custom

menu when the FUnC-3 key is pressed.

NOTE: this custom menu is not saved anywhere – as soon as you exit from it, the menu no

longer exists and when you want to display it again you must send the MNU command, with

all the controls, again. It is expected that this command will be used in conjunction with a RTE

FUNC key event to have the custom menu available from a keypad.

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Appendix B ► Serial Communications

MOT Motion Filter

3.96 MOT

Use mOT to control how de-interlacing is managed.

0 = auto — software determines the best option.

1 = Still — produces crisp images when there is no motion.

2 = Motion — for video not originally from ﬁlm, or for moving computer-generated

images

Motion Filter

3 = Film — performs inverse telecine operation to reproduce accurately and crisply

material originating from 24Hz ﬁlm.

3.97 MsH

Menu shift Horizontal

MsH Menu shift Horizontal

Use mSH to move menus horizontally (0 = left, up to 466 right)

MsP Menu location

Use mSP to moves menus to a preset location:

0 = 4:3 Top/left

3.98 MsP

Menu location

1 = 4:3 inset 1

2 = 4:3 inset 2

3 = 16:9 Top/left

4 = 16:9 inset 1

5 = 16:9 inset 2

6 = Custom (read-only)

3.99 MsV

Menu shift Vertical

MsV Menu shift Vertical

Use mSV to move menus vertically (0 = Top, up to 350 Down)

3.100 naM

source / Channel name

naM source / Channel name

Set / get a source setup name. See also 2.5, Accessing Speciﬁc Source Setups.

3.101 nRD

noise Reduction

nRD noise Reduction

Use nrD to set the noise reduction level.

3.102 nsI

number select Image

nsI number select Image

Use nSi to use the numeric keys 1-8 as input keys for the main image. This option is only

effective when the menu system is not active, for example when Picture-in-Picture is enabled.

0 = never

1 = Only when the PiP window is active

2 = always

3.103 nTR

network Routing

nTR network Routing

Use nTr to specify which ports are joined in a common network. By default, only rS232 ports

(in & OUT) are linked. if desired, add the rS422 port(s) to this network, and/or the ethernet

port.

0 = rS232, rS422 & ethernet communications are all separate from one another

1 = rS422 port(s) is/are connected to the rS232 network

2 = The ethernet port is connected to the rS232 network

3 = rS232, rS422 & ethernet are all connected to each other

3.104 OsD

On screen Display

OsD On screen Display

enable (1) or disable (0) the on-screen display of the menus system.

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Appendix B ► Serial Communications

OTF Output Format

3.105 OTF

Change output format for Cine-iPm 2K.

0 = Single link on DVi-1 or DVi-2

1 = Twin link

Output Format

NOTE: DVI-1 has lower 8 bits; DVI-2 has higher 2 bits).

PaP PIP aspect Ratio Preset

Use PaP to select the preferred aspect ratio for your Picture-in-Picture window.

3.106 PaP

PIP aspect Ratio Preset

0 = Default

1 = anamorphic

2 = Custom (response only – The vertical stretch does not correspond to one of the

settings.)

PbC PIP border Color

Use PBC to select the color for the Picture-in-Picture window border.

3.107 PbC

PIP border Color

0=Black

1=Darkred

2=DarkGreen

3=DarkBlue

4=DarkCyan

5=Darkmagenta

6=Darkyellow

7=DarkGrey

8=lightGrey

9=red

10=Green

11=Blue

12=Cyan

13=magenta

14=yellow

15=White