Christie CineIPM-2K User`s manual

CineIPM-2K
USER’S MANUAL
020-100164-01
China RoHS Compliance Information
关于中国《电子信息产品污染控制管理办法》的说明
•
Environmentally Friendly Use Period
环保使用期限
The year number in the centre of the label indicates the Environmentally Friendly Use Period, which is
required to mark on the electronic information product sold in China according to the China RoHS
regulations.
本标志中表示的年数是根据《电子信息产品污染控制管理办法》(2006年2月28日)以及《电子信息产品污染控制标识
要求》(2006年11月6日)制定的、适用于在中华人民共和国境内销售的电子信息产品的环保使用期限。
•
Material Concentration Values Table
有毒有害物质含量表
Part Name
Material Concentration
(有毒有害物质或元素)
部件名称
铅
汞
镉
六价铬
多溴联苯
多溴二联苯醚
(Pb)
(Hg)
(Cd)
(Cr 6+)
(PBB)
(PBDE)
O
O
O
O
X
O
O
O
O
O
Low voltage power
supply
低压电源
X
Power line filter
滤波电源插口
O
Harness/cable
连接电线/缆
X
O
O
O
O
X
Ten-bit image
processor module
Dual DVI output
module
Dual slot
backplane module
Status display
module
十位图像处理模块
X
O
O
O
O
O
双DVI输出模块
X
O
O
O
O
O
双槽底板模块
X
O
O
O
O
O
状态显示模块
X
O
O
O
O
O
Blower/Fan
吹风机/风扇
O
O
O
O
O
O
Sensor
传感器
O
O
O
O
O
O
Mechanical
enclosure*
机械附件
X
O
O
O
O
O
Software CD
软件光盘
O
O
O
O
O
O
Battery
电池
O
O
O
O
O
O
可选输入模块
X
O
O
O
O
O
Optional Input
Modules
X
O
O
O
O
O
Remote Keypad
遥控器
Note:
O : indicates that the concentration value of the particular hazardous substance contained in all the homogeneous materials for this part,
according to EIP-A, EIP-B, EIP-C, is below the stipulated levels in China SJ/T11363-2006.
表示该有毒有害物质在该部件所有均质材料中的含量均在SJ/T11363-2006规定的限量要求以下。
X: indicates that the concentration value of the particular hazardous substance contained in all the homogeneous materials for this part,
according to EIP-A, EIP-B, EIP-C, may be above the stipulated levels in China SJ/T11363-2006.
表示该有毒有害物质至少在该部件的某一均质材料中的含量可能超出SJ/T11363-2006规定的限量要求。
* This part uses metallic alloys, which may contain Lead. 因该部件使用金属合金材料,故可能含有铅。
Cine-IPM 2K User’s Manual
020-100164-01 Rev. 1 (01/08)
i
Table of Contents
Section
1
Introduction
2
Installation &
Setup
Contents
Page
1.1
1.2
1.3
1.4
Description........................................................................................................1-1
List of Components...........................................................................................1-2
Purchase Record and Service Contacts.............................................................1-2
Ethernet Settings for This Product....................................................................1-2
2.1
2.2
2.3
2.4
2.5
2.6
2.7
Installation ........................................................................................................2-1
Connecting Sources ..........................................................................................2-5
Connecting DVI Outputs ..................................................................................2-9
Connecting Communications..........................................................................2-11
Setting Up the TPC for Source Selection .......................................................2-14
Linking Multiple Cine-IPM 2Ks.....................................................................2-15
Converting the Keypad ...................................................................................2-19
3
Basic Operation
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.8
3.9
3.10
3.11
3.12
Cine-IPM 2K Basics .........................................................................................3-1
Using the Keypad .............................................................................................3-3
Navigating the Menus.......................................................................................3-9
Using Inputs and Channels .............................................................................3-13
Adjusting the Image........................................................................................3-18
Adjusting System Parameters and Advanced Controls ..................................3-32
Working with PIP or Seamless Switching......................................................3-45
Status Menu ....................................................................................................3-48
Cine-IPM 2K Source Selection via TPC.........................................................3-48
Remote Control of the Cine-IPM 2K..............................................................3-49
Using Multiple Cine-IPM 2Ks........................................................................3-50
Error Conditions .............................................................................................3-60
4
Maintenance
4.1
4.2
Warnings and Guidelines..................................................................................4-1
Maintaining Proper Cooling .............................................................................4-2
5
Troubleshooting
5.1
5.2
5.3
Power ................................................................................................................5-1
Ethernet.............................................................................................................5-1
Displays ............................................................................................................5-1
6
Specifications
6.1
Specifications....................................................................................................6-1
Appendices
A
B
C
D
E
Glossary ...........................................................................................................A-1
Remote Keypad ............................................................................................... B-1
Serial Communication Cables.......................................................................... C-1
System Integration ...........................................................................................D-1
Optional Input Modules................................................................................... E-1
NOTE: Due to continuing research, all information in this manual is subject to change without notice.
CineIPM 2K User’s Manual
020-100164-01 Rev. 1 (01/08)
ii
Section 1
Introduction
1.1
Description
The Cine-IPMTM 2K user’s
manual supports software
v1.4e or higher. The CineIPMTM 2K expands the
functionality of Christie’s
CP2000 DLP CinemaTM
projector by processing a
variety of “alternative
content” non-cinema signals
such as computer graphics,
standard-definition video and
high-definition video (HDTV)
Cine-IPM 2K
signals. The Cine-IPM 2K
outputs this RGB data in either 8-bit or 10-bit (selectable) DVI format having 2048 x 1080
display resolution to match that of the CP2000 (default) or one of 5 other display
resolutions. Rack-mount the Cine-IPM 2K directly into the projector’s pedestal or into a
19-inch equipment rack, or use as a stand-alone tabletop unit.
Main Features X General
‰ Choice of five different output resolutions from a variety of sources.
‰ Versatile electronic scaling to automatically maximize for the display area
‰ Digital processing selectable as 8-bit or 10-bit, always output through DVI ports
‰ 3RU enclosure for rack mounting or installation within the CP2000 pedestal.
4 Standard Inputs, 2 Option Slots
‰ One analog RGBHV/YPbPr input with 5 BNCs
‰ One DVI-I input for either digital (RGB/YCrCb) or analog (RGB/YPbPr) signals
‰ One analog Composite video input
‰ One analog S-video input
‰ Built-in multi-standard decoder (NTSC, NTSC 4.43, PAL, PALM, PALN, PAL60, SECAM)
‰ Two option slots for additional inputs
‰ Up to 210 MHz pixel rate
‰ Compatible with all current HDTV formats
‰ Motion adaptive deinterlacing of 50 fps- and 60 fps-originated standard and highdefinition interlaced sources
‰ Inverse telecine deinterlacing of film-originated standard and high-definition
interlaced material with 3:2 pulldown (60 fps) or 2:2 pulldown (50 fps).
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1-1
INTRODUCTION
Special Display Functions
‰ Auto setup of non-cinema content
‰ Electronic brightness uniformity, whitelevel edge blending and color matching
‰ Optional image warping/blending for unusual angles and/or screens (ChristieTWIST
required)
Communications and Diagnostics
‰ Remote keypad, convertible for IR or wired use
‰ Front IR sensor
‰ Ethernet, RS232 (with in/out loop-through), RS422 and GPIO control ports
‰ Built-in ChristieNET™ connectivity for automated operation and source switching
‰ Interfaces with the Touch Panel Controller on the CP2000.
‰ LCD text display window for status updates and error messages
‰ Complete log files saved for downloading
1.2
List of
Components
1.3
Purchase
Record and
Service
Contacts
The following components comprise a complete Cine-IPM 2K (see Figure 3.1):
‰
‰
‰
‰
‰
‰
‰
Cine-IPM 2K with pre-installed ears for rack-mounting
Remote keypad with cable
Custom RS232 communication cable (for use with CP2000 only)
3-ft. DVI output cables (2)
10-ft. power cord
2 rear support screws
Cine-IPM 2K User’s Manual
Whether this product is still under warranty or the warranty has expired, Christie’s
highly trained and extensive factory and dealer service network is always available to
quickly diagnose and correct malfunctions. Service information is available to service
technicians.
Should you encounter a problem with this product and require assistance, please
contact your dealer or one of the Christie service depots listed on the back cover of
this manual. If you have purchased the product, fill out the form below and keep with
your records.
Purchase Record
Dealer:
Dealer Phone Number:
Cine-IPM 2K Serial Number:
Purchase Date:
* NOTE: Serial number is located on the rear panel of the product.
1.4
Ethernet
Settings for
This Product
At manufacture, the following Ethernet settings were defined for the Cine-IPM 2K:
Factory-set Ethernet Settings for This Product
Default Gateway
n/a
DNS Server
n/a
Cine-IPM 2K Address
Subnet Mask
1-2
0.0.0.0 (DHCP server will auto-assign a valid IP address)
255.255.255.0 (fixed)
Cine-IPM 2K User’s Manual
020-100164-01 Rev. 1 (01/08)
Section 2
Installation & Setup
This section explains how to install, connect, and get the Cine-IPM 2K up and running. For operating details, refer to
Section 3.
2.1
Installation
Follow these steps for a quick install of the Cine-IPM 2K in the rear of the CP2000
pedestal.
WARNING
Qualified service technician required.
Step 1 X
1. Unlock and open the
CP2000 pedestal doors.
2. Remove the 2 rack
protector posts from the
CP2000 pedestal rear.
Screws are accessed from
within the pedestal.
See right.
Figure 2.1. Remove Rack Protector Posts (2)
3. Remove 3 security slats to
create a 3RU opening for the Cine-IPM 2K.
Step 2 X Install Cine-IPM 2K
1. POSITION EARS AS
DESIRED: To recess
the Cine-IPM 2K so
that its front source
connections route
through the
pedestal and out the
front toe, move the
Cine-IPM 2K
mounting ears to
their forward
position (see Figure
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020-100164-01 Rev. 1 (01/08)
Figure 2.2. To Recess the Cine-IPM 2K
2-1
INSTALLATION AND SETUP
2.2). Alternatively, move the ears to their rear mounting location to position
the Cine-IPM 2K so that its front panel remains accessible and flush with the
rear of the CP2000 pedestal. Always use 4 screws to mount the ears.
2. INSTALL THE Cine-IPM 2K: Insert the rear
of the Cine-IPM 2K into the open area of
the pedestal. Use 2-4 screws to secure
each mounting ear to the pedestal frame.
3. Re-install the 2 rack protector posts.
Step 3 X Connect Sources
Connect your desired sources to the appropriate connectors on the front input panel
of the Cine-IPM 2K. For more information, see 2.2, Connecting Sources.
•
•
•
•
•
•
INPUT 1 – RGB input or Extra Video* via BNC connectors
INPUT 2 – Digital or analog signals (DVI-I) from a computer
INPUT 3 – Composite video
INPUT 4 – S-video
INPUT 5 – optional input module #1
INPUT 6 – optional input module #2
*NOTE: Extra video is only available with models that have a BNC
connector at INPUT 3 and will not work with previous Christie models, which
include a RCA
connector at that input.
In a recessed installation, pass
the source cable ends through
the ears and down to exit via the
front toe of the pedestal, then
connect at the source (Figure
2.3).
See the CP2000 User’s Manual
for further cable routing details.
2-2
Figure 2.3. Suggested Cable Routing
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INSTALLATION AND SETUP
Step 4 X Connect DVI Output
TO PROJECTOR: Connect a DVI cable between the DVI-1 port on the Cine-IPM 2K
rear panel and the DVI-1 port on the CP2000. See Figure 2.4.
Distance for DVI Output
Up to 3 ft. / 1m
DVI Cable Required
Use DVI cables provided (2)
4 ft. – 16 ft. / 1.25 – 5m
Use a standard DVI cable
Over 16 ft. / 5m
Use a fiber-optic (or similar) cable
— Contact Christie
Figure 2.4. Standard DVI Connection for 8-bit Output on the CP2000
TO 2nd DEVICE: To
use an additional display device such as a digital monitor or
second projector, connect the second DVI cable between DVI-2 on the Cine-IPM 2K
rear panel and the
extra device (Figure
2.5). Display devices
connected to DVI-2
must accept DVI, i.e.
they must be digital—
the DVI-VGA adapter
is for DVI-1 use only.
In addition, the device
must accept the CineIPM 2K format
Figure 2.5. Adding a 2nd Display Device
selected.
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INSTALLATION AND SETUP
NOTES: 1) Based on some monitor resolution limitations, Cine-IPM 2K output may
not be accepted. 2) For any installation, connect either DVI-1 or DVI-2 to a
compatible display device; output data is the same until 10-bit mode is activated. 3)
For complete information, such as how to connect for 10-bit operation, see 2.3,
Connecting DVI Outputs.
Step 5 X Connect Communications
All Cine-IPM 2K functions can be accessed and controlled using its keypad. Use the
keypad as an IR remote, or connect it to the Cine-IPM 2K’s front input panel using
the keypad cable (wired configuration is required when the Cine-IPM 2K is
permanently hidden within the pedestal).
uch Panel
To
Controller
For the option of using
the CP2000’s Touch
Panel Controller to
select Cine-IPM 2K
sources, you must also
connect the Cine-IPM
2K’s RS232 “B” cable
(see right):
1. Connect the custom
RS232 cable
(provided) to the
Figure 2.6. Connecting Communication to TPC
RS232 B port on rear
of the Cine-IPM 2K.
2. Connect the other end to the RS232 B port on the CP2000. Refer back to Figure
2.4.
IMPORTANT
Do not use RS232 “B” ports and cable with other
equipment or in other configurations.
STEP 6 X Connect to Power
Connect the Cine-IPM 2K power cord to the convenience outlet within the pedestal
(refer back to Figure 2.4), or to an external supply as desired. See Specifications for
power requirements.
WARNING
Do not attempt operation if the AC level is not within
the specified range for the Cine-IPM 2K.
STEP 7 X Turn on the Projector
Follow the complete power-up instructions provided in the CP2000 User’s Manual.
STEP 8 X Turn on the Cine-IPM 2K
At the front of the Cine-IPM 2K, set the “Power” switch to ON. Then press
(power) on the remote keypad.
2-4
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INSTALLATION AND SETUP
STEP 9 X Select a Source
Using the remote keypad, press Input 1 , Input 2 , Input 3 , Input 4 , Input 5 or Input 6 to select the
corresponding source connected in Step 3. The image from this source will be
projected as a 2048 x 1080 display (default).
If desired, an installer, administrator or advanced user can configure the TPC for
Cine-IPM 2K source switching—see 2.5, Setting Up the TPC for Source Selection.
Press
and/or Menu to refine other display parameters for this source as desired, or
to change to 10-bit output and/or a different resolution. See also 3.4, Using Inputs
and Channels.
Auto
Setup
STEP 10 X Close/Lock Pedestal Doors
With the Cine-IPM 2K fully installed, you should need no further access to the
interior of the pedestal. In a recessed installation where the Cine-IPM 2K is
inaccessible, make sure to leave the Cine-IPM 2K main switch permanently set to
“on”.
2.2
Connecting
Sources
Sources connect to the front panel of the Cine-IPM 2K. See Figure 2.7. To add a
source when the Cine-IPM 2K is recessed and secured within the CP2000, a qualified
service technician must unlock and open the pedestal for access.
Input Panel
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. Adjacent to 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 disk players or DVD players.
USING THE OPTIONAL SLOTS: There are also several optional interfaces available for
connecting additional sources. These interfaces slide into the option slots #1 (INPUT
5) or #2 (INPUT 6), and may be removed or installed while the Cine-IPM 2K is
powered up, if desired. Insert carefully along installation guides, making sure not to
touch the main board installed near the roof of the open slot.
Figure 2.7. Cine-IPM 2K Input Panel
NOTES: 1) See Section 6, Specifications for details regarding compatible inputs. 2)
For all connections, use high quality shielded cables only.
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INSTALLATION AND SETUP
RGB Signals X INPUT 1 consists of 5 BNCs (connectors) for linking to a variety of sources. The
typical connection would be to an RGB source such as a PC, Mac, DEC, Sun, SGI
and others. The Cine-IPM 2K supports multiple sync types with RGB signals: syncon-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). 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 syncon-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 2.8.
Figure 2.8. Connecting an RGB source
NOTES: 1) If for some reason the projector fails to recognize a signal as an RGB
signal, specify this Color Space option within the Image Settings menu. See 3.5,
Adjusting the Image. 2) To connect YPbPr signals–such as from DVDs or analog HDTV
sources–to INPUT 1, use the red, green and blue BNCs as described in YPbPr Signals
(below). 3) This input does not route to the decoder and cannot be used for Composite
Video or S-Video.
YPbPr Signals X Connect a YPbPr signal (component video) to INPUT 1 or INPUT 2 as shown in Figure
2.9.
(COMPONENT VIDEO)
NOTES: 1) If, for some reason, the projector fails to recognize a YPbPr signal,
specify this Color Space option within the Image Settings menu. See 3.5, Adjusting
the Image. 2) Do not connect digital component signals (known as YCbCr) to INPUT
1 or INPUT 2. Use the appropriate optional digital interface installed in INPUT 5 or 6
only. 3) With v1.1 software, digitally encrypted source material (HDCP) cannot be
processed and will be displayed as a blank screen.
2-6
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INSTALLATION AND SETUP
Figure 2.9. Connecting a YPbPr Source
Video X 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 2.10.
Figure 2.10. Connecting Composite Video and/or S-Video
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INSTALLATION AND SETUP
Extra Video X If you want to use an extra video source in addition to the video source(s) connected
at INPUT 3 or INPUT 4 connect either a Composite or S-video source to INPUT 1 as
shown.
NOTES: 1) Do not simultaneously connect Composite and S-video to INPUT 1. 2) You
can switch between video sources connected at INPUT 1 and INPUT 3 or INPUT 4.
3) Extra video is only available with models that have a BNC connector at INPUT 3
and will not work with previous Christie models, which include a RCA connector at
INPUT 3.
Figure 2.11. Connecting an Extra Video Source to Input 1
Optional Inputs X Optional input modules allow you to increase your total number of inputs and/or
accommodate different signal types, whether analog or digital. Install in the areas
labeled INPUT 5 or INPUT 6. These interfaces include:
•
•
•
•
•
•
•
•
RGB 500 Input Module
RGB 400 Active Loop Thru Input Module
RGB 400 Buffered Amplifier Input Module
PC250 Analog Input Module
Serial Digital Input Module
Digital HDTV Module
DVI Input Module
Dual SD/HD-SDI Module
For even more sources, connect a 3rd-party switcher to the RS232 IN port, or, if
RS422-compatible, to any of the three RS422 ports. Note that any sources in a
switcher can be selected only at the switcher, not via the keypad or TPC.
NOTES: 1) Connect analog HDTV signals directly to INPUT 1 or to any other
“RGB” input module installed—the optional HDTV Input Module used in earlier
projectors is not needed or recommended. 2) See Appendix E, Optional Input
Modules for a brief description of each interface.
2-8
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INSTALLATION AND SETUP
2.3
Connecting DVI
Outputs
All input signals processed by the Cine-IPM 2K are routed to the identical DVI
outputs located on the rear panel of the unit. Connect DVI-1 to the DVI-1 connector on
the CP2000 (cable provided). If desired, connect an additional display device such as
a digital monitor using DVI-2. Shown are 4 typical applications for the Cine-IPM 2K:
• 8-bit mode for one CP2000 (Figure 2.12A)
• 8-bit mode for CP2000 and a digital monitor (Figure 2.12B)
• 8-bit mode for two CP2000s (Figure 2.12C)
• 8-bit or 10-bit mode for one CP2000 (Figure 2.12D)
Figure 2.12. Connecting for 8-bit vs. 10-bit Use
Connecting for X If desired, such as when you have digital progressive source data, you can output it in
10-bit Use
10-bit format for a single CP2000 connected to the Cine-IPM 2K. This is shown in
Figure 2.12D above. Because Cine-IPM 2K’s 10-bit output is divided between the
two DVI ports, with DVI-1 handling the most-significant 8 bits and DVI-2 handling the
remaining least-significant 2 bits, 10-bit mode requires both outputs connected to the
corresponding CP2000 DVI ports.
Selecting 8-bit or 10-bit Mode
With the Figure 2.12D configuration, you can use either 8-bit or 10-bit Cine-IPM 2K
mode for all sources. Make sure to set this mode (a.k.a. “Data Format”) in 2 places:
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INSTALLATION AND SETUP
1. In the Cine-IPM 2K
Configuration menu, select
the Output Format submenu.
2. Select the desired “Output
Format”— use “Single Link
8-bit” or “Twin Link 10-bit”.
The latter improves displays
of digital progressive source
data.
Figure 2.13
The Cine-IPM 2K outputs all
sources according to the
choice set here.
3. In the TPC, go to the Custom menu (password required). Set “Input” to the
current DVI route:
‰ For 8-bit mode via a DVI-1 connection, select “DVI-A”
‰ For 8-bit mode via a DVI-2 connection, select “DVI-B”.
‰ For 10-bit mode via a double connection, select “DVI-TWIN”.
Figure 2.14. TPC Settings (10-BIT EXAMPLE)
4. Still in the TPC Custom menu, set “Data Format” to match the Cine-IPM 2K
format chosen in Step 2.
NOTE: When using the Cine-IPM 2K with two display devices, both outputs are 8-bit
duplicates of one another and 10-bit mode is not available.
For complete setup information and control of other Cine-IPM 2K options such as
resolution, refer to 2.5, Setting Up the TPC for Source Selection. See also Section 3.
2-10
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INSTALLATION AND SETUP
2.4
Connecting
Communications
As an alternative to keypad and/or TPC control, you may wish to communicate with
the Cine-IPM 2K using a PC or other controller. Such a device sends commands and
receives feedback via serial links (2 types), Ethernet or GPIO communications. All
types of communication methods are described below.
Remote Keypads X If desired, connect a wired (tethered) version of the CineIPM 2K remote keypad to the 3.5mm phono jack on the
front panel. Note that response to a wired keypad must also
be enabled in the Communications menu—see 2.7,
Converting the Keypad for more information.
TPC X If you have connected the rear RS232 “B” port of the CineIPM 2K to the RS232 “B” port in the CP2000, you can use
the Touch Panel Controller for selecting sources connected
to the Cine-IPM 2K. Refer back to Figure 2.6. The RS232
connection also enables Cine-IPM 2K status updates at the
TPC.
NOTE: The TPC can select a specific Cine-IPM 2K source
(#1-6) only if the CP2000 is connected via DVI-1. If
connected via DVI-2, the TPC can select this port (called
DVI-B), but you must use the Cine-IPM 2K keypad to select
the source (#1-6).
The rear Ethernet port on the Cine-IPM 2K is an alternative
route planned for TPC communications, but is currently
non-functional.
Other Controllers X RS232 Serial Communications
From most computers, connect a standard RS232 serial communication cable
between the computer and the Cine-IPM 2K serial port labeled RS232 IN. Then set the
Cine-IPM 2K baud rate to match that of your computer.
Changing the baud rate is done in the Cine-IPM 2K’s Communications submenu. See
3.6, Adjusting System Parameters and Advanced Controls.
Figure 2.15. Connecting Serial Communications via RS232
RS422 Serial Communications
Some computers can provide RS422 serial communications (often through a plug-in
adapter or external converter) rather than the more common RS232 standard. RS422
communication has differential “transmits-and-receives” and is generally better
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suited for long distances than is RS232 communication. Note that RS422 is not
compatible with RS232—connecting a RS232-compatible PC to RS422 can damage
the equipment at either end. Consult the documentation provided with your PC if you
are unsure.
The 9-pin RS422 connector is located on the front input panel of the Cine-IPM 2K.
When using this port, make sure to set the baud rate to match that of your RS422
controlling device.
Figure 2.16. Connecting Serial Communications via RS422
CAUTION
Do not use an RS422 port unless you are using
equipment with RS422 capability. The voltage levels of
this signal can damage incompatible equipment.
Ethernet Communications
To add the Cine-IPM 2K to an 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 Cine-IPM 2K front panel.
NOTES: 1) Ethernet crossover cable required if connecting directly to a PC only. 2)
Downloading new software to the projector via Ethernet is not supported.
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Figure 2.17. Connecting Ethernet
By default upon connection to an Ethernet network, a valid IP address for the CineIPM 2K will be automatically assigned by a DHCP server. If there is no DHCP server
present on your network, or if you want to use a specific static IP address for the
Cine-IPM 2K, you can set this address in the Ethernet Settings menu or via an ASCII
serial command.
Regardless of how it is assigned, once a Cine-IPM 2K has a valid and unique address
it will respond immediately to commands sent to this address. To determine the CineIPM 2K’s current IP address, consult the Status or Communications menus.
Refer to 3.6, Adjusting System Parameters and Advanced Controls for further
information about setting up and using a Cine-IPM 2K connected via Ethernet.
The GPIO Port
The General Purpose In-Out (GPIO) port enables integration of the Cine-IPM 2K
within an established control system so that other devices connected via GPIO can
operate in tandem with Cine-IPM 2K, or vice versa. ASCII commands sent via
standard serial ports can be stored in Cine-IPM 2K memory, where they can then
trigger a sequence of events in response to incoming or outgoing signals at the GPIO
port, depending on your programming of the GPIO pins. For example, you can
automatically dim the room lighting when the Cine-IPM 2K is turned on, or
automatically turn the unit off when the lights are raised.
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Figure 2.18. GPIO Port
For more information, refer to Appendix D.
2.5
Setting Up the
TPC for Source
Selection
uch Panel
To
Controller
At many CP2000 sites, users may prefer to select their non-cinema Cine-IPM 2K
sources with a simple button on the TPC Main menu. These buttons provide a
reliable and quick way to switch to a specific Cine-IPM 2K source, but they must
first be configured and defined by an installer, administrator, or advanced user having
access rights to the TPC Custom menu. See below.
NOTES: 1) This procedure assumes familiarity with the TPC. For complete
information, see the CP2000 User’s Manual provided with the projector. 2) The
RS232 “B” link is required for source selection at the TPC. 3) Currently the TPC
can be configured for switching sources only, not channels.
1. Make sure your CP2000 and Cine-IPM 2K are properly connected via both DVI
and RS232 “B”. Otherwise the two devices cannot communicate with each other.
2. Connect the desired
source(s) to the front of the
Cine-IPM 2K.
3. In the Cine-IPM 2K menus,
set the desired output
resolution and output (8-bit
vs. 10-bit; a.k.a. “Data
Format”). Remember that
Figure 2.19. Controlling Cine-IPM 2K Output
10-bit output requires both
DVI connections. See right.
4. With the projector and
Cine-IPM 2K both powered up normally, go to the Custom menu of the TPC and
set the following options (see Figure 2.20):
•
Define INPUT: Set whether your Cine-IPM 2K data link is via DVI-1 (called
“DVI-A” at the TPC) or DVI-2 (called “DVI-B” at the TPC), or whether the
incoming data is shared in a DVI-TWIN (10-bit) configuration utilizing both
DVI routes. With any of these three TPC input options, you must still use
the remote keypad to select the desired Cine-IPM 2K input (#1-6).
Alternatively, if you have multiple sources connected to the Cine-IPM 2K
for outputting on the 8-bit DVI-1 link, you may prefer to define a specific
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•
•
Cine-IPM 2K input (#1-6) for a specific display button. You can then
source-switch at any time by selecting this button on the TPC Main menu.
NOTE: Using the TPC to select a specific Cine-IPM 2K input 1-6 requires
the DVI-1 link. If DVI-2, you must use the keypad.
Define DATA FORMAT: 8-bit output requires “Unpacked 8-bit” data format. If
Input is set to DVI-TWIN (10-bit output), data format must be “Packed 10bit”. NOTE: “Packed 12-bit” is currently not supported.
Define SOURCE: Select the output resolution currently set in the Cine-IPM
2K—by default, this is 2048 x 1080 but other choices are available in the
Geometry and Color menu.
Figure 2.20. Configuring the TPC for Cine-IPM 2K Sources (EXAMPLE)
•
Define SCREEN: Set to “2048 x 1080 No Crop” to use the full display area of
the projector. To use a smaller area, select one of the other screen options.
•
Set GAMMA to 2.6.
•
Set COLOR SPACE to Unity RGB.
•
Clear the CINEMA checkbox. To achieve maximum throughput, non-cinema
processing is recommended for all Cine-IPM 2K sources. In rare cases with
low resolution sources having limited bandwidth, you may find that the
cinema path can be used without cropping.
5. Choose a desired key name and icon for the display button appearing on the TPC
Main menu.
6. Settings are saved when you leave the Custom menu (they are also saved 5
minutes after opening the menu).
The TPC Main menu should now include a button for your newly-defined Cine-IPM
2K source. Repeat for remaining Cine-IPM 2K sources.
2.6
Linking Multiple
Cine-IPM 2Ks
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You may wish to link two or more Cine-IPM 2Ks together so that commands to and
from a controller are relayed from one projector to another (each one having its own
Cine-IPM 2K). Choose a hardware configuration that best suits your desired
communication method.
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INSTALLATION AND SETUP
Serial Links X RS232 NETWORK: To control multiple Cine-IPM 2Ks with a computer/controller
having an RS232 interface, first set all Cine-IPM 2Ks to the same baud rate as the
controller, then chain the Cine-IPM 2Ks together by connecting the RS232 OUT
connector of the first Cine-IPM 2K (already connected to the computer/controller) to
the RS232 IN connector of the next Cine-IPM 2K in the chain. Continue connecting
Cine-IPM 2Ks in this manner until you’ve reached the last Cine-IPM 2K in the chain,
so that only the last Cine-IPM 2K has an unused RS232 OUT port. See Figure 2.21.
Figure 2.21. Typical RS232 Network
MIXED NETWORKS:
To control multiple Cine-IPM 2Ks with a computer/controller
having an RS422 interface, first set them all to the same baud rate as your RS422
controller.
NOTE: You must enable this combination of RS422 and RS232 in the
Communications menu. Set the “Network Routing” option to “RS232 and RS422
Joined”. See Section 3 for details.
Daisy-chain the Cine-IPM 2Ks together by connecting an RS232 OUT port of the first
unit (already connected to the computer/controller through its RS422 port) to the
RS232 IN port on the next Cine-IPM 2Ks in the chain. Continue connecting Cine-IPM
2Ks in this manner until you’ve reached the last unit in the chain, so that only the last
Cine-IPM 2K has an unused RS232 OUT port.
Figure 2.22. Mixed Serial Network
Note that communication parameters such as baud rate must be set to match the
particular controlling device before connecting as a network—refer to the
documentation that came with your controlling device in order to determine the
proper baud rate. See 3.6, Adjusting System Parameters and Advanced Controls if you
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need help changing the projector baud rate. In addition, set the Network Routing to
“RS232 and RS422 Joined” if you want to reach all Cine-IPM 2K / CP2000 sets.
NOTES: 1) To avoid damage, connect only properly wired serial communication
cables. See Appendix C for details. 2) It is recommended that each RS232
communication cable be no more than 25 feet in length. Use high quality cables.
Ethernet Networks X ETHERNET NETWORK SETUP: To add one or more Cine-IPM 2Ks to an Ethernet
network, use standard CAT5 cable to connect each unit’s front Ethernet port to a hub
belonging to the network. A controller or PC must also be connected to the hub. See
Figure 2.23.
Figure 2.23. Typical Ethernet Network
SETTING THE Cine-IPM 2K’s IP ADDRESS:
By default, a DHCP server (if present) will
automatically assign a valid and unique IP address for each Cine-IPM 2K present,
upon connection to most Ethernet networks. Depending on the network, this DHCPassigned IP address usually remains stable for the current session, but may change
with subsequent power-ups and logins. On some networks, the address will even
remain stable from session to session. In all cases, the Cine-IPM 2K’s IP address and
port appear in the Status menu as well as the Ethernet Settings submenu.
Figure 2.24. Setting the Cine-IPM 2K’s IP Address
If you have no DHCP server on your network, or if you simply wish to assign a
specific static address, enter this address in the Ethernet Settings submenu or send it
to the Cine-IPM 2K via a serial command. The unit will respond immediately and
permanently to commands sent to this address until you enter a new address, or until
you re-enable the DHCP auto-assign checkbox.
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CHANGING THE PORT#: On
some Ethernet networks, firewall restrictions may
require that the port number of the Cine-IPM 2K 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 Cine-IPM 2K. NOTE: It is recommended you
do not use port numbers below 1000 as they are typically reserved by common TCP
applications.
The Subnet Mask and Default Gateway are
automatically assigned when DHCP is enabled. If a static IP address is used, assign it
first since the subnet mask is estimated after it is entered. The Default Gateway
allows you to specify the address of a local router, which enables the transmission of
data between separate IP networks.
SUBNET MASK AND DEFAULT GATEWAY:
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.
Refer to 3.6, Adjusting System Parameters and
Advanced Controls for additional information about ArtNet settings.
ArtNet INTERFACE SETTINGS:
Communicating to X By default, communications originating from one type of serial controller—RS232
Certain Ports
vs. RS422 vs. Ethernet—stay on the corresponding network path. This separation is
indicated by a “Separate” setting for “Network Routing” in the Communications
menu. If you are using an RS422 controller, for example, the device communicates
only with the Cine-IPM 2K to which it is connected unless you change this setting to
either “RS232 and RS422 Joined” or “All Joined”(Figure 2.25).
Figure 2.25. Keeping Communications Separate (default)
Communicating to X To relay all messages to all ports—RS232,
1. Separate
All Ports
RS422, and Ethernet—set the “Network
2. RS232 and RS422 Joined
Routing” option in the Communications menu
3. RS232 and Ethernet Joined
for each projector to “All Joined”. This
4. All Joined
configuration is useful if you are using a nonRS232 controller with the RS232 linking
available between these Cine-IPM 2Ks. For example, you may want to use both an
RS422-compatible controller and an Ethernet-connected PC for working with a
network of Cine-IPM 2Ks linked via their RS232 in/out ports (Figure 2.26).
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Figure 2.26. Joining All Networks
To isolate just RS422 communications, select “RS232 and Ethernet Joined”. In
Figure 2.26, only projector #1 will respond to the RS422 controller. To isolate just
Ethernet communications, select “RS232 and RS422 Joined”—only projector #3 will
respond via Ethernet while all will respond to the RS422 controller.
Projector Numbers X It is helpful to define a unique 3-digit projector number—001, 002, 003, etc.—to
each projector connected in a serial (RS232 or RS422) network. These numbers
enable you to direct Cine-IPM 2K serial commands to a single projector rather than
broadcasting to the entire network. For complete information on how to assign and
use projector numbers on a serial network, see 3.6, Adjusting System Parameters and
Advanced Controls.
2.7
Converting the
Keypad
If desired, convert an IR remote keypad into a wired remote keypad and vice versa.
Select the new desired function in the Communications menu and add or remove the
cable and batteries as appropriate.
NOTE: In either configuration, batteries are required for powering the laser pointer.
1. Using the keypad as either an IR (infrared) remote or with its cable
connected to the Cine-IPM 2K, display the Communications menu.
2. Set the new desired keypad function—either “Front IR” or “Wired
Keypad”—to On. The Cine-IPM 2K will now recognize both types of
communication signals.
3. For wired function, add the keypad cable (provided) and connect to the
REMOTE port on the Cine-IPM 2K. For IR function, remove the cable and
make sure the 4 batteries are installed.
4. If desired, return to the Communications menu and turn the opposing keypad
functionality to Off. This is useful when you are using a wired keypad and
need to prevent interference from other nearby IR remotes still in use.
Note that each keypad configuration—wired or IR—controls the Off state of the other
type of keypad. This safeguard prevents accidentally disabling the current keypad.
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Section 3
Operation
3.1
Cine-IPM 2K
Basics
This section describes how to use the Cine-IPM 2K after it is properly installed by a
qualified service technician as described in Section 2, Installation and Setup.
Components/Features X Cine-IPM 2K components are shown below. Descriptions begin on page 2-2.
Figure 3.1. Cine-IPM 2K Components
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Communications (FRONT)
Connect all external communication links here, such as a wired keypad, Ethernet,
and/or a serial link from your PC or another Cine-IPM 2K. See Section 2 for details
of connection and setup of all communications.
‰
‰
‰
‰
‰
RS232: Connect
an RS232-compatible PC or other controller for typical serial
communication to and from the Cine-IPM 2K. These in-out ports also provide
loop-through connection to additional Cine-IPM 2Ks, creating a serial
network, and are used for downloading new software to the Cine-IPM 2K.
RS422: Connect an RS422-compatible controller for unusually long-distance
serial communication.
GPIO: Connect the desired GPIO-compatible device here for integration of the
Cine-IPM 2K with an established control system. Devices connected via GPIO
can operate in tandem with Cine-IPM 2K, or vice versa and is often used for
automation of regularly scheduled events.
REMOTE KEYPAD: Connect the wired (tethered) remote keypad if you want to
use a keypad for controlling a Cine-IPM 2K, such as one that is recessed and
hidden inside the CP2000 pedestal. In such cases, the cable is typically routed
out the front toe of the pedestal.
ETHERNET: Connect to an Ethernet network with other equipment such as
controllers and additional projectors.
Standard and Optional Inputs
Connect all desired non-cinema input sources here. See Section 2 for more
information about connecting sources, and refer to Section 6 for specifications.
Status Display
Full status and error messages appear in this window.
IR Sensor
The IR sensor detects commands from the Cine-IPM 2K IR remote keypad. Turn this
response on or off in the Communications menu.
Main Power Switch
When switched to On, the Cine-IPM 2K is ready for power-up and the Status Display
window is functional—it shows “Power Off” until you press
on the keypad.
When switched to Off, the Cine-IPM 2K is disconnected from AC (similar to
unplugging the unit) and cannot be detected by the TPC.
AC Connector and Line Cord
Use the Cine-IPM 2K line cord for any installation. Plug into an appropriate wall
outlet or use the convenience outlet in the CP2000 pedestal. The Cine-IPM 2K is
rated for 100-240 VAC—see Section 6, Specifications for more information.
Outputs and Communications to CP2000 (REAR)
All links to the CP2000 and/or other display device are routed from the rear of the
Cine-IPM 2K.
‰
3-2
DVI #1 and DVI #2: The
Cine-IPM 2K sends output through identical DVI ports
located on its rear panel—connect DVI-1 or both of these outputs to the
CP2000 and/or other display device (two DVI cables provided). See 2.3,
Connecting DVI Outputs for details.
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‰
‰
ETHERNET: The
Cine-IPM 2K’s rear Ethernet port is currently non-functional.
you will want to select your Cine-IPM 2K inputs using the Touch
Panel Controller on the CP2000, you must connect the Cine-IPM 2K’s RS232
cable between the rear RS232 “B” port on the Cine-IPM 2K and the RS232
“B” port on the CP2000. This custom Christie-proprietary cable enables
communication between the Cine-IPM 2K processor and the CP2000 so that
you can 1) use the TPC to switch Cine-IPM 2K sources and 2) obtain CineIPM 2K status updates.
RS232 “B”: If
IMPORTANT
Do not use RS232 “B” ports and cable with other
equipment or in other configurations.
Mounting Ears (2)
Mounting ears enable the Cine-IPM 2K to be installed in the rear of the CP2000
pedestal, or rack-mounted in a separate standard 19-inch rack. To recess the CineIPM 2K, position its ears as far forward as possible before installation—this creates a
convenient gap for routing your external connections away from the front panel.
Make sure to secure each ear with 4 screws. Or move the ears fully back for a flushfront installation.
Rear Mounts
If the Cine-IPM 2K is installed in the CP2000 pedestal, add support strapping
between the pedestal frame and the two rear mounts at the rear corners of the CineIPM 2K.
3.2
Using the
Keypad
All functions in the Cine-IPM 2K can be controlled and adjusted using the remote
keypad—refer to the key descriptions provided for the IR remote (Figure 3.2). Use
either as a wireless IR remote or convert to wired use.
As IR Remote X The IR remote keypad uses wireless communications from a battery-powered
infrared (IR) transmitter to control the Cine-IPM 2K. Direct the keypad toward the IR
sensor on the Cine-IPM 2K front panel.
As Wired Remote X The IR remote converts into a wired remote with the addition of a cable (supplied)
which connects to the front of the Cine-IPM 2K. You must also select the “Wired
Keypad” option in the Communications menu. Use a wired remote when lighting
conditions interfere with proper IR transmission, or when the IR sensor is
inaccessible, such as when the Cine-IPM 2K is secured within a closed CP2000
pedestal.
NOTE: Keep batteries in the keypad for powering the laser pointer.
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Figure 3.2. Standard Remote Keypad
Guide to Keypads X Keep in mind the following guidelines:
1) Press keys one-at-a-time; there are no simultaneous key combinations required.
2) To protect against accidental use, the two “toggle” keys—Power and OSD—are
“press-and-hold” keys that do not function with a typical quick press-and-release
key press.
3) Hold arrow keys down for continuous adjustment/movement in one direction. In
serial networks, pause briefly between adjustments to ensure that more distant
Cine-IPM 2Ks can “keep up” with the commands.
4) If you press a key while the Cine-IPM 2K is still responding to the previous
action, such as during power-up, the second key press may not take effect.
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Keypad Commands X Specific keypad commands are explained below:
Power ON/OFF
for a second or two to
With the main power switch set to On, press and hold
toggle the Cine-IPM 2K on or off with a single keystroke. Or press and release
(off) to guarantee the correct toggle
(on) or
followed immediately by
(useful if you are unsure of the present state). Alternatively, press
to toggle
from the present on/off state.
NOTE: During Cine-IPM 2K power-up, the internal fan powers up and the Status
Display window displays “Powering Up” along with input frequency data or “No
Signal” or error. The TPC will be able to detect the Cine-IPM 2K at this point.
Test
Auto
Setup
Test
Press Test to scroll through the Cine-IPM 2K’s internal test patterns in order,
including the current input. Or use
to scroll only the test patterns (no input)
in either direction.
Auto
Press Auto (a.k.a. “Auto Setup”) to initiate an automated process in which the CineIPM 2K 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. Auto Setup
What an “Auto Setup” Does
OPTIMIZES:
SETS TO DEFAULT:
Pixel Tracking
Contrast
Pixel Phase
Brightness
Size and Blanking
Auto Input Level (off)
Vertical Stretch
Detail (if video source)
Position
Filter
Input Levels
Luma Delay
NOTE: You must have an unlocked channel present to use Auto Setup.
Help
Chan
Press Help to display summary information about the current menu or highlighted
menu option. Or, if there is no menu present, press Help to access a list of general
help topics. To exit any help text, press Help again (or Exit ).
Channel
Press to select a specific source setup (channel) defined and stored in Cine-IPM 2K
memory. Once you enter a 2-digit channel number (or, if there is a list displayed,
highlight it and press
), the display will automatically change and update
according to the numerous setup parameters defined for that channel. Note that a new
channel is automatically created if you adjust an image from a new source.
NOTE: Chan 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 use a scrollable list of channels when you press Chan , or you may prefer to
enter the desired channel number “blind”, i.e., without on-screen feedback. See
Menu Preferences later in this section.
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OPERATION
Input 1
Input 2
Input 3
Input 4
Input 5
Input 6
Cont
Input 1
Press Input 1 to display from the data input source connected to BNCs labeled INPUT 1.
If PIP is enabled, pressing this key will change the PIP source.
Input 2
Press Input 2 to display from the DVI source (analog or digital) connected to INPUT 2. If
PIP is enabled, pressing this key will change the PIP source.
Input 3
Press Input 3 to display from the composite video source connected to INPUT 3. If PIP is
enabled, pressing this key will change the PIP source.
Input 4
Press Input 4 to display from the S-video source connected to INPUT 4. If PIP is
enabled, pressing this key will change the PIP source.
Input 5
Press Input 5 to display from the INPUT 5 interface module installed in the Option 1 slot.
If PIP is enabled, pressing this key will change the PIP source. If the Dual SD/HDSDI Module is installed here, with two inputs connected to it, the second input (B) is
considered INPUT 7. Use INPUT 5 to access INPUT 7 as follows:
•
While displaying from INPUT 5, press
•
While displaying from any input other than the Dual SD/HD-SDI Module,
press Input 5 . This switches to either INPUT 5 or INPUT 7, depending on which of
the Dual SD/HD-SDI Module inputs (A or B) was last used. Press Input 5 again
to display from the other Dual SD/HD-SDI Module input.
Input 5
again. This switches to INPUT 7.
Input 6
Press Input 6 to display from the INPUT 6 interface module installed in the Option 2 slot.
If PIP is enabled, pressing this key will change the PIP source. If the Dual SD/HDSDI Module is installed here, and there are two inputs connected, its second input (B)
is considered INPUT 8. Use INPUT 6 to access INPUT 8 as follows:
•
While displaying from INPUT 6, press
•
While displaying from any input other than the Dual SD/HD-SDI Module,
press Input 6 . This switches to either INPUT 6 or INPUT 8, depending on which of
the Dual SD/HD-SDI Module inputs (A or B) was last used. Press Input 6 again
to display from the other Dual SD/HD-SDI Module input.
Input 6
again. This switches to INPUT 8.
Contrast
keys until
Press Cont to change the amount of white in your images. Use
you reach the desired level of white—for best results, start low and increase so that
whites remain bright but are not distorted or tinted, and that light areas do not
become white (i.e., “crushed”). Conversely, low contrast causes dim images. See 3.5
Adjusting the Image (Image Settings subsection).
Bright
Brightness
Press Bright to increase or decrease the amount of black in the image. Use
keys until you reach the desired level of black—for best results, start high and
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decrease so that dark areas do not become black (i.e., “crushed”). Conversely, overly
high brightness changes black to dark gray, causing washed-out images. See 3.5
Adjusting the Image (Image Settings subsection).
Gamma
Gamma
“Gamma” is a global setting that determines what gray shades are displayed between
minimum output (black) and maximum output (white) for all signals. The proper
setting helps maintain optimized blacks and whites while ensuring a smooth
transition for the “in-between” values utilized in colors. Thus, unlike brightness and
contrast settings controls, the overall tone of your images can be lightened or
darkened without changing the two extremes, and all images will be more vibrant yet
with good detail in dark areas.
The normal gamma setting of 2.22 is correct for most signals and conditions. If
excess ambient light washes out the image and it becomes difficult or impossible to
see details in dark areas, lower the gamma setting to compensate. Conversely, if the
image shows excessive detail in black areas, increase the gamma setting. Again, good
gamma improves contrast while maintaining good details for blacks.
Menu
OSD
Menu
Press Menu to enter or exit the Cine-IPM 2K’s menu system.
OSD (On-screen display)
Press OSD
to hide the Cine-IPM 2K’s menu system during use. To see the
menus again, do one of the following:
• Press and hold OSD for a second or two
• Press and release OSD followed immediately by
• Press OSD OSD
Invisible menus are fully functional, enabling “hidden” access to numbered features
and image adjustments by entering the corresponding sequence of keypresses on the
keypad.
NOTES: 1) With OSD “on”, you can still hide on-screen error messages and direct
slidebars doing so in the Menu Preferences menu. 2) The state of the on-screen
display is shown in the Status Display Window on the front of the Cine-IPM 2K.
Shutter
Func
Shutter
No function. The CP2000 shutter is controlled at the Touch Panel Controller.
Function Key
IF WITHIN A MENU: Using
the Func key for special tasks within the menu system is
noted with the appropriate topic elsewhere in Section 3. For example, press Func in
the Channel Setup menu to enable deletion or copying of a channel.
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Press Func followed by a 2digit number to enable a specific color or colors in the
4
will
display (see right). For example, Func 6
7
display only red and green data, Func 6
will
display all color data. Eliminating one or more colors can
help with certain diagnostics and setups, such as when
accurately overlaying one image on top of another from
stacked projectors.
IF WITHIN A PRESENTATION:
NOTE: Color enabling can also be implemented from numerous locations within the
menu system.
DEFINING OTHER USES: Through ASCII messaging on a PC, you can also create
special user functions for keys 1-5 and 7-9. or others. For example, Func can be
programmed to trigger RTEs (Real-Time Events) or to display custom menus. Refer
to the separate Christie Serial Communications publication available at the Christie
website.
Proj
Projector
Press Proj to access a specific Cine-IPM 2K within a group, or to confirm if the local
Cine-IPM 2K is listening. The number in the “Enter Number” window indicates
which Cine-IPM 2K is currently listening to commands, and will match the
“projector” number that has been defined in the Menu Preferences menu. In this case,
remember that the “projector” number refers to the Cine-IPM 2K rather than any
projector to which it is connected.
The “Projector” checkbox (read-only) shows whether or not the Cine-IPM 2K
physically connected to a keypad is listening to commands from that keypad. A
checkmark means that connected Cine-IPM 2K is listening; if there is no checkmark,
you are communicating with a different Cine-IPM 2K.
To control a specific Cine-IPM 2K with the keypad, enter the 3-digit number
assigned to the Cine-IPM 2K you want to use. If you switch to a Cine-IPM 2K other
than the one you are currently using, the checkmark will disappear.
To broadcast to multiple Cine-IPM 2Ks, press Proj and then Proj again without
entering a projector number. Keypad commands will then affect all Cine-IPM 2Ks
present. Note that there is no method of controlling a group of Cine-IPM 2Ks within
the same wired configuration using the wired keypad exclusively, since there is only
one wired protocol available in this type of keypad.
NOTE: The "Broadcast Keys" option in the Communications menu must be selected for
only one (any) Cine-IPM 2K in a serial network. The keypad in use must be OFF
(disabled) for the remaining Cine-IPM 2Ks. See also 2.7, Converting the Keypad and
3.6, Adjusting System Parameters and Advanced Controls.
Enter
(or Enter on the standard remote keypad) to select a highlighted item, to
Press
toggle a checkbox, or to accept a parameter adjustment and return to the previous
menu or image.
Exit
3-8
Exit
Press
Exit
to return to the previous level, such as the previous menu.
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NOTE: Exit does not save changes within text editing boxes (including number
editing of a slidebar value) or within pull-down lists. It acts as a “cancel”.
Arrow Keys
keys to change a slidebar value or to select a different option
Use the
within a pull-down list without having to first scroll through options. These keys also
jump to the next page in long menus. See also Editing Text later in Section 3.
Use the
keys to navigate within a menu, pull-down list or text box, or to
force the corresponding state for power and OSD keys. See details provided on the
back of the remote keypad.
PIP
PIP (Picture-in-Picture)
NOTE: PIP performance may be limited by certain high frame rate sources.
Press PIP to enable or disable the Picture-in-Picture function in which you can
display two images can be displayed at once — typically a smaller “secondary”
image within a large “primary” background. While you are using PIP, source image
adjustments such as resizing, brightness, contrast, etc., affect the secondary image
only. To adjust the main image instead, press PIP before the adjustment (for
to change the gamma level of the main image).
example, press Gamma PIP
To remove the secondary image from the display and return to a single image, press
PIP
while no menus or slidebars are present.
Focus Zoom
3.3
Shift
Navigating the
Menus
Lens Focus, Zoom and Shift
No function.
Most controls for non-cinema content
processed by the Cine-IPM 2K are
accessed from within the Cine-IPM 2K’s
menu system. There are several groups of
related functions, with each group
selectable as a menu item in the Main
menu as shown at right. Press Menu at any
time to display this Main menu.
On the remote keypad, either enter the
Figure 3.3. Entering the
number corresponding to the function
Menu System
menu you wish to access, such as 2 for
keys on any keypad to highlight the
the Image Settings menu. Or use the
. The corresponding function menu or pull-down list
desired option, then press
of further options will then appear.
With a function menu displayed, navigate in a similar manner—enter a menu option
number for any numbered option, or use the
keys to highlight the desired
option, then press
(Enter). Extra long menus have a scroll bar on the right—use
the arrow keys to access the remainder of the menu. Locked items or items that do
not pertain to the current action or condition appear dimmed and cannot be selected.
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NOTES: 1) If there is no signal present, all source-dependent adjustments are
disabled. 2) After 15 minutes of inactivity, the Cine-IPM 2K leaves the menu system
and returns to the presentation. 3) The Status menu is read-only.
When finished with a function menu, do one of the following:
•
•
Press
Press
Exit
Menu
to return to the previous screen
to leave the menu system and return to the presentation
On-line Help X If at any time you are uncertain what to do next, press Help to display summary
information about the current menu or highlighted option. Press Help again to exit. In
addition, a line of “hint” text is included at the bottom of some menus.
Figure 3.4. Context-sensitive Help
From presentation level, press
necessary within a topic. Press
Help
Exit
to access general Help Topics. Scroll as
to return to your presentation.
Figure 3.5. Accessing General Help Topics
Time-outs X If a slidebar, menu, or message is displayed, you have limited time in which to make
a keypad entry before the Cine-IPM 2K returns to presentation level Help and the
graphic disappears. These time-outs may vary depending on what is displayed.
The Global Icon X Menu options that include this icon apply universally to any incoming signal.
The PIP Icon X Menu options showing this icon
apply to PIP (secondary) images only.
Using Slidebars and X Most of the function menus allow you to change settings by using slidebars,
Other Controls
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:
•
•
3-10
Enter the menu option number corresponding to the setting you wish to change
3
to select Vertical Stretch in the Size & Position
(for example, press 1
menu).
(Enter).
Or move the highlight to the option desired and press
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•
Or move the highlight to the option desired and press
immediately.
•
Or bypass the menus entirely and use a single key to immediately access an
adjustment during your presentation (NOTE: applies only to options having
their own key, such as Contrast, Brightness, Gamma, etc.).
For “blind” access, hide the entire menu system (see OSD key, above) and/or
direct slidebars activated by their own key (such as Contrast, Brightness, etc.).
Control by using the proper keypress or numerical sequence of key presses.
•
to adjust
Once selected, change the setting as desired (see below). Changes take effect
immediately and are saved upon exit from all menus, or after 15 minutes.
Slidebars in menus – The current value for a given parameter,
such as size or vertical stretch, appears to the left of its slidebar
icon (adjustment window). This number often expresses a percentage, or it may have
units associated with it (such as pixels, degrees Kelvin, etc.), depending on the
specific option. Press
to gradually adjust the setting up or down—both the
number and the length of the bar change accordingly. Hold for continuous
to activate a slidebar text box for specific number entry via
adjustment. Or press
to save (or press Exit to cancel).
the keypad, then press
“Direct” slidebars - For quick access, you access Gamma, Brightness, and Contrast
slidebars without traveling the menu system. For example, simply press Cont to
immediately display the same contrast slidebar accessed with the Contrast option in
the Image Settings menu.
and enter a specific
Use the arrow keys to adjust a direct slidebar, or press
or
to save (or Exit to cancel).
number from the keypad , then
or
When you are done, press 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
•
Or enter the menu option number.
(Enter)
Use
keys to navigate up and down within the list (the current choice is
or
noted with a small ∋). Press
to choose an option from the list, if desired.
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Figure 3.6. Example of Pull-Down List
Or, if you prefer to quickly scroll through a list without first pulling it down,
highlight the option and use
. Press
when the desired choice appears.
to jump between pages in an extra long pull-down
NOTES: 1) Press
or
list. 2) Press Exit while in a pull-down list to cancel any change.
Editing Text X ACTIVATE THE EDIT WINDOW: To enter or edit text, highlight the desired parameter
(such as a channel name) and press
to activate its adjacent edit window. Any
previously entered text is displayed with its first character highlighted in a square
cursor, signifying that this character is ready for editing.
NAVIGATE WITHIN THE EDIT WINDOW: Press
to move the cursor backwards as desired.
to move the cursor forward or
EDIT A CHARACTER: To
Figure 3.7. Entering Text
edit a highlighted
to scroll
character, use
and
through the alphabet, numbers, spaces and
punctuation available. When the character
you need appears, press
to select it—
the cursor will move to the next character of
current text, if present. Note that you can
also enter a number directly from the
keypad—it will be accepted and the cursor
will move on.
ADD OR DELETE A CHARACTER OR SPACE: To
press
insert a space at the cursor location,
. To delete a highlighted character (or space), press Func
.
Func
(ENTER) WHEN FINISHED: To
PRESS
press
NOTE: Press
3-12
accept edits and leave the edit window,
(Enter).
Exit
at any time to cancel changes and return to the previously-defined text.
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Editing Numerical Values X Enter numbers directly from the keypad in order to specify numbers representing
Cine-IPM 2Ks, channels (source setups), etc. 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.
NOTES: 1) Once you enter the first digit, this digit replaces all old digits. 2) If you
press any non-numbered key, the number entered up to that point is accepted and
updated as the new value. 3) Press Exit to cancel editing of numerical values.
3.4
Using Inputs
and Channels
NOTE: See Section 2, Installation and Setup, for a full explanation of how to
connect sources to the Cine-IPM 2K.
The Cine-IPM 2K 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 Cine-IPM 2K for different presentations. Depending on what you
have defined, each physical source connection (i.e., input at the Cine-IPM 2K) can
have several different channels associated with it.
Do I Select an Input X INPUT – An input is a source physically connected at the Cine-IPM 2K. Pressing Input 1 ,
Input 2
Or a Channel?
, Input 3 , Input 4 , Input 5 or Input 6 describes the source signal according to which input
slot it is connected.
HOW TO SWITCH TO AN INPUT IN EITHER ONE OF TWO WAYS – Pressing the
appropriate direct key — Input 1 , Input 2 , Input 3 , Input 4 , Input 5 or Input 6 — is a quick and
seamless way to display from one of the six inputs connected at the front of the CineIPM 2K. Alternatively, if the CP2000’s Touch Panel Controller (TPC) has been
configured for use with the Cine-IPM 2K, you can press the appropriate display
button on the Main menu of the TPC. With either method, the image will be
displayed according to the following:
If it is the first time you have used the source/input (or if you used the input but
did not define a channel by adjusting anything), the Cine-IPM 2K will recognize
the new input signal based on its frequencies and polarities, and the projector will
automatically display an image according to default settings for such a signal. By
default, signals will be output from the Cine-IPM 2K in 2048 x 1080 format.
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 Cine-IPM 2K memory (see below). Using an Input key 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.
If PIP is enabled, an input key changes the PIP (secondary) image source only. To
switch the main input, use the keypad number keys with “Numbers Select Main
Image” activated.
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NOTE: Inputs 7 and 8 require the Dual SD/HD-SDI module in either of the CineIPM’s option slots. For their selection, see also 3.2, Using the Keypad.
A channel is a collection of measurements, locations and settings that
tailor the display of an incoming signal to your specific needs. Since source types and
applications can vary greatly, you will likely want to adjust and define a wide variety
of parameters, such as brightness, contrast, size, etc., in order to customize and
optimize the display from 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 Cine-IPM 2K 's memory as a unique 2-digit channel, such as
. You
can have numerous distinct channels available for the same input, any of which can
be selected by using the
key on the keypad followed by the 2-digit channel
number.
CHANNEL -
Shown at right is a sample channel list as
would be available from
. This is
typically called the channel list.
key may display a channel
NOTE: The
list or not, depending on what you have
defined for “Display Channel List” (see Menu
Preferences later in this section).
on
In order to access channels by using
the keypad, you must first create the channels.
See below.
Channel List
Creating a New X To use a new source with the Cine-IPM 2K, a new channel must be added to its
Channel
memory so that the Cine-IPM 2K will respond properly to an input signal from that
– AUTOMATIC –
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 desired (see Copying
or Deleting Channels later in this section).
When you select a direct input ( Input 1 , Input 2 , Input 3 , Input 4 , Input 5 or Input 6 ), any existing
channels in the Cine-IPM 2K are searched for matching input and signal parameters.
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 01-99.
NOTES: 1) An automatic channel will be discarded unless one or more of its
parameters are changed, and will not appear in the channel list (see below). 2) If two
channels have the same distinguishing source characteristics except for the reversal
of sync connectors (i.e., H-sync and V-sync, are switched), they are still defined as
distinct channels. 3) You cannot define a new channel without an incoming signal.
If the incoming signal does match an existing channel, the image will be set up and
displayed as usual according to the parameters currently defined for that channel.
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USING A CHANNEL: You can normally select a channel at any time by pressing CHAN
(see right). If you want to
prevent a channel from
appearing in this list, you
must edit the channel as
described in Channel Edit
later in this section. Such a
channel can still be
selected by entering its
number as shown at right.
NOTES: 1) The current channel is highlighted upon entering the channel list, or, if
this channel is not displayed here, the first channel in the list is highlighted. 2)
Channels created automatically do not appear in the channel list unless a parameter
for the channel has been changed.
What Channels X All available channels are listed in the Channel Setup menu, which describes how
Are Defined So Far?
each channel can be accessed and which serves as the gateway for editing, copying
and deleting channels.
From the presentation
level, press Menu to
display the Main menu.
To display the Channel
Setup menu, press , or
move the highlight to the
Channel Setup option
Figure 3.8. All Channels Appear in the
and press Enter . The
Channel Setup Menu
Channel Setup menu will
appear (see sample at
right), with the active channel highlighted.
WHAT APPEARS IN CHANNEL SETUP MENU? This menu lists all channels defined so
far and indicates where (01-08) they connect to the Cine-IPM 2K. 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 =
Cine-IPM 2K), slot location (01-08), a variety of icons
indicating access to each channel, and an abbreviated
description of each signal type. See Editing a Channel Setup for details.
NOTE: If you have more than a handful of channels, use
and
remaining channels not visible in the initial display of channels.
to see the
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 Cine-IPM 2K 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.
SIGNAL TYPE —
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Table 3.2. Abbreviations for Signal Type
Abbrev.
4WH
4WV
SG
5W
5WR
SVid
CVid
Dig
Signal Type
Composite (4 wire) on HC input
Composite (4 wire) on V input
Sync-on-green
Separate H,V
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:
•
Press Func if you want to copy the selected channel or delete this or other
channels. See Copying or Deleting a Channel below.
•
Press Enter if you want to edit channel setups (i.e., non-image related
parameters) for the selected channel. See Editing a Channel Setup,
below.
Copying or X TO COPY A CHANNEL, highlight the desired channel in the Channel Setup menu, then
Deleting Channels
press Func to go to the Channel Copy/Delete submenu. Select “Copy” and
press Enter —a new channel will be created. It is identical to original, which still
remains, but it is identified with the next available number from 01-99. If you change
your mind and do not want to copy the current channel, press Exit to cancel and
return to the previous menu. Copying channels is a quick method for creating
numerous channels, each of which can then be edited and adjusted for a variety of
presentations in the future.
Figure 3.9. Copying A Channel
TO DELETE A CHANNEL,
highlight the desired channel in the Channel Setup menu,
then press Func to activate the Channel Copy/Delete submenu. Select “Delete” and
press Enter —a confirmation window will appear to make sure that you really want to
delete this channel.
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Figure 3.10. Deleting a Channel
TO DELETE MULTIPLE CHANNELS,
highlight any channel in the Channel Setup menu
to go to the Channel Copy/Delete submenu. Select “Delete Unlocked
and press
Only” and press Enter to delete all unlocked channels. Or select “Delete All
Channels” to delete all channels, even those that are locked. In either case, the current
channel will remain but will be redefined from Cine-IPM 2K defaults.
Func
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 X The basic setups that describe how and where a channel can be accessed are listed in
the Channel Setup menu. These channel setups can be edited at any time in the
Channel Edit submenu.
CHANNEL EDIT — STEP 1 From the presentation level press Menu to display the main menu. To display the
Channel Setup menu, press , or move the highlight to the Channel Setup option
and press Enter . The Channel Setup menu will appear.
CHANNEL EDIT — STEP 2 To edit parameters shown in the Channel Setup menu, select the relevant channel and
press Enter . The Channel Edit menu will appear similar to the sample shown in Figure
3.11.
Figure 3.11. Channel Edit Menu (SAMPLE)
CHANNEL EDIT — STEP 3 If desired, review and/or edit the following channel setups in the Channel Edit menu:
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•
CHANNEL NAME: An
•
CHANNEL NUMBER: A 2-digit channel number can be changed here.
NOTES: 1) If you enter a channel number that already exists, a dialog
alpha-numeric label can be defined and/or changed
here. Channel names can be up to 12 characters in length.
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OPERATION
message appears indicating that this number is already in use–assign a
different channel number. 2) You can define up to 50 channels.
3.5
Adjusting the
Image
•
INPUT: 1-8,
•
If checked (default, except for automatically defined channels
with unchanged parameters), this defined channel will then appear in the
list available when
key is pressed. If unchecked, the channel must
be accessed via
on the keypad or via the Auto Source function.
NOTE: On-screen display of the channel list is an option that must be set
in the Menu Preferences menu.
•
AUTO SOURCE: If checked, (default), the Cine-IPM 2K can automatically
locate this channel when an incoming input signal matches. If not
checked, the projector can locate the selected channel only when it is
directly selected via
on the keypad—and a change in input signal
will not result in a channel change.
•
LOCKED: If
checked, all of the image settings for this channel are disabled.
If unchecked (default), all available image settings can be adjusted as
desired. You cannot use Auto Setup with a locked channel.
•
PREVIOUS CHANNEL:
•
NEXT CHANNEL: Select this option to see or change Channel Edit settings
for the next channel in the Channel Setup list.
corresponding to where on the Cine-IPM 2K ’s input panel the
source is connected.
IN MENU:
Select this option to see or change Channel Edit
settings for the previous channel in the Channel Setup list.
The most commonly used options for non-cinema image adjustments are accessed
through two Cine-IPM 2K menus: Size and Position ( Menu ) and Image Settings
( Menu ), both of which appear in the Main menu. From either of these two menus,
you can change settings affecting the image from the current channel by working
with the appropriate slidebars, checkboxes and pull-down lists. Exit will return to the
previous menu (or to the presentation, if from the Main menu) and accept any
changes you may have entered. Settings are saved with the current channel.
From your presentation, you can access any of the individual options in these menus
by pressing Menu followed by the appropriate two-digit number representing their
location in the menu system. For example, press Menu 2 3 to quickly access the
“Gamma” option in the Image Settings menu.
Note that for certain options, you may prefer to use a “direct key” from presentation
level to go directly to a particular option without traveling through the menu system
(note: available for certain display parameters only). For example, press
to
access the “contrast” slidebar immediately. Press Exit to return to your presentation.
Contrast
NOTES: 1) To hide these “direct” slidebars, disable the” Display Slidebars”
checkbox in the Menu Preferences menu. 2) To hide the entire menu system from
view, toggle the on-screen display by pressing the OSD key.
Before You Begin X Use Auto Setup (
)
For a good and efficient first step in perfecting your non-cinema images, press
.
This initiates an automated process in which the Cine-IPM 2K 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
Auto
Setup
Auto
Setup
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time, and you can still modify the adjustments as desired using menu options
described below.
Size and Position Menu X In the Size and Position
menu, you can increase or
decrease the size of your noncinema image, change its
proportion (aspect ratio),
move the image to a specific
area of the screen, and refine
other related parameters. Use
Size and Position controls to
match the image precisely to
the screen used at the site.
Refer to "Using Slidebars
and Other Controls" (earlier in this section) if you need help using any of the options
and controls. Changes made in the Size and Position menu are applied immediately
and are saved when you exit the menu (press Exit or Menu ).
Resize Presets
Select a Resize Presets option
to output Cine-IPM 2K data in
its native resolution or so that
it closely fills the projector’s
native resolution of 2048 x
1080, or to optimize the width
or height of your display. Size,
Position and Blanking
parameters will automatically
adjust accordingly. Or, if
Blanking is set first, which
defines an Active Input Area, Resize Preset scaling will occur in this region of
interest only. Resizing options are explained in detail below.
WHAT IS THE RESIZING DEFAULT? By default when displaying a new Cine-IPM 2K
source, the output will automatically resize to fill the 2048 x 1080 resolution of the
CP2000. For sources having a more “square” aspect ratio than that of the CP2000,
this means the image will appear horizontally stretched until you select a different
Resizing Presets option or output resolution. See Select “Default” below.
WHEN “CUSTOM” APPEARS: The
“Custom” re-size descriptor automatically appears
in the Size and Position menu when any of the values for Size, Vertical Stretch, HPosition, V-Position or Blanking do not correspond to those for a preset. This option
is not offered in the Resize Presets pull-down list.
• Select “DEFAULT” for most sources (factory default). The image will be centered
and displayed as large as possible depending on the type of source, as described
below:
9 A graphic image will enlarge to fill the screen height, and be centered
between black side bars.
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9 A video image will enlarge to fill the screen height, and be centered
between black side bars.
9 An anamorphic (16:9) image will fill the height and slightly stretch
horizontally to fill the small amount of display area remaining on both
sides.
• Select “NO RESIZING” to display the image in its native resolution, which may be
smaller than the CP2000’s 2048 x 1080 resolution. For example, for a source with
a native resolution of 800 x 600, “No Resizing” will center a small image within a
black border—the black border areas are unused pixels. See below.
• Select “FULL SCREEN” to use all
pixels (2048 x 1080) for
displaying the image, regardless
of source or original aspect ratio.
See right.
• Select “FULL WIDTH” to fill the
projector’s display from left-toright without changing the
original aspect ratio of the image.
Depending on the original source
format, data at the top and bottom
may be discarded (cropped), or
the display may have black
borders at the top and bottom. See below.
• Select “FULL
HEIGHT” to fill the
display from top-tobottom. Depending
on the source, this
may create borders.
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• Select “ANAMORPHIC” to display an anamorphic image
in its native 16:9 aspect ratio. The image will fill the
screen from top-to-bottom, and be centered between
narrow black bars on each side.
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 Cine-IPM 2K samples at the correct frequency for most sources.
For best results, use a good test pattern such as a smooth gray consisting of a clear
pattern of black and white pixels, or a similar “half on, half off” graphic image, such
as the Windows shutdown screen. Adjust the slidebar until the vertical stripes broaden
to the point where one large stripe fills the image. If the image still exhibits some
shimmer or noise, adjust Pixel Phase (below).
Pixel Phase
NOTE: Adjust Pixel Phase after Pixel Tracking.
Adjust pixel phase when the image (usually from an RGB source) still shows
shimmer or “noise” after pixel tracking is optimized. Pixel phase adjusts the phase of
the pixel sampling clock relative to the incoming signal.
For best results, use a good test pattern such as a smooth gray consisting of a clear
pattern of black and white pixels, or a similar “half on, half off” graphic image, such
as the Windows shutdown screen. Adjust the slidebar until the image stabilizes and
each pixel is clearly defined. You may notice that you can stabilize the image at more
than one point—i.e., you may find that the image appearance at "11" is identical to
the image appearance at "38", thus you can use either setting.
If some shimmer from a video or HDTV source persists, use the “Filter” control to
remove high-frequency noise from the signal.
H-Position
This option moves the image right or left within the area of available pixels.
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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. For example, if
you have blanked (cropped) 100 pixels from both the left and right edges of an
incoming source of 2048 x 1080, the remaining active input window will be 1848 x
1080. When using a video source at INPUT 3 or INPUT 4, the default blanking of “0”
defines an active input window of 720 x 483.
BLANKING (TOP, BOTTOM, LEFT, and
RIGHT): Crop the image as desired so
that unwanted edges are removed from
the display (changed to black—see
right). Blanking defines the size of the
Active Input Window, creating an “area
of interest”. Range of adjustment
depends on the source resolution and
other factors for your application.
NOTE: Blanking a PIP image
resembles zoom (see Figure 3.12). For
example, left blanking zooms the right
side of the PIP image; Right Blanking
zooms the left side. There are no black
bars.
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Figure 3.12. Blanking of a PIP Image
PLUG & DISPLAY (EDID): By default, a Plug & Play
(EDID) source outputs a signal according to the EDID
information provided by the Cine-IPM 2K. To
override this information and display in a different
format (for example, if your Plug & Play [EDID]
device does not support the projector’s resolution
and/or frequency), select the desired Plug & Play
(EDID) resolution from the list.
Any daisy-chained Cine-IPM 2Ks will also display
according to the chosen Plug & Play (EDID) format.
EDID = Extended Display Identification Data standard.
Image Settings Menu
∋ Use options in the Image
Settings menu to alter your
non-cinema image without
affecting its size or position.
Changes made to the Image
Settings menu are applied
immediately and are saved
when you exit the menu
(press Exit or Menu ). Options
not available for the CineIPM 2K or source are
disabled and appear dim
(grey).
Contrast
(SHORT CUT: Press
Contrast
and adjust the slidebar.)
“Contrast” increases or decreases the perceived difference between light and dark
areas of your image (0-100). For best results, keep close to 50. If contrast is set too
high, the light parts of the image lose detail and clarity. If set too low, the light areas
will not be as bright as they could be and the overall image will be dim. For best
results, start with a low value and increase so that whites remain bright but are not
distorted or tinted, and that light areas do not become white (i.e., are “crushed”).
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NOTE: If the environment lighting changes, an adjustment of Gamma is
recommended (see below).
Brightness
(SHORT CUT: Press
and adjust the slidebar.)
“Brightness” increases or decreases the amount of black in the image (0-100). For
best results, keep close to 50. Start with a high value and decrease so that dark areas
do not become black (i.e., are “crushed”). Conversely, high brightness changes black
to dark gray, causing washed-out images.
Gamma
“Gamma” is a global setting that defines 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 “inbetween” values utilized in other colors. Thus,
unlike brightness and contrast settings
controls, the overall tone of your images can
be lightened or darkened without changing the
extremes, and all images will be more vibrant
while still showing good detail in dark areas.
Gamma fine-tunes the gamma table currently in use, ranging from 1 – 3 (default =
2.22), indicating that the chosen gamma table has not been adjusted). 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
unnatural with excessive detail in black areas, increase the setting. For more
information, see Gamma Table. Again, look for contrast and good details in very
dark areas.
Filter
The proper filter setting is automatically set for virtually all
signals, and rarely needs to be changed. It applies a low pass
filter for noise reduction in the incoming input signal,
particularly for HDTV or SDTV. Applied in the analog domain
before sampling, this filtering removes high frequencies and thus reduces pixel phase
noise (note this also reduces signal bandwidth). Override only if standard pixel
tracking and phase adjustments do not adequately clear up a “noisy” video signal, or
if a graphics signal appears overly “soft”. Both instances indicate that “Filter” may be
set to the wrong option.
Detail
“Detail” adjusts the sharpness of a video image so that edges remain clearly defined.
It can be particularly useful if a significant “Noise Reduction” adjustment has caused
the image to appear too soft. Adjust until the display is as sharp as desired, keeping in
mind that because “Detail” adds some high frequencies back into the image, it can
also re-introduce a certain degree of noise.
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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 (or certain digital signals) connected to INPUT
1, INPUT 2, INPUT 5 or INPUT 6 are decoded for accurate color in
the display. Although color space for these analog signals is
automatically determined by the Cine-IPM 2K, in some
circumstances you may wish to override this and manually set a specific color space.
NOTE: For most digital signals or for signals connected to INPUT 3 or INPUT 4, the
color space function is entirely automatic and the pull-down list disabled.
The current color space appears in the Image Settings menu. Press
different option:
•
•
•
Enter
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 Cine-IPM 2K may not
initially recognize them as RGB and will incorrectly decode their color information
as YPbPr (video). These signals can include:
•
•
•
RGB signals in NTSC, PAL, SECAM frequency ranges
Scan-doubled sync-on-green
Scan-quadrupled sync-on-green
For these signals, change the Color Space to RGB, then define a new channel for
future use.
Video Options — SUBMENU
This submenu is used with video
sources only (INPUT 3 or 4).
Video Options
1. Enable Decoder AGC
2.
Video Standard
3.
Input Video Black
4.
Color
5.
Tint
6. Decoder Luma Delay
A Auto
Automatic
0 IRE
Gain Control affects decoded video
50.0
images only. Enter a checkmark
50.0
(default) in most instances—this
35
activates the decoder’s AGC circuit to
ensure properly bright images. Delete
the checkmark if a decoded video image exhibits strange color artifacts such as
stripes in highly saturated colors, indicating an incompatibility between this source
and the AGC.
ENABLE DECODER AGC:
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VIDEO STANDARD: For all but the more unusual video standards
available in the world, the Cine-IPM 2K automatically detects the
incoming horizontal and vertical frequencies and sets the Cine-IPM
2K’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
Enter to view or select a different video standard from those
available to the Cine-IPM 2K—any that are disabled have
frequency characteristics that differ from those of the incoming
signal. Selecting a specific standard forces the Cine-IPM 2K 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
NTSC 4.43
PAL
PAL-M
PAL-NC
PAL 60
SECAM
Where Used (SUBJECT-TO-CHANGE)
N. America and Japan
A tape-only standard for partially-translated hybrid signals
Most of Europe, China, Australia, some of S. America, some of Africa
Brazil
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 or 3) an undefined channel. In order to
detect and display correctly in these cases, select the relevant standard from the list.
This control
compensates for incoming elevated black
levels present in certain video signals, and
ensures that blacks in the display are
neither crushed (i.e., where dark grays appear black) nor excessively elevated (i.e.,
where blacks appear dark gray). By default, the Cine-IPM 2K automatically determines
the best setting according to the type of incoming video signal:
INPUT VIDEO BLACK —
•
•
0 IRE – Used for DVD output with “enhanced black”, SECAM, most
PAL standards, and Japanese NTSC.
7.5 IRE – Used for most NTSC video signals.
For some types of video, you can override the setting. Generally, if black appears
crushed when brightness = 50, choose “0 IRE”. If black appears excessively elevated,
use “7.5 IRE”. The control is disabled for other types of video (and all graphics
sources).
COLOR — This slidebar adjusts the color saturation level, i.e. the amount of color in a
video image. Lower settings produce less saturated colors — for example a setting of
“0” produces a black and white image. If the color level is too high, colors will be
overpowering and unrealistic.
This slidebar adjusts the red/green color hue for true color reproduction of
video and HDTV signals connected to Input 3 or 4. For best results, adjust tint while
TINT —
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displaying an external test pattern—otherwise, it is recommended that tint remain at
its default setting.
DECODER LUMA DELAY – This control affects any incoming composite or S-video
signal, delaying the luma signal (intensity) in relation to the chroma (color). In the
image, increasing the luma delay will move luma (seen as a shadow where colors
overlap) to the right slightly, with colors remaining in place. Decreasing this delay
will move the shadow slightly to the left. If necessary for your current source, adjust
so that no shadows occur with adjacent colors.
Input Levels — SUBMENU
NOTES: 1) Because the Cine-IPM 2K automatically optimizes input levels for all but
the most unusual of sources, it is recommended that only experienced users use the
Input Levels submenu. 2) Before beginning, check that overall contrast and
brightness settings are near 50 and that color temperature is properly set up on an
internal grayscale test pattern. 3) There must be at least 6-12 consecutive white
pixels present in the image for proper “Auto Input Level” function. Leave this
control off after use.
Good RGB or input
levels—that is, the drives
and blacklevels for each of
the three colors, red, green
and blue—ensure that
images from analog sources
other than decoded video
have maximum contrast
without crushing black or
white. By default (and in an
“Auto Setup”), the CineIPM 2K automatically
determines the best input
levels by monitoring image
content and adjusting the controls appropriately—further adjustment is typically not
required to obtain proper blacks or whites. NOTE: This automatic adjustment
requires at least 6-12 consecutive white pixels in the image. Without these pixels,
input levels may produce skewed colors, particularly in non-video images.
However, for a very unusual source exhibiting one or more overly high blacklevels
(typically caused by a noisy source causing blacklevel spikes), an experienced user
may prefer to use the Input Levels menu (shown above). These adjustments, which
together serve as a calibration process compensating for differences in sources and
cabling, enable an experienced user to perfect the source image input levels and
eliminate the “overshoot” and “undershoot”. Note that Input Levels are of limited use
with digital signals, but do offer some ability to tweak poorly mastered source
materials.
Keep off for virtually all sources (default). Temporarily enter a
checkmark only if you are an experienced user and you have an unusual source that
you feel needs further color temperature and/or input level adjustment. This
compensates for incoming out-of-range drives (white) and blacklevels (black) that
would cause “crushing” of light and dark colors in the image. After entering a
AUTO INPUT LEVEL –
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checkmark, wait for the six slidebar values to stabilize then delete the checkmark and
exit. Auto Input Level should automatically turn off upon exit.
BLACKLEVELS AND DRIVES -
To check your image and adjust these controls:
1. Make sure overall Contrast and Brightness are both set to near 50.
NOTE: Not required for “Auto” adjustment.
•
Contrast
= 50 (approx.)
•
= 50 (approx.)
Check the color temperature setup using an internal grayscale test
pattern, making sure to obtain a neutral grayscale. NOTE: Not required
for “Auto” adjustment.
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.
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.
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).
Delete the “Auto” checkmark and leave the Input Levels menu.
Bright
2.
3.
4.
5.
6.
IMPORTANT: Do not use Input Levels to adjust color temperature. This will distort
Contrast and Brightness functions as well as color temperature.
When a checkmark is present, selecting a specific blacklevel
or drive to adjust will automatically enable the corresponding color in the display.
Delete the checkmark to see all colors.
AUTO COLOR ENABLE –
CLAMP LOCATION – This option (formerly known as sync tip
clamping) can brighten the image produced from certain highresolution high-frequency graphic sources. For almost all sources,
the best clamp location is automatically selected by the Cine-IPM
2K . Use the normal Back Porch location if the image is either
sufficiently bright or overly bright. Select Sync Tip if the image appears unusually dim,
if there are horizontal streaks across the image, or if there is significant color drift. This
moves the clamping pulse from the normal backporch location (which is likely too
short) to the tip of the horizontal sync pulse. Tri Level is typically recommended for
an HDTV source where the back porch is also short.
NOTE: Clamp Location is not used for video sources or any RGB source with sync
information included on the video (e.g., sync-on-green). Use Tri Level instead.
Select which color or colors you want to see in the display, useful
while working with color temperature white levels or input levels.
COLOR ENABLE –
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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.
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 smooth grayscale pattern in which black and white
are known to be at opposite edges of the image, you can watch these isolated areas
while adjusting individual blacklevels and input drives until both black and white
edges are just visible and distinguished from neighboring pixels. Images from this
source will then display correct blacks and whites without crushing or washing out.
PEAK DETECTOR –
See Figure 3.13. Adjusting Input Levels Using the Peak Detector:
1) Display a 16 level grayscale test pattern from the desired external source, and
2)
3)
4)
5)
6)
enter a checkmark in the Peak Detector checkbox. NOTE: The “Peak Detector”
will initially render the grayscale as a uniform gray field before adjustment.
Display one primary color (use Color Enable to select).
For the current color, adjust its corresponding “Blacklevel” slidebar just until a
single band of black appears at one edge of the screen. This band represents the
first band of the grayscale pattern, which should be 100% black. Do not adjust
too far.
With the same color still active, adjust its corresponding “Input Drive” slidebar
just until a single band of color appears at the opposite edge of the screen. This
band represents the last band of the grayscale pattern, which should be 100%
white (or the current color, if a certain color is enabled). Do not adjust too far.
Go back and check the black band—adjust the blacklevel slidebar if necessary.
Adjustments are related, so you may have to go back and forth until both bands
are just optimized.
Repeat Steps 2-5 with the other two remaining primary colors. When each
primary color shows one optimized black band and white (or colored) band, the
input levels for this source are correctly set. Upon exiting the Input Levels menu,
the Peak Detector checkbox will clear.
Figure 3.13. Adjusting Input Levels Using the Peak Detector
(RED EXAMPLE SHOWN)
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Advanced Image Settings — SUBMENU
Use the Advanced Image Settings
submenu to adjust lesser-used options
required only for more specialized
applications.
This control applies
a default video or graphics gamma table or “curve” to your images, controlling the
intensity of midlevel colors while
maintaining maximum contrast, brightness
and color performance. As shown at right,
the graphics curve is a simple power curve
while the video curve has a linear segment
near black to compensate for increased
blacklevels typical of video signals.
Although the Cine-IPM 2K automatically
applies either the graphic or video curve
according to what type of incoming signal is detected, in some cases you may wish to
override this default and use graphics gamma for a video source or video gamma for
a graphics source. Alternatively, if neither default is ideal, you may prefer to apply a
user-defined custom gamma curve that has been created externally, named, and
downloaded to the Cine-IPM 2K (requires separate PC-based Arbitrary Gamma and
KoRE Librarian software applications). If any special user curves have been
installed, their names will appear in the Gamma Table pull-down list.
GAMMA TABLE:
Keep in mind that any Gamma Table choice sets the related Gamma value (shown in
the Image Settings menu) to a 2.22 default, where it can be fine-tuned as desired.
Different values (1-3) here indicate that the original gamma table has been adjusted
with either the Gamma slidebar or direct key.
SELECT COLOR ADJUSTMENT: In “Select Color
Adjustment”, choose an overall color performance for all
non-cinema 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 predefined color adjustment choices—SD Video and HD
Video—apply a color gamut optimized for non-cinema 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).
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COLOR TEMPERATURE — Adjust to apply a specific 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
this slidebar is enabled only if you have a source connected and have selected “Color
Temperature” in the adjacent “Select Color Adjustment” pull-down list.
RESERVED —No
function.
Simulation 3D — SUBMENU OF ADVANCED IMAGE SETTINGS
Use the options in the Simulation 3D
menu to make timing adjustments for
realistic simulation environments.
FRAME DELAY MONITOR — This
slidebar monitors the latency between
input 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.
FRAME DELAY — Set
the number of lines delayed between the input signal and its
appearance on screen, keeping in mind that Cine-IPM 2K processing always adds one
frame of delay to the frame delay setting. Fro applications such as simulation, where
the felling of “real time” image response is a priority, a minimum setting is usually
preferable. If set too high or low, frame locking will not be possible—most sources
require approximately 50 lines of delay to ensure frame locking.
RESERVED — No
function.
FRAME LOCK ENABLE — When checked, the output image frame rate locks to the
input signal frame rate when possible. When the images are not locked
(recommended), the input and the output will run as close to the same rate as
possible, but frames may occasionally be duplicated or dropped. For best results and
stable images with v1.2 (or higher) software in the Cine-IPM 2K, leave unchecked.
WARP LATENCY — Requires
optional ChristieTWIST module. See ChristieTWIST
User’s Manual provided with the module.
Advanced Image Settings continued — SUBMENU
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 noisy
and/or inconsistent 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:
MOTION FILTER — This
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1) AUTO: The Cine-IPM 2K 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.
This setting determines how sensitively the Cine-IPM 2K
can detect if an incoming video signal originated from film or not.
FILM MODE THRESHOLD —
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 when using “Detail”.
FLOATING INPUTS - This
allows the signals connected to inputs 1, 3, and 4 to have
floating ground references relative to the projector. Floating the inputs can remove
hum bars in the image if the installation has conflicting grounds. However, floating
the inputs can also introduce hum bars when the signal ground is the only connecting
ground. Select the setting that produces the best image.
3.6
Adjusting
System
Parameters and
Advanced
Controls
Use the Configuration menu
to define general operating
parameters, processing and
output, and communications
with other Cine-IPM 2Ks or
external equipment, and to
access other advanced
processing and image
adjustments affecting overall
performance. In addition, the
Configuration menu provides
access to diagnostics,
calibration tools and the
Service submenu (passwordprotected).
Figure 3.14. Configuration Menu
Keep in mind that settings in the Configuration menu (and its sub-menus) are
typically “global” settings applied regardless of the type of source your are using.
This characteristic is identified with the (globe) icon alongside the option.
NOTE: The Configuration menu is recommended for experienced users/technicians
only.
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System Configuration X The first six options in the Configuration menu are explained below:
— GENERAL —
Language
Choose from available languages to use in the Cine-IPM 2K menus. The change will
take effect immediately.
Reserved
No function.
Output Format
Use this submenu to
control the output data
sent by the Cine-IPM
2K to your display
device. Choose between
8-bit and 10-bit data
format, and specify the
desired resolution for displays.
NOTE: If you change resolution of your Cine-IPM 2K output, a dialogue box will
appear to remind you that the change will be implemented on the next power-up of
the Cine-IPM 2K. Cycle the power if desired.
Remember that Cine-IPM 2K outputs must connected as shown in Figure 2.12. In
addition, set the corresponding TPC controls for “Data Format” and “Source” to
match both Output Format settings (refer back to Figure 2.20).
NOTES: 1) v1.1 software may offer limited support for different resolutions in
external devices. 2) 10-bit output improves displays of digital progressive source
data. 3) Output Format settings apply for all of your Cine-IPM 2K sources.
Auto Power-up
Enter a checkmark to enable the Cine-IPM 2K to automatically power up after losing
power due to a power failure, or due to unplugging the Cine-IPM 2K during
operation. Note that unsaved display adjustments may be lost.
Set Date & Time
Enter/read the current year-month-day and hour-minute-second. Changes here reset
the projector’s real-time clock.
Menu Preferences — SUBMENU
Use the options in this submenu to
adjust the appearance, content
and/or location of on-screen menus
and messages.
Enter a
checkmark to enlarge menus and
their text. You may have to adjust
“Menu Location” to accommodate
the increased menu area.
LARGE MENU FONT —
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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 the slidebars of Horizontal Shift and Vertical Shift to
move the menu to the desired location. To prevent cropping of larger menus, avoid
locations too close to a corner or edge.
HORIZONTAL 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 whenever you press ‘CHANNEL’ from your presentation. Channels marked with a
list icon in the Channel Setup menu will then appear here. The Display Channel
List option also enables on-screen feedback when using the Input key. If you prefer to
hide the channel list and input dialog box while switching channels and sources
during a presentation, clear the checkbox.
NOTE: The Channel List and input dialog box cannot be hidden during use of the
menus.
Enter a checkmark to superimpose a small slidebar over the
current image whenever an adjustable parameter is selected directly with a key such
as
or Bright . If “Display slidebars” is unchecked, these slidebars can still be
accessed, but will be hidden during adjustment. This option does not affect slidebars
in menus.
DISPLAY SLIDEBARS —
Contrast
DISPLAY ERROR MESSAGES — Choose how you want to be notified of errors
detected in either the incoming signal or Cine-IPM 2K. Select “Screen” or “All”
(default) to see brief on-screen messages. This is particularly recommended during
setup or testing of your Cine-IPM 2K system. 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”.
SPLASH SCREEN SETUP — Use
the Splash Screen to choose when you would like to
display a special introductory splash screen image, such as your company logo,
graphic or message.
•
•
•
•
Always Off = A splash screen never appears
Startup Only – The splash screen logo appears
at projector startup only.
Startup And No Signal– A splash screen appears at startup only if there is no
source signal.
Always On = A splash screen is always on behind the current display image,
similar to wallpaper.
To replace the default “Christie logo” splash screen (or other) with one of your own,
use KoRE Librarian to download the desired .bmp to the Cine-IPM 2K. This will
overwrite the current splash screen content in Cine-IPM 2K memory.
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System Configuration X Settings in the Communications
— COMMUNICATIONS —
submenu define and control how
single or multiple Cine-IPM 2K’s
link with each other and with a
controlling device.
Baud Rates
The baud rate setting determines
the speed of communication to and
from the Cine-IPM 2K on the
RS232 or RS422 links. The
maximum rate for either standard is
Figure 3.15. Communications Submenu
115200. 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 Cine-IPM 2Ks, if you discover that a Cine-IPM 2K has a
different baud rate, make sure to use the pull-down list and select the correct baud
keys. Serial
or
rate using the Enter key—do not just scroll this control with
communication is always 8 data bits, no parity.
Projector
Enter a three-digit number (such as "001”) to assign or change a number to the CineIPM 2K currently in use. If the current Cine-IPM 2K already has a number assigned,
that number will appear here (for example, “004” in Figure 3.15, above). Numerical
identity for Cine-IPM 2Ks enables you to communicate with a single Cine-IPM 2K
within a multiple-unit application (see also Proj key in 3.2, Using the Keypad). If
you make a mistake in assigning or changing the projector (Cine-IPM 2K) number,
press Exit to cancel.
Network Routing
Not applicable for stand-alone Cine-IPM 2Ks or simple serial networks with only
one type of controller and linking.
1.
2.
3.
4.
Separate
RS232 and RS422 Joined
RS232 and Ethernet Joined
All Joined
SEPARATE: Select “Separate” (factory default) to keep RS232, RS422 and Ethernet
messages on their respective paths instead of being broadcast to the remaining ports.
In Figure 3.16A, RS422 controls only the Cine-IPM 2K to which it is
connected. In Figure 3.16B; either RS232 or RS422 will control the network.
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Figure 3.16. Using the “Network Routing” Option
RS232 AND RS422 JOINED: Messages to and from any serial port will also be relayed
to all other serial ports. Use when there is only one physical link between any two
projectors, but which might be RS232 or RS422.
RS232 AND ETHERNET JOINED: Messages
to and from the RS232 ports will also be
relayed to the Ethernet port, and vice versa. Any RS422 communications will be
isolated.
ALL JOINED: All
messages reach all ports, regardless of type.
Ethernet Settings (SUBMENU)
NOTES: 1) Not used for stand-alone Cine-IPM 2Ks. 2) Recommended for network
administrators only.
DHCP: Enable this checkbox if you want a DHCP server to automatically set the
Cine-IPM 2K ’s IP address 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.
IP ADDRESS: Enter a valid and unique IP address for use on the network to which the
Cine-IPM 2K is currently connected. This address will overwrite any previous IP
address such as the Cine-IPM 2K‘s factory-defined default (0.0.0.0), or one that has
been assigned by a DHCP server or other user. An IP address entered here is
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implemented immediately and remains in effect until it is changed again. NOTE:
Make sure the Cine-IPM 2K is connected to the network before changing its IP
address.
PORT: On
some Ethernet networks, firewall restrictions may require that the port
number of the Cine-IPM 2K be changed from its default of 3002. If so, enter a new
valid port number here. NOTE: It is recommended you do not use port numbers
below 1000 as they are typically reserved by common IP applications.
The Subnet Mask and Default Gateway are
automatically assigned when DHCP is enabled. If a static IP address is used, assign it
first since the subnet mask is estimated after it is entered. The Default Gateway
allows you to specify the address of a local router, which enables the transmission of
data between separate IP networks.
SUBNET MASK AND DEFAULT GATEWAY:
NETWORK NAME: Use this text box to assign a name to the projector to make it easier
to identify on the local network. This is typically recommended when DHCP is
enabled.
ArtNet Interface Settings – SUBMENU
ArtNet is an Ethernet
communication protocol
that was developed by
Artistic License. It is used
for controlling
lighting/staging equipment
from a lighting console or
PC application. It is based
on the popular DMX512
control protocol.
ArtNet SUBNET: This
is the highest level address for a device. Typically it is set to 0.
ArtNet UNIVERSE: Each
packet of data is broadcasted to all devices plugged into a
universe (up to 512 devices/channels).
ArtNet ADVANCED MODE: If
enabled, each projector listens for data on 64 channels
starting with the base channel. When advanced mode is not in use, the projector only
listens on 10 channels. You can squeeze more devices per universe when the
projector used fewer channels. NOTE: The additional 54 functions are not currently
implemented and are reserved for future use.
ArtNet BASE CHANNEL: When
advanced mode is enabled, the projector listens to data
on 64 consecutive channels, or 10 consecutive channels when advanced mode is not
enabled. The projector processes requests that come on either 10 or 64 consecutive
channels beginning with the “base channel” defined here. The requests implement the
following functions:
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DMX Channel
Function
Base
Shutter
Base + 1
Slider Lock
Base + 2
Base + 3
Input *
Channel *
Base + 4
Lens – Vertical * †
Base + 5
Lens – Horizontal * †
Base + 6
Lens – Focus * †
Base + 7
Lens – Zoom * †
Base + 8
Power *
Base + 9
None
Value
0 – 64
65 – 192
193 – 255
0 – 254
255
1–8
1-99
0
1 – 254
255
0
1 – 254
255
0
1 – 254
255
0
1 – 254
255
0
1 – 254
255
Open
No Action
Closed
Locked
Unlocked *
Input #
Channel #
Lens Down
Stop
Lens Up
Lens Right
Stop
Lens Left
Negative Focus
Stop
Positive Focus
Zoom Out
Stop
Zoom In
Power Off
No Action
Power On
* Functions are only active when the Slider Lock is set to Unlocked
† Lens functions have no effect on the Roadie 25k
NOTE: It is important to make sure the channels DO NOT overlap another device.
Example:
Good
Proj1_Base = 0
Proj2_Base = 10
Proj3_Base = 20
Bad
Proj1_Base = 5
Proj2_Base = 9
Proj3_Base = 11
ARTNET DEVICE NAME: This option is used to name each device; some ArtNet
servers support querying for devices. Press Enter and use the arrow keys to enter a
name. NOTE: Refer to section 3.3 Navigating the Menus, Edit numerical Values, for
text entry description.
ARTNET DEVICE DESCRIPTION:
More information that is returned when a “device
query” has been done.
Broadcast Key
Enter a checkmark if you want keypad commands sent to one Cine-IPM 2K to be
relayed to all Cine-IPM 2Ks in a serial network. Note that the Proj key will
temporarily “override” the effect of a broadcast setting and allow you to control a
specific Cine-IPM 2K when necessary. Make sure to remove the Broadcast Key
checkmark when operating redundant networks.
Front IR
This option determines whether or not the IR sensor on the Cine-IPM 2K responds to
the IR remote keypad. To disable this sensor, you must use a wired remote keypad to
select the “Front IR” OFF setting. This safeguard prevents accidentally disabling a
keypad during use. When off, the Cine-IPM 2K will no longer respond to an IR
remote keypad.
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NOTE: See 2.7, Converting the Keypad for information about changing your keypad
from IR to wired, or vice versa.
Wired Keypad
This option determines whether or not the wired keypad on the Cine-IPM 2K
responds to signals arriving at the “REMOTE” port on the Cine-IPM 2K front panel.
To disable this option, you must use an IR remote keypad to select the “Wired
Keypad” OFF setting. This safeguard prevents accidentally disabling a keypad during
use. When off, the Cine-IPM 2K will no longer respond to a wired keypad connected
at the front panel.
System Configuration X In the Configuration menu,
select the Geometry and Color
submenu when you need to
modify general color
performance and/or image
geometry for all sources.
— GEOMETRY and COLOR —
Test Pattern
Choose the desired internal test
pattern to display, or select OFF
to turn off a test pattern. Alternatively, use the
patterns.
Test
key for cycling through test
Keystone
NOTE: If the optional ChristieTWIST module is installed, this option is Keystone
and Warping, and activates a submenu for defining custom image shapes. Please
refer to the documentation included with your ChristieTWIST module.
Use to correct a keystoned image in which both sides of your image are inclined
toward each other. Keystone is typically caused by tipping the projector in relation to
the screen, so that the lens surface and screen are no longer parallel to each other.
Figure 3.17. Keystone Adjustment
Brightness Uniformity — SUBMENU
Brightness Uniformity creates an exceptionally smooth image in which no area
appears brighter and/or more red, green or blue than another. It is typically used to
further refine multiple displays already matched for their primary colors and overall
light output, but this feature can also smooth out a single image. In the Brightness
Uniformity menu, enable the “Uniformity Enable” checkbox to access a multitude of
adjustments for critical color light output control in specific areas throughout the
image. Your settings apply as long as the “Uniformity Enable” checkbox is enabled
and you are using a “User” color temperature defined by the Brightness Uniformity
controls. To disable the Brightness Uniformity function, delete the “Uniformity
Enable” checkmark.
NOTES: 1) See also 3.11, Using Multiple Cine-IPM 2Ks for the complete step-bystep procedure for achieving uniform brightness. 2) If ChristieTWIST is installed, the
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enable checkbox changes to a list giving the option to choose from several different
uniformity maps. Refer to the documentation provided with the ChristieTWIST.
Edge Blending — SUBMENU
The Edge Blending submenu provides a range of controls for smoothing together the
overlapping bright edges of multiple adjacent projected images to create a single
larger “seamless” image. These controls, which primarily affect whitelevels, are
typically used in conjunction with mechanical lens blinders (optional), which are
installed on the front of the projector and which primarily affect blacklevels. Blinders
for this projector are not yet available.
NOTE: See also 3.11, Using Multiple Cine-IPM 2Ks for the complete step-by-step
procedure for blending edges between adjacent non-cinema displays.
Color Adjustments by X/Y, and Color Saturation — SUBMENU
NOTES: 1) For defining or changing a User 1, 2, 3, or 4 color performance or
“gamut”. Sometimes known as Comprehensive Color Adjustment™. 2) Factorydefined primary color levels can be altered 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). 3) Independent of CP2000 TCGDs.
From the factory, the Cine-IPM 2K 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.
Figure 3.18. Color Gamut Choices
DEFINING “USER” COLOR GAMUTS: In
some cases, you may find that none of the predefined “Select Color Adjustment” options exactly suit your needs. For example, you
may require a unique color gamut (range) for a single projector or non-cinema
application, or you may need to precisely match colors across multiple adjacent noncinema displays. In such cases, use the Color Adjustments by X,Y or Color Saturation
submenu to define the precise hue of each primary color component (red, green, blue,
and white) used to generate the millions of colors produced in displays. You can
create up to four custom color gamuts (User 1, 2, 3, or 4) with these adjustments.
Note that the two menus differ only in their user interface, so use whichever menu
best suits your needs and application. A color meter can help with adjustments.
•
•
3-40
Color Adjustments by X,Y — Enter known x/y coordinates from the chromaticity
graph.
Color Saturation — Adjust color slidebars and judge image color by eye or
meter.
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A user-defined color “adjustment” can be applied for a source by selecting the
desired “User” option in the “Select Color Adjustment” list accessed in the Advanced
Image Settings menu.
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
outputted to display devices. The
x/y coordinates for each color
define its location on the standard
CIE chromaticity graph (see Figure
3.20)—changing either or both of
these numbers will change the hue
of the color, and relocate the
“triangle” for possible colors. For
example, changing the x/y
coordinates for red may move the
color closer to orange or closer to
Figure 3.19. Customize Color
violet, which will in turn affect all
displayed colors having a red component. Adjust the slidebars or enter new specific
coordinates as desired to define or change up to four “User” color gamuts needed for
your environment and applications. Apply at any time in the Advanced Image
Settings menu. NOTE: If x/y coordinates are out of range the Color Space Valid
Valid will change to Color Space Valid Error.
Figure 3.20. CIE 1931 Chromaticity Diagram
NOTE: Keep new x,y coordinates within the original color gamut triangle shown
here.
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PROCEDURE FOR X,Y ADJUSTMENTS:
See 3.11, Using Multiple Cine-IPM 2Ks.
COLOR SATURATION: Use
this
submenu if you do not have
specific color coordinates in mind
and will simply judge color
performance by eye or meter.
Like the Color Adjustment by X,Y
submenu, each color control
actually defines new x/y
coordinates for that color and
changes its hue—it is just a
different interface.
Adjust the hue of each primary
color (red, green, blue, and white)
by using more or less of it in
relation to the other colors.
Figure 3.21. Customize Color
NOTE: A Color Saturation adjustment defines the corresponding x/y coordinates
shown in the Color Adjustment by X,Y submenu. These x/y coordinates will remain
stable for this User gamut until they are changed again via either menu. Values
displayed in the Color Saturation menu, however, will likely fluctuate as you use the
projector, and will be different when you return to this menu at some point in the
future. These floating changes do not affect the x/y coordinates or gamut.
Default Color Adjustment
This specifies the default color adjustment that will be applied to each new channel.
If required, you can override this setting for a specific channel.
System Configuration X Test Pattern
Choose the desired
internal test pattern to
display, or select OFF to
turn off a test pattern.
Alternatively, use the
Test
key for cycling
through test patterns.
DIAGNOSTICS / CALIBRATION
Test Pattern Grey
Level
Set the desired level of
grey for displaying in the
full grey field test pattern.
Figure 3.22. Diagnostics and Calibration
Freeze Image
Enter a check mark to freeze (stop) an image at a single frame. This diagnostic tool is
useful if you need to examine in detail a still version of an incoming image that
cannot be “frozen” at the source. For example, in moving images it is sometimes
difficult to observe artifacts such as external deinterlacing/resizing and signal noise.
Remove the checkmark to return back to normal.
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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 (see “Function Key”).
Odd Pixel Adjustment
NOTES: 1) Factory-set and rarely required by user. 2) Source must be >90 MHz.
When using certain non-cinema RGB sources, you may need to adjust the normal
gain or offset of odd pixels in relation to even pixels. This will smooth out very
narrow (1-pixel wide) “checks” or vertical stripes that indicate adjacent “on” and
“off” pixels. Although offset and gain slidebars can be adjusted individually and
manually, using the Level Detector simplifies this process (see Figure 3.23):
1) Use an external analog native-sized continuous grayscale test pattern with at least
2)
3)
4)
5)
6)
7)
8)
256-levels.
Turn “Level Detector” on.
Set “Level Value” to ~200. The image should now be black-and-white (or blackand-one color, if you use “Color Enable” function).
Adjust offset. Half of the pixels will move, the other half will not.
Adjust until the two transition regions overlap. The stripe of noise will be
minimized, defined by the value in the slidebar.
Set “Level Value” to ~800. The image should now be black-and-white.
Repeat Steps 4 and 5, but adjusting gain.
Repeat Steps 3-7 for all remaining colors. Your RGB source should now be OK.
Two sets of values are automatically saved with this process—one value for INPUT 1,
and one value for INPUT 2 (analog). The Cine-IPM 2K will automatically choose the
correct set depending on the source connection. This enables a single source to be
processed correctly whether it routes through one input or another.
Figure 3.23. Using “Odd Pixel Adjustment”
NOTES: 1) Adjust offset before gain, since offset affects gain. 2) A value of 128
represents no change in normal odd pixel offset or gain. 3) Odd Pixel Adjustment
eliminates “1 pixel on, 1 pixel off” patterns only, not any type of larger patterns.
Reserved
No function.
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Peak Detector
The Peak Detector is fast method of defining individual input levels, and can improve
the accuracy of input levels set by the Auto Input level function. Enabling the Peak
Detector activates a special operating mode for detecting only pixels that are
considered black or white—all other levels are displayed as a mid-level gray. When
used with a 16-step grayscale pattern in which the two black and white bands are
known to be at opposite edges of the image, you can watch these isolated areas while
adjusting individual blacklevels and input drives until both bands are just visible.
Images from this source will then display correct blacks and whites without crushing
or washing out.
Level Detector
The Level Detector checkbox enables a 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.
2.
3.
4.
5.
Enable Level Detector and display a continuous grayscale.
Set Level Value to near black (such as 200).
Adjust Offsets to minimize area of black stripe.
Set Level Value to near white (such as 800).
Adjust Gains to minimize area of white stripe.
Level Value
The Level Value defines the value to be used by the Level Detector in recognizing
blacks and whites. See Level Detector, above.
Aspect Ratio Overlay
When selected, this option will display outlines overtop of the image in various
aspect ratios. This is useful when trying to position images.
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System Configuration X
OPTIONAL INPUT MODULES
The two “Option Card”
entries In the
Configuration menu
identify which optional
input modules (a.k.a.
cards) are present at
INPUT 5 (Option 1) and
INPUT 6 (Option 2). If
either of these option
slots is empty, the
corresponding read-only
menu entry does
nothing. If there is a
module installed, the
corresponding menu
entry may activate a
submenu of further
options pertaining to that
module.
For example, if the Dual
Figure 3.24
SD/HD-SDI module is
installed at INPUT 5
(Option 1 slot), the
Option 1 Card submenu
provides controls for configuring the various connections on this multi-input, multioutput module—see Figure 3.24. 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.
3.7
Working with
PIP or
Switching
NOTE: Smooth or Seamless switching not currently supported for 2048 x 1080 or
1920 x 1080 output from the Cine-IPM 2K.
PIP (Picture-in-Picture) and Switching are independent but related Cine-IPM 2K
features that both utilize two image processing paths within the unit. In the case of
Picture-in-Picture, this double processing enables you to output two different images
simultaneously – typically a smaller “secondary” image within a large “primary”
background. In switching (available with certain Cine-IPM 2K outputs), the double
processing essentially occurs between displays so that a full image relayed from one
source can smoothly transform into a full image from another source. This change
can be virtually instantaneous, or slowed as desired so that the current image appears
to dissolve or “fade” into the new image.
Options for enabling and controlling PIP and Switching all reside in the same menu.
Note, however, that because both features utilize the Cine-IPM 2K’s double
processing capability, PIP and 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 Switching results, use two different signal types* as defined below.
Do not mix two signals of the same type.
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Signal Type
#1
#2
#3
#4
#5
#6
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
Digital Option Cards
* HD interlaced sources are not recommended for the PIP window.
Other PIP or 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
Switching is not supported with Cine-IPM 2K outputs of 1920 x 1080 or
higher, and may affect image quality in some cases.
Working with PIP X NOTE: Controls for the primary image are all accessed through the Main menu. To
control the secondary (PIP) image, access picture controls through the PIP and
Switching menu.
Use the first of six
options in the PIP
and Switching
menu to enable and
define how you
want to use PIP.
Options 8 and 9
pertain to source
switching only, and
are supported with
the Cine-IPM 2K’s output of SXGA+ or lower.
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
from your presentation.)
Toggle to display from two
sources at once (Picture-inPicture) or the primary
source only. This checkbox
turns the secondary source
on and off.
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NOTE: Disable PIP for Interlaced sources > 35kHz.
PIP Size and Position – SUBMENU
Controls in the PIP Size and
Position menu affect the PIP
(secondary) image, functioning in
the same manner as the main
controls in the Size and Position
menu—see 3.5, Adjusting the
Image for descriptions.
Additional options unique to the
PIP image are:
POSITION PRESETS –Set the
location of the PIP (secondary)
image in the display.
ASPECT RATIO PRESETS – Set the desired aspect ratio of your PIP image to
“Default” or “Anamorphic”. Refer back to 3.5, Adjusting the Image (Resize Presets)
for details.
PIP Image Settings — SUBMENU
Adjust the PIP (secondary image) without affecting the size or position. The primary
image remains unchanged. See 3.5, Adjusting the Image for details.
PIP Border Width
Set the desired line thickness for your PIP window border.
PIP Border Color
Select the desired color for the PIP window border.
Working with Switching X Switching is the ability to instantly and/or smoothly switch sources, and is controlled
with options 7 and 8 in the PIP and Switching menu. To use Switching, PIP must be
disabled and the Cine-IPM 2K output set to a resolution that is less than 1920 x 1080.
Image Optimization
Choose whether to switch sources as smoothly as possible, or whether you prefer to
optimize image quality, whichever best suits your needs. Select “Best Image Quality”
to improve raw image quality while maintaining 10-bit processing; however in some
cases when switching between sources, you may notice a brief dark state between
images. Select “Smooth Switching” to maintain the ability to frame lock. This is best
suited for when switching between video sources. In some instances, you will notice
a brief dark state between images. If you are not concerned with frame locking select
“Seamless Switching. This will set the output to a fixed frame rate (60Hz). Switching
occurs almost instantaneously without a dark state in between images. NOTE: With
Smooth and Seamless Switching, Cine-IPM 2K output must be less than 1920 x 1080.
Fade Time
Set how long (in seconds) it takes to gradually dissolve one image into another for a
source switch. Fading is available for single-image “best” source switching only—
PIP cannot be in use, and Image Optimization must be set to “Smooth Switching”.
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NOTE: Fade Time is not currently supported for 2048 x 1080 or 1920 x 1080
outputs.
Numbers Select Main
Image
Use Numbers Select Main Image
to use the numeric keys #1-8 as
input keys. This remapping of
the keypad (see right) can be
particularly useful with PIP
displays, providing a convenient
shortcut for changing the
primary (background) image
without first having to return to
the Main menu. To use the keys
in this manner all of the time,
even with single Cine-IPM 2K
displays, select Always. For
normal keypad function, select
Never (default). Set to “When
PIP Active” to activate number
keys as input keys only when
PIP is in use.
Figure 3.26. Keypad Remap
NOTE: Numbers Select Main
Image keypad functionality works only when menus are closed
3.8
Status Menu
Refer to the Cine-IPM 2K’s read-only Status menu to determine what versions of
hardware and software are installed in the Cine-IPM 2K, and what its serial number
is. The Status menu also identifies the current channel, its input location, frequencies
and other details. If your Cine-IPM 2K is connected via RS232 “B” to the CP2000
projector, the TPC Status page also provides similar Cine-IPM 2K status information.
Scroll the full Status menu using
3.9
Cine-IPM 2K
Source
Selection via
TPC
uch Panel
To
Controller
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. Use
for page up/down.
NOTE: In all cases, the Cine-IPM 2K’s RS232 “B” port must be connected to the
CP2000.
USING THE TPC ONLY:
If your Cine-IPM 2K is connected to the CP2000 via DVI-1
you can use the TPC for a quick single-step switch to a specific Cine-IPM 2K noncinema input #1-6. This source must first be configured for TPC use in the Custom
menu of the TPC as described in 2.5, Setting Up the TPC for Source Selection—then
select this button at the TPC Main menu. Use
and/or Menu on the keypad to
refine Cine-IPM 2K display settings as desired.
Auto
Setup
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Figure 3.27. “Input” Location and Cine-IPM 2K Source Selection
WHEN THE REMOTE KEYPAD IS REQUIRED: If your Cine-IPM 2K is connected via
DVI-2 or if you are using 10-bit mode, you must use the remote keypad for selection
of the specific input#—i.e., you cannot select a specific Cine-IPM 2K input 1-6 at the
TPC Main menu.
• If connected via DVI-2: Cine-IPM 2K output arriving at the CP2000 DVI-2
port cannot be identified by its input number (1-6). The button must be
configured simply as “DVI-2” input in the Custom menu. When this button
is selected, you must then use the remote keypad to select Input 1 , Input 2 , Input 3 ,
Input 4
, Input 5 or Input 6 as desired.
• If using 10-bit mode: The TPC button must be configured as “DVI-TWIN”
input in the Custom menu, otherwise you will not be in 10-bit mode. When
the button is pressed, you must then use the remote keypad to select Input 1 ,
Input 2
, Input 3 , Input 4 , Input 5 or Input 6 as desired.
3.10
Remote Control
of the
Cine-IPM 2K
As an alternative to using the keypad, Cine-IPM 2K functions can be controlled
remotely, typically at a controller such as a PC, via 1) simple bi-directional ASCII
messaging on a serial or Ethernet communication link or 2) a web interface or
“ChristieNET” on an Ethernet network.
VIA ASCII MESSAGING — Connect a serial link (recommended) between your
controller and the RS232 IN port (or RS422, if available from your controller).
Alternatively, open an Ethernet socket—such as Telnet—between your controller and
the valid Cine-IPM 2K address. Valid ASCII codes and messages are documented in
the Christie Serial Communications document available at the Christie website.
VIA WEB INTERFACE — Connect your PC to the Cine-IPM 2K’s Ethernet port. In your
web browser (Internet Explorer, for example), enter the IP address of the Cine-IPM
2K. This will start a password-protected ChristieNET application—enter the factory
default “ccm7” login and password to open the program. If the Cine-IPM 2K is
powered up, you can access assorted menu options and slidebars.
Repeat for remaining networked Cine-IPM 2Ks as desired. Keep in mind that
multiple units can be controlled from one PC, but each unit will be in its own
ChristieNET interface (web browser) at the PC. Likewise, you can make up to five
separate web locations to a single Cine-IPM 2K.
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The default login provides access to security settings, where you can define other
users with the same or fewer rights. Use “unlimited” rights for most applications. For
all logins, the Service menu is still protected with its own password.
NOTES: 1) Any proxy server settings that interfere with this type of link should be
disabled for using ChristieNET. Disable through Internet Explorer’s < Tools>
<Internet Options> <Connections> <LAN Settings>. 2) Your PC must be Javaenabled to v1.4.2 or higher to run ChristieNET. 3) Certain controls provided through
ChristieNET are non-functional for use with the Cine-IPM 2K.
3.11
Using Multiple
Cine-IPM 2Ks
This section describes how to work with multiple Cine-IPM 2Ks so that adjacent
images are well-matched and have edges blended to form a seamless non-cinema
display. References to “projector” in this section assume a Cine-IPM 2K is
connected.
NOTES: 1) Connection of multiple units is described in 2.6, Linking Multiple CineIPM 2Ks. For communications, see also 3.6, Adjusting System Parameters and
Advanced Controls. 2) Assumes that each Cine-IPM 2K is connected to a CP2000.
Matching Colors X In a multiple-image wall, you will likely want to precisely match the hue and intensity of
In Multiple Screens
colors from image-to-image so that your full wall is as uniform as possible. This
matching is typically done in conjunction with brightness uniformity and edge
blending.
Preliminary Calibration
As a final part of the manufacturing process, all primary colors in the Cine-IPM 2K
are precisely set to pre-established values to help ensure that overall color
performance from your display device is optimized and is as accurate as possible
(refer back to Figure 3.20). Upon installation at a site, however, lighting and other
environmental factors may slightly change how these colors appear on each screen.
While the change is negligible in most cases, you may prefer to recover the originally
intended color performance before trying to match colors from several CP2000s.
The recommended first step in achieving such consistency is to use a color meter to
measure the native primary colors—red, green, blue, and white—as they appear at
the screen and record these as Color Primary Settings in the Service menu (passwordprotected) for each Cine-IPM 2K. On the basis of these new values, which are stored
in memory, each unit will then automatically calculate any necessary corrections to
reproduce the original factory-set colors under the current environmental conditions.
This essentially calibrates the Cine-IPM 2K to its surroundings, compensating for
factors such as screen type, lamp and/or ambient lighting that can alter the final color
characteristics on-screen, and will improve color accuracy and consistency in a group
of projectors. It ensures a good starting point for further customizing and matching.
To return to the factory-set color primaries, such as when the equipment is moved to
different site, you must access the Service menu (password-protected). Select the
Reset to Factory Defaults? option in the Color Primaries submenu. Then repeat the
calibration process describe above, if desired, and continue with matching of colors.
Color Adjustment Procedure
NOTE: May interact with and affect other color adjustments available in the CP2000.
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Once the Color Primary Settings are calibrated for the site (see above), use the Color
Adjustments by X,Y or Color Saturation menu to further refine each Cine-IPM 2K’s
fundamental colors so that each color appears the same from one display to another.
Once matched, you will have created a single new shared range of colors or “color
gamut” that all of your projectors can produce. This palette–named User 1, 2, 3 or 4–
can be applied or disabled for a non-cinema source at any time throughout a bank of
adjacent displays, simplifying both the setup and maintenance of a “seamless” wall.
1. Set up and optimize all Cine-IPM 2K settings. You can ignore color temperature,
since you will be redefining color performance in this procedure, but do optimize
each unit in every other aspect. Closely align all screen edges.
2. Assign projector numbers to make communications easier.
3. Use the same lamp mode for all projectors, and do the following:
‰ Set Select Color Adjustment to “Max Drives”
‰ Display a full white test pattern
‰ Adjust lamp power until adjacent white fields appear the same brightness.
4. Display the Color Adjustments by X,Y menus for all projectors. Each menu shows
the x/y coordinates defining the “Max Drives” color gamut for the Cine-IPM 2K
connected to this projector. Jot down the values shown in one (any) of the
displays. See Figure 3.28. Or use the “Copy From” function to copy them into a
“User” gamut in one Cine-IPM 2K.
Figure 3.28. Jot Down a Set of ”Max Drives” X/Y Values
5. In each projector, select a “User” color adjustment (1-4) to enable Color
Adjustments by X,Y changes. Then enter your recorded x/y values into each menu
(Figure 3.29).
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OPERATION
Figure 3.29. Copy X/Y Values into All Projectors
6. In each projector, judge by eye and adjust x/y coordinates slightly in the following
manner:
‰
‰
‰
To match reds, decrease
“Red X” until full field
red screens match.
To match greens, decrease
“Green Y” until full field
green screens match.
To match blues, increase
both “Blue X” and “Blue
Y” until full field blue
screens match.
NOTE: For speed, enable the
“Auto Color Enable” checkbox.
Each color coordinate you select will then automatically trigger a full field display
of the corresponding color.
These coordinate adjustments move the three color points closer together (refer back
to the chromaticity chart shown in Figure 3.20) to establish a “shared” gamut
attainable by all projectors in your group. Adjust only as necessary to ensure that the
resulting color palette is as large as possible. When done, you may need to adjust
lamp power slightly.
7. All screens should now be color-matched. Apply this new “User” gamut to a CineIPM 2K source at any time by selecting it in the “Select Color Adjustment” list
accessed in the Advanced Image Settings menu.
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Using the Color Saturation Menu for Color Matching
You may prefer to use
the Color Saturation
menu to match colors
across multiple screens.
In the three Color
Adjustment submenus
(Red, Green, Blue—see
right), set all main values
to 100 and the secondary
values to 0. Then judge
by eye and adjust the
slidebars as needed. Note
that adjustments here
define new x/y
coordinates in the Color
Adjustments by X,Y
menu.
Figure 3.30. Color Matching Using
Color Saturation Menu
Achieving Brightness X WHAT IS BRIGHTNESS UNIFORMITY? Brightness Uniformity can create an
Uniformity
exceptionally smooth screen in which:
• no area of the screen appears more red, green or blue than another
• no area of the screen appears brighter than another
• color and light output from one screen closely matches adjacent screens
Brightness Uniformity controls are most often used for tiled images in a display wall,
creating a uniform color “cast” and light output for each image and for the entire
wall. However, because the Cine-IPM 2K cannot control lamp power, lamp
adjustments from image-to-image must done on the display device itself (CP2000)
rather through Cine-IPM 2K software.
Before You Begin
Read through the entire procedure before attempting to adjust Brightness Uniformity
controls, and keep in mind the following checklist of prerequisites and guidelines:
‰
‰
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ADJUST COLORS FIRST—Always adjust the primary colors as described in the
“Matching Colors in Multiple Screens” procedure (above) before attempting
to work with Brightness Uniformity. This ensures that primary colors, color
temperature, and maximized light output are all well-matched from one screen
to another. These matches are needed before you can achieve good Brightness
Uniformity results.
SET LAMP POWER—In your CP2000s, make sure each “Lamp Power” setting
is as high as possible for your application while still maintaining a good
overall match of light output from screen-to-screen. By nature, achieving a
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OPERATION
‰
‰
‰
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 adjacent screen.
USE A “USER” COLOR GAMUT (ADJUSTMENT)—Always adjust Brightness
Uniformity for a User color gamut defined when you matched primary colors,
and continue to use it for all non-cinema sources displayed on the wall. Your
other color palettes will not necessarily be matched from screen-to-screen.
WHITE UNIFORMITY SLIDEBARS—White Uniformity slidebar values may not
reduce to “0”. Each slidebar adjusts overall light output in a specific screen
zone, but the value shown represents the current setting for green in this zone.
When other “hidden” values (red or blue) are lower than green, during
adjustment in the White Uniformity menu their values will reach “0” first,
causing the slidebar to stop earlier than expected.
JUDGE BY EYE OR USE A METER—Good brightness uniformity can be
achieved with either method.
Step 1: General Setup
1a) Adjust primary colors (see Matching Colors in Multiple Screens) to ensure
matched overall color temperatures and light output between screens.
IMPORTANT
Double-check that all WHITES and LIGHT OUTPUT are well-matched.
1b)
Enable the
Brightness
Uniformity
checkbox. This will
enable access to the
uniformity controls
and will apply the
settings to your
image.
1c)
Select the 13 Point test pattern for display. This pattern provides 9 screen
“zones” with 13 targets.
FOR BEST RESULTS: Rather than
examining the CENTER of each zone
when assessing Brightness Uniformity
adjustments, focus on extreme EDGES
as indicated in the illustration at right.
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1d)
In either Color Adjustments menu, select a “User” color. Then:
• If you have created a “User 1” color gamut (recommended) for a wellmatched wall, continue to Step 1e.
• If you prefer maximum brightness rather than a particular color temperature,
select “Max Drives”.
IMPORTANT
Do not change User 1 Color Adjustment
in color-matched applications!
1e)
In the White Uniformity
menu, set the “Overall”
output level to 50.0 and all
remaining slidebars to 0.0.
This decreases the light
output just enough
throughout the screen so that
any color level can then be
increased later as necessary
for matching light output
from zone-to-zone. Do not
exceed 50.0 for “Overall”—
a higher level will likely interfere with achieving brightness uniformity and is
not recommended. NOTE: The default setting for “Overall” White Uniformity
is 50.2, which is also acceptable.
Ensure that overall light output remains well-matched from one screen center
to the next. Where necessary, use the TPC to increase or decrease lamp power
slightly to recover center matches.
Step 2: Adjust Color (level of red/green/blue) in 8 Zones
NOTES: 1) At this point, ignore the brightness of individual zones. 2) Always ignore
menu colors.
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2a)
On each screen, compare the color temperatures in the 8 target zones (4 edges
and 4 corners) to that of the color temperature of the center. Compare using a
white field only, and take note of any areas that do not match the center. Also
decide if any screen exhibits a more obvious color shift than other screens—
begin with this screen in Step 2b.
2b)
Return to the Brightness Uniformity menu. Beginning with the screen that exhibits
the most obvious color shift(s), for each edge that exhibits a noticeably different
color temperature from the center, select the corresponding Uniformity adjustment
menu—Left, Right, Top or Bottom. For example, if any part of the left side is too
blue, too red or too green, go to the Left Uniformity menu and adjust the colors
(i.e., change their light output) until all portions of the left side closely match the
center color temperature. Adjust an edge first (focusing on its centerpoint), then
adjust its corners. See Figure 3.31.
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OPERATION
Figure 3.31. Match Zones to Center Color Temperature
Repeat the color adjustment of sides and corners for each edge of the screen that does
not yet match the center (note that each corner is adjustable in either of its two
adjacent “side” menus). When done, all areas of a given screen should match. Repeat
Steps 2a & 2b for all remaining screens.
Step 3: Adjust Light Output in 8 Zones
3a) For each screen, compare the light output of each edge and corner to that of
the center. If any of the areas differ, use the White Uniformity menu to match
edges and corners to the center as described below (see Figure 3.32). Begin
with the screen exhibiting the most obvious variations in light output.
•Adjust edge White Uniformity first—note that each edge adjustment also
affects the rest of the screen slightly. Keep all edges just slightly lower
than the center light output rather than matching light output precisely.
Otherwise, it may not be possible to brighten the corners (typically the
dimmest areas of the screen) enough. I.e., the best uniformity is a
compromise between the brightest and darkest areas of the screen.
•Adjust corner White Uniformity last—each corner adjustment affects only
this quadrant.
•Repeat for each screen.
Figure 3.32. Match Zones to Center Light Output
Step 4: Readjust Color Temperature (level of red/green/blue) in 8 Zones
4a) Return to Steps 2a & 2b and, if necessary, fine tune the zones so that they all
still exhibit a single color temperature.
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Canceling Brightness Uniformity
If you do not want to use or apply Brightness Uniformity settings, delete the
checkmark from the “Uniformity Enable” checkbox at the top of the Brightness
Uniformity menu.
Edge Blending X Christie Edge Blending is an innovative set of software functions that can quickly and
easily blend the edges of multiple adjacent full screen images to create a single
seamless larger image.
What is a Blend?
In simple terms, a blend appears as a gradient strip
along an edge of a projected image. It is darkest along
the extreme edge of the image, and lightens nearer to
the rest of the image (see right). This area runs along
the edge of the projector’s internal DMDs (display
area); it cannot be located on interior pixels.
How Are Blends Used?
In multiple-projector walls, complementary blends
Figure 3.33
between neighboring images can compensate for the
extra “brightness” or intensity where these edges overlap. By controlling blend width
and other properties, you can achieve uniformity across the group of images. Visible
overlaps will disappear as illustrated below:
Figure 3. 34. Edge Blending Concept
For best results, use the same display device (such as a CP2000) throughout your
display wall. In addition, avoid high-gain screens whenever possible—the optical
performance of such screens demands minimal image offset, thus projectors must be
located very close to one another. Note too that the requisite tiling of the image—
with data repeated along internal edges that will overlap—must be correctly done by
your source.
Flat Blends vs. Warped Blends
FLAT BLENDS: It is important to remember
that the Cine-IPM 2K’s standard edge
blending controls affect the outer edges of
the CP2000’s display panel, and that each
blend is consistent along its length (refer
back to Figure 3.33). The standard Edge
Blending menu controls can blend multiple
flat full-panel displays if they have no keystoning or optional warping applied.
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WARPED BLENDS: When using the optional ChristieTWIST module for warping
images on to curved screens, work with its separate ChristieTWIST PC application to
create more specialized blends required. Such a blend can vary along its length to
compensate for curves. Once downloaded to the projector, simply apply the desired
custom “user” blend by selecting it in the Blending Enable pull-down list.
Edge blending software controls are located in the 2-page Edge Blending submenu—
access via Configuration 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. Slidebar values represent the number of 8-pixel steps used
for the blend. For example, a setting of “3” creates a blended edge 24 pixels
wide. A setting of “0” signifies no blending. For best results in most
applications, use a blend width of 16-48 steps (128-384 pixels).
Ranges: 0-80 horizontal, 0-60 vertical.
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‰
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
3.35). Decreasing the Blend
Figure 3.35. “Shape” Examples
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.
‰
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
Figure 3.36. “Midpoint” Examples
approximately 50% black—for best
results in most applications, keep fairly close to this default. See Figure 3.36
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‰
Show Blending Overlap turns
your
defined blend width area to solid
gray so that two adjacent images
can be seamlessly aligned simply
by overlapping their gray bars, if
needed. Toggle the Show Blending
Overlap off to reactivate the blend
effect. NOTE: Show Blending
Overlap appears as Reserved when
ChristieTWIST 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 Cine-IPM 2K menu
system.
Edge Blending Procedure
BEFORE YOU BEGIN: Make sure your source hardware
and/or software can supply a tiled image for the
number of projectors in use, and that the tiling
includes overlapping data of approximately 12.5-25%
along shared edges (see Figure 3.37). Tiling not a
Cine-IPM 2K or CP2000 feature.
Physically align the projectors and images from your
intended external source, then match colors and
Brightness Uniformity.
Figure 3.37. Tiling Example
IMPORTANT
For a shared edge, all Blend procedures and settings
should be identical on BOTH projectors.
1. Start with 2 projectors. Display full white field test pattern from both.
2. In the Edge Blending submenu, enable the top checkbox to activate all controls.
NOTE: If the
optional
ChristieTWIST
module is
installed, a pulldown list
replaces this
checkbox (see right). Select the desired user-defined blend created for your
current warp; no further blending at the projector is required. Or, to simply edge
blending a non-warped flat image, select “Standard” and continue with Step 3.
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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 3.38. Set Starting Points for Each Projector
4. SET BLEND WIDTH: On one projector, increase the Blend Width for an overlapping
edge (for example, if the projector’s image is on left, its right edge overlaps the
adjacent image—adjust Right Blend Width). Use the same setting on the second
projector for this shared edge.
5. Re-adjust width (both projectors) until the overly bright band at the midpoint of
the overlapping blends disappears or just changes to very light gray. For the shared
edge, use the same Blend Width setting on each projector. If the “best 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 light images, the Blend Width may be
slightly higher—set according to how much overlap you have between images.
3.12
Error
Conditions
Occasionally the Cine-IPM 2K 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:
•
•
•
•
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To see error messages displayed on-screen, select the “Screen” option
To be notified via a serial communication only, select the “RS232” option.
To receive both types of notifications, select “All”.
To disable error messages (except for “invalid user key entry”, which can’t be
hidden), select “Off”.
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Note that text-based status/error messages also appear in the LCD Status Display
window on the Cine-IPM 2K front panel.
User Errors X Invalid User Entry
A keypad entry not recognized by the Cine-IPM 2K triggers a short on-screen error
message identifying the problem. For example, if you specify a channel number that
is not available, the message “Invalid Channel will appear. Or if you try to enter the
wrong password, you’ll see “Invalid Password”. Press c or d 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”.
Input Signal Errors X 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 Cine-IPM 2K detects a
problem. While menus remain operational and any key press will temporarily remove
any displayed error message, you must resolve the signal problem in order to
permanently eliminate the message.
No Signal
The message "No signal" occurs when there is no source signal detected at the
selected input—both HSYNC and VSYNC are inactive and the screen background is
black. Connect or correct the signal, or try another input.
Bad Sync
The message "Bad Sync" occurs when HSYNC or VSYNC are active but the signal
cannot be displayed. Such a condition occurs when only one of the two sync signals
is present, or when either sync signal is unstable or of the wrong frequency. Correct
the signal or select another input.
Other Signal Error Messages
In addition to the common "Bad Sync" and “No Signal” errors, you may encounter a
signal error message indicating that HSYNC and/or VSYNC are either too fast or too
slow. When such a message appears, check the frequencies shown in the Status
menu. If they are correct, then the signal is not recognized by the Cine-IPM 2K. On
some PCs you may be able to change the settings to generate a compatible signal. If
the frequencies shown in the Status menu are incorrect, check the cabling to see
where the problem might originate.
System Warnings & Errors X When the Cine-IPM 2K encounters a system malfunction, either a System Warning
message or a System Error message may appear. Both types of messages are
accompanied by a related text message in the LCD Status Display window. A system
malfunction can be cleared 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 (Status
Display, below). A system warning message replaces any input signal message and
disappears when the input signal status changes. While the projector will remain
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OPERATION
operational, the message indicates the presence of a potentially serious problem that
should be reported to the manufacturer. You can remove the message, but for best
results you should reset the projector—power the projector down and up again with
the POWER key.
System Errors
A system error message indicates that a serious malfunction has been detected and
must be reported to the manufacturer as soon as possible (see Status LED Codes,
below). The projector will no longer operate and must be reset—power the projector
down and up again with the POWER key.
Status Display
If the Status Display window on the front of the Cine-IPM 2K shows one of the
following messages, you have encountered a likely system error requiring the
attention of a qualified service technician (see System Warnings and System Errors,
above). Acknowledge and clear the error from presentation level, or try resetting the
Cine-IPM 2K 2 by powering it off and on again, cooling when necessary. Consult
Table 3.4 and contact your dealer if the problem persists.
Table 3.4. System Error Codes
Code
Description
GENERAL
12
Software error. Power off/on. If persists, contact dealer/factory.
13
CRC error in flash ROM. Download new software.
14
Engineering-only programming is complete. Call Christie, replace TIPM.
15
Attempting to download s/w code without being in boot mode
16
Invalid interrupt. Power off/on. If persists, contact dealer/factory.
17
User has forced system to stay in boot mode
18
Attempting to program boot mode without jumper
SENSORS for COOLING
4C
Projector has shut down due to critical error
FAN
51
Fan has failed in Cine-IPM 2K
10-bit IMAGE PROCESSOR (TIPM)
60
Boot code CRC failed
61
Unable to program the DigMux PLD
62
Unable to program the Control PLD
63
Unable to program the Bubks PLD
64
Unrecognized ROM type
65
Write to flash ROM failed
66
General TIPM failure
67
Downloaded code will not fit into ROMs
68
Communication error with scaler on TIPM
DDOM and EEPROM
70
Unable to access EEPROM on DDOM
71
EEPROM on DDOM has been reinitialized
BACKPLANE OR OPTIONAL MODULES
A0
Unable to program the optional interface module
A1
Unable to power the optional interface module
A2
Unable to program the Backplane
A3
Unable to program the Warp Module option (ChristieTWIST)
If necessary, try resetting your system by powering it off and on again (cooling if necessary). For
detailed information, monitor the RS232 IN port. Contact dealer/factory if error persists. Only codes
listed should appear in the Cine-IPM 2K window.
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Section 4
Maintenance
4.1
Warnings and
Guidelines
This product is designed for safe and reliable operation. However successful
operation is not assured by design alone; installers, service technicians, trained
operators and all other users must maintain a safe environment at all times. Please
read through and understand all warnings and precautions before attempting to
operate the Cine-IPM 2K.
Labels and Markings X Observe and follow any warnings and instructions marked on the Cine-IPM 2K.
The exclamation point within the equilateral triangle indicates related
operating/maintenance instructions in the documentation
accompanying the projector.
The lightning flash and arrowhead symbol within the equilateral
triangle indicates the presence of non-insulated "dangerous voltage"
that may be of sufficient magnitude to constitute a risk of electric
shock.
General Precautions X Always follow the precautions and warnings provided with your display device—for
example, consult Section 4 in the CP2000 User’s Manual for all warnings pertaining
to the use of that projector. Be aware of the following general precautions in all
installations:
WARNING
Position all cables where they cannot contact
hot surfaces or be pulled or tripped over.
The Cine-IPM 2K must be installed in an environment, which meets the operating
range specifications in Section 6, Specifications.
WARNING
Opening or removing a Cine-IPM 2K cover
requires a qualified service technician.
AC / Power Precautions X
WARNING
Do not attempt operation if the AC supply
is not within the specified voltage range.
Do not allow anything to rest on the power cords. Locate the projector where cords
cannot be abused by persons walking on it or objects rolling over it. Never operate
the Cine-IPM 2K if the power cable appears damaged in any way.
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MAINTENANCE
Do not overload power outlets and extension cords as this can result in fire or shock
hazards.
Note that qualified service technicians only are permitted to open an enclosure on
the product, and only if AC has been fully disconnected.
4.2
Maintaining
Proper Cooling
The Cine-IPM 2K electronic components rely on a single cooling fan to reduce
internal operating temperatures. This cooling is critical in preventing sudden failure,
and helps to ensure reliable operation of all components over time.
Ventilation X Mesh side grills provide ventilation, both for intake and exhaust. Never block or
cover these openings. Do not install the product near a radiator or heat register, or
within a small enclosure. The CP2000 pedestal cavity provides adequate space for
airflow.
Air Filter X There is no air filter in the Cine-IPM 2K.
4-2
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Section 5
Troubleshooting
If the Cine-IPM 2K does not appear to be operating properly, note the symptoms present and use the following guide
to assist you. If you cannot resolve the problems yourself, contact your dealer for assistance.
NOTE: A qualified service technician is required when opening the Cine-IPM 2K to diagnose any “probable
cause”
5.1
Power
Cine-IPM 2K Will Not Start X 1. Check Status Display window. If the window is dark (with no message), make
sure the Cine-IPM 2K front power switch is on—the window should then show
“power off”.
2. If the window is still dark, make sure the Cine-IPM 2K is plugged into AC.
3. If plugged into the AC convenience outlet inside the CP2000 pedestal, make sure
the corresponding CP2000 breaker labeled “Internal” is ON. This breaker is
located on the side of the operator’s side of the pedestal.
4. Make sure the keypad is connected or has batteries.
5.2
Ethernet
5.3
Displays
1. Make sure the Ethernet settings are valid for your site—all network devices
should have the same subnet mask and unique IP addresses.
2. Make sure the Cine-IPM 2K is connected to the network before changing its IP
address.
3. If you still have trouble establishing communications with a Cine-IPM 2K added
to an existing Ethernet network, the Cine-IPM 2K’s IP address likely conflicts
with another address already in use. Contact your network administrator.
4. Use the front Ethernet port only, as the rear Ethernet port is not currently
supported.
Symptom X Image does not fill the screen
CAUSE / REMEDY:
1. Check the Cine-IPM 2K output resolution setting to see if it matches the
resolution of your display device. For example, specify a 2048 x 1080 output
resolution to fill the CP2000 native display area.
Symptom X Cannot Select Inputs Using the TPC
CAUSE / REMEDY:
1. Make sure the Cine-IPM 2K is connected to RS232-B port on the projector.
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TROUBLESHOOTING
Symptom X Image appears “squeezed” or vertically stretched into center of screen
CAUSE / REMEDY:
1. Check your Resizing selection. Use the Cine-IPM 2K “Anamorphic” resizing
preset for a vertically squeezed image, then enlarge as necessary using the CineIPM 2K “Size” control.
2. For best results from a DVD player, and to optimize proper sizing features, it is
recommended to set the DVD output as 16:9 widescreen (as opposed to 4:3 or
4:3 pan scan).
3. The anamorphic lens (optional) may be needed for this source.
Symptom X System is powered up but there’s no display...
CAUSE / REMEDY:
1. Was a lens cover accidentally left on? Remove lens cover.
2. At the TPC, make sure the CP2000 shutter is OPEN (the Cine-IPM 2K keypad’s
shutter button is not functional).
3. Is the lamp ignited? Check for interlock problems such as an open lamp door.
4. Make sure there is not a Cine-IPM 2K full black test pattern selected for
display— press TEST on the remote to access test patterns, then cycle patterns
with ef keys.
5. Is the correct input selected? On the TPC, ensure the correct DVI input is
selected.
6. Make sure DVI output from Cine-IPM 2K is connected properly to the CP2000.
7. The wrong output resolution may be selected in the device.
8. V1.1 software cannot process HDCP source material and will display a full black
field—make sure your incoming DVI signal is not digitally encrypted.
9. Is the source connected properly? Check the cable connections and make sure the
correct source is selected.
Symptom X The display is jittery or unstable…
CAUSE / REMEDY:
1. If the display is jittery or blinking erratically, ensure that the source is properly
connected and of adequate quality for detection. With a poor quality or
improperly connected source, the projector will repeatedly attempt to display an
image, however briefly.
2. The horizontal or vertical scan frequency of the input signal may be out of range
for the projector. Refer to Section 6, Specifications for scan frequency ranges.
3. The sync signal may be inadequate. Correct the source problem.
4. The wrong output resolution may be selected in the device.
Symptom X The display appears unusually dim or faint…
1. Brightness and/or contrast may be set very low.
2. The source may be double terminated. Ensure the source is terminated only once.
3. The source (if non-video) may need a different sync tip clamp location.
4. The lamp may not be properly aligned in the projector. Use the CP2000
LampLOC adjustment.
CAUSE / REMEDY:
Symptom X The upper portion of the display is waving, tearing or jittering…
CAUSE / REMEDY:
1. This can sometimes occur with video or VCR sources. Check your source.
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TROUBLESHOOTING
Symptom X Portions of the display are cut off or wrap to the opposite edge…
1. Resizing and/or blanking may need adjustment.
CAUSE / REMEDY:
Symptom X The display appears compressed (vertically stretched)…
1. The frequency of the pixel sampling clock is incorrect for the current source.
2. Resizing, vertical stretch and positioning options may be improperly adjusted for
the incoming source signal.
3. You may need an anamorphic lens for sources that have been supplied in a resized and vertically stretched format.
CAUSE / REMEDY:
Symptom X Data is cropped from edges
1. Check settings for Blanking.
2. If incoming data is still missing from the image, reduce the image size to within
the display area available in the projector.
3. Make sure you are not using the cinema processing path on the CP2000.
4. If the image is cropped Left/Right, you may be exceeding the current bandwidth
limitations of the processing chip. Reduce the re-size settings or (if possible)
reduce the incoming signal’s vertical frame rate.
5. If the image is cropped top/bottom, you may have exceeding the vertical frame
rate limitations for the DVI port on the CP2000. If possible, reduce re-size
setting to fit within the cropping area or reduce the vertical frame rate of the
incoming signal on the Cine-IPM 2K input. Make sure you are not using the
cinema processing path on the CP2000.
6. Check the TPC setting to ensure source and screen are set to 2048 x 1080, or
Auto Square pixels.
CAUSE / REMEDY:
Symptom X Display quality appears to drift from good to bad, bad to good…
CAUSE / REMEDY:
1. The source input signal may be of low quality.
2. The H or V frequency of the input may have changed at the source end.
Symptom X The display has suddenly frozen…
CAUSE / REMEDY:
1. If the screen blacks out inexplicably, it is possible that excessive voltage noise on
the AC or ground input has interrupted the projector’s ability to lock on to a
signal. Power down the projector and/or Cine-IPM 2k and disconnect from AC.
Then plug in again and power up as usual.
Symptom X Colors in the display are inaccurate…
CAUSE / REMEDY:
1. The color, tint, color space, color temperature and/or other settings may require
adjustment.
2. Make sure to use the proper TPC settings—color space on the CP2000 should be
an RGB format, with gamma set to Gamma 2.6.
3. Make sure you are using the proper channel for this source.
Symptom X The display is not rectangular…
CAUSE / REMEDY:
1. Check leveling of the projector. Make sure that the lens surface and screen are as
parallel to each other as possible.
2. Ensure “Keystone” is set correctly.
3. Is the vertical offset correct? Adjust as necessary using the vertical offset knob.
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TROUBLESHOOTING
4. Make sure the aperture in the anamorphic lens (if present) is correctly oriented.
Symptom X The display is “noisy”…
CAUSE / REMEDY:
1. Display adjustment at your input source may be required. Adjust pixel tracking,
phase and filter. Noise is particularly common on YPbPr signals from a DVD
player. (If using a PC source, adjust using a high-frequency test pattern with one
pixel on/off throughout.)
2. The video input may not be terminated. Make sure the video input is terminated
(75 Σ). If it is the last connection in a loop-through chain, the video input should
be terminated at the last source input only.
3. The input signal and/or signal cables carrying the input signal may be of poor
quality.
4. If the distance between the input source device and the projector is greater than
25 feet, signal amplification/conditioning may be required.
5. If the source is a VCR or off-air broadcast, detail may be set too high.
6. If 10-BIT DVI output is enabled, ensure the DVI harnesses are connected
correctly. Select DVI 10 bit Twin-Link at the TPC.
7. For computer graphics, ensure that the video card on the computer/laptop can
handle the chosen resolution and/or this is within the Cine-IPM 2K input
bandwidth limit.
8. Some broadcast material can have a large amount of noise in its content. Try
using the noise reduction feature on the Cine-IPM 2K.
Symptom X Noise or sparkling on video
1. Your DVI cables may be of poor quality or are too long. Use cables provided
with the Cine-IPM 2K.
CAUSE / REMEDY:
Symptom X Cannot display from DVI source
1. Your DVI source may be HDCP encrypted. The Cine-IPM 2K does not support
this.
CAUSE / REMEDY:
Symptom X Incorrect colors
CAUSE / REMEDY:
1. Make sure to select “Unity RGB” color space at the TPC.
Symptom X Severe Color Distortion with 10-bit Twin-Link DVI
1. DVI cables are likely reversed.
CAUSE / REMEDY:
Symptom X Optional input modules do not work
CAUSE / REMEDY:
1. Ensure option cards are seated all the way in, flush with front of the Cine-IPM
2K.
2. Re-seat the option card.
3. Make sure either input 5 or input 6 is selected appropriately.
5-4
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Section 6
Specifications
6.1
Specifications
NOTE: Due to continuing research, specifications are subject to change without notice.
Outputs for Display X Format
Available resolutions
NOTE: Assumes use with CP2000. Support
may vary with other display devices.
Color Space
Bit-per-component
2048 x 1080 (default)
1920 x 1080
1400 x 1050
1280 x 1024
1280 x 720
1024 x 768
Progressive RGB
8 bits or 10 bits (selectable in s/w)
Colors and Gray Scale
Default color gamut
Range of color temperature adjustment
Displayable colors
Gray scale resolution
Maximum drive
3200K – 9300K
1.1 billion
10 bits each per RGB component
Gamma
Adjustable from 1.0 – 2.8 (default = 2.2 ± 0.4)
Inputs X
Total number of available inputs
6 (4 supplied as standard)
Analog: RGB / YPbPr (5 BNCs at INPUT 1)
Scan format
Signal types / color spaces
Horizontal frequency range
Vertical frequency range 
Pixel clock rate
Active pixels per scan line (H)
Active lines per field/ frame (V)
A/D conversion resolution
Input levels
R,B,G,Y — with sync
R,G,B — without sync
Pb,Pr
DC offset
Nominal impedance
Max. return loss (VSWR)
Interlaced or Progressive
• RGB
• YPbPr
15 – 120 kHz
23.97 – 150 Hz
13 – 210 MHz
640 – 2048
200 – 1536
10-bit
1.0Vp-p ±2 dB (0.79Vp-p – 1.26Vp-p)
0.7Vp-p ±2 dB (0.56Vp-p – 0.88Vp-p)
0.7Vp-p ±2 dB (0.56Vp-p – 0.88Vp-p)
± 5V
75 Σ
1.2:1 dB @ 200 MHz
 Specifies frame rate for non-interlaced sources and field rate for interlaced sources. Input frequencies higher
than the maximum panel refresh rate are displayed at a lower rate.
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SPECIFICATIONS
Analog: Video (INPUTS 3 and 4)
Signal formats
Connectors
• Composite Video (INPUT 3)
• S-Video (INPUT 4)
Video standards
A/D conversion resolution
Input levels
Composite
S-Video, Luma (Y)
S-Video, Chroma (C)
DC offset
Nominal impedance
Maximum return loss (VSWR)
Composite (CVBS), S-Video (Y/C)
BNC
4-pin miniature DIN
NTSC, NTSC 4.43, PAL, PAL-M,
PAL-N, PAL-60 & SECAM
8-bit
1.0 Vp-p ± 3dB (including sync tip)
1.0 Vp-p ± 3dB (including sync tip)
630 mVp-p nominal (burst)
± 2V
75 Σ
1.2:1 dB @ 6 MHz
Analog: Sync (INTERLACED OR PROGRESSIVE SCAN FORMAT)
Input levels (for composite or separate H & V)
Impedance (for composite or separate H & V)
Sync type (for composite or separate H & V)
Polarity (for composite or separate H & V)
Maximum return loss (VSWR)
0.5Vp-p – 4.0Vp-p
75 Σ
• Separate H and V
• Bi-level or tri-level sync-on-green
• Bi-level or tri-level composite
• Serrations and/or Equalization pulses
• MacroVision™ for stnd. & prog. video
Positive or negative
1.2:1 dB @ 200 MHz
DVI-I (INPUT 2)
Interface standard
Signal types / color spaces
Horizontal Frequency Range
Vertical Frequency Range
Pixel clock rate
Analog sync input impedance
Maximum cable length
Supports EDID
DDWG DVI 1.0
• RGB (digital or analog)
• YPbPr (analog)
• YCbCr (digital) not supported in
15 – 120 kHz
23.97 – 150 kHz
25 – 165 MHz
1 kΣ
5 meters (16 ft.)
v1.1
Does not support HDCP. For all other DVI specifications, see Analog: RGB / YPbPr on previous page.
Control X Wired Remote (CONVERTED FROM IR REMOTE KEYPAD)
1 input (front)
Input levels
Voltage output
Current output
Cable length
• 3.5mm phono jack
• High = 2.2 V – 5.6 V (or open)
• Low = -0.6V – 0.9V @ 1mA
+5VDC ±5%
100 mA nominal, 250 mA max.
25 ft.
Infrared (IR) Remote
Number of IR sensors
Wavelength of peak sensitivity
Modulation (carrier) frequency
Encoding method
Reception range *
6-2
1 (front)
950 nm
36 kHz (nominal)
bi-phase
100 ft.
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SPECIFICATIONS
* Assumes no fluorescent lighting interference.
Ethernet (FRONT PANEL ONLY)
Number of ports
Standard
Connector type
Max. baud rate
1
100Base-TX
RJ-45
115200
RS232 Serial Input
Number of connectors
Connector type
Max. baud rate
2 (female=IN, male=OUT)
9-pin subminiature D
115200
RS422 Serial Input
Number of connectors
Connector type
Max. baud rate
1
9-pin subminiature D
115200
GPIO Input
Number of I/O lines
Connector type
Type of connection
Output sink current (logic low)
Maximum power output
7, each assignable as input or output
9-pin subminiature D
Dry contact
100 mA @ 1V
+12VDC @ 200 mA
(NOTE: shared with 9-pin RS422 port)
Power X
Audible Noise X
Safety X
EMC Emissions X
EMC Immunity X
Voltage range
Line frequency, nominal
AC input rating
Max. inrush current
Max. current consumption
Max. power consumption


100 – 240 VAC ±10%
50 – 60 Hz
15 A
38 A
1 A (@ 100 VAC)
100 W
48 dBA maximum
• UL 60950 and CAN/CSA C22.2. No. 60950 (2000, 3rd edition, bi-national)
• IEC 60950 (1999, 3rd edition)
• FCC CFR47, Part 15, Subpart B, Class A — Unintentional Radiation
• CISPR 22: 1997 / EN55022: 1998 — Radio disturbance characteristics, ITE
• CISPR 24 / EN55024:1998 (all parts of immunity characteristics for ITE)
Operating Environment X
Temperature
Humidity (non-condensing)
Altitude
Tilt, any angle
10°C to 35°C (50°F to 95°F)
20% to 80%
0 – 3000 meters
15° max.
Non-Operating EnvironmentX
Temperature
Humidity (non-condensing)
-25C to 65°C (-13°F to 149°F)
0% to 95%
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SPECIFICATIONS
Weight & Size X
Weight
Standard Dimensions (W x L x H)|
16 lb. (22 lb. w/packaging)
7.3 kg (10 kg w/packaging)
17” x 12” x 5¼” (43.2 cm x 30.5 cm x 13.3 cm)
(without ears for rack mounting))
Rack-mount height
Standard Components X
Options X
6-4
3RU
Cine-IPM 2K with pre-installed ears for rack-mounting
Remote keypad
Keypad cable
Custom RS232 communication cable (for use with CP2000 only)
3-ft. DVI output cables (2)
10-ft. power cord
4 self-adhesive feet
KoRE Librarian Setup Software
Longer-distance DVI cables (copper and fiber-optic)
Remote IR Sensor
ChristieTWIST™ (Warping Module)
Optional Input Modules — see Appendix E
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Appendix A
Glossary
This appendix defines the specific terms used in this manual as they apply to this projector. Also included are other
general terms commonly used in the projection industry as well as in the digital cinema projection industry.
3:2 Pulldown X A frame sequence used to map 24 fps film to 30 fps video (or 24/1.001 to 30/1.001
fps) in which every second film frame is represented by three video fields instead of
two, the third being a repeat of the second. This leads to a set of ten video fields for
each four film frames.
Active Line Time X The time—inside one horizontal scan line—during which video data is present.
Alternative Content X Non-cinema program material such as concerts, plays, sporting events, and
potentially corporate training or conferencing, presented in theatres in addition to
motion picture exhibition.
Ambient Light Rejection X The ability of a screen to reflect ambient light (i.e., light within a room from a source
other than the projector) in a direction away from the "line of best viewing". Curved
screens usually have better ambient light reflection than do flat screens.
Anamorphic X Having or requiring a linear distortion, generally in the horizontal direction.
Anamorphic lenses can restore a ‘scope’ (CinemaScope) or ‘flat’ format film frame
to the correct wide-screen appearance by increasing its horizontal proportion. The
Roadie 25K uses a 1.25x scope anamorphic lens option only.
ANSI X The American National Standards Institute is the organization that denotes the
measurement standard for lamp brightness.
Answer Print X A print made from the cut original (camera) negative with proposed final color
timing and soundtracks, furnished by the printing lab to the producer for acceptance
of image and sound before screenings and manufacturing begin. A check print is
similar, but is made from the internegative. A blacktrack answer print has no
soundtracks.
Aspect Ratio X The ratio of the width of an image to its height, such as the 4:3 aspect ratio common
in video output. Also expressed as decimal number, such as 1.77, 1.85 or 2.39. The
larger the ratio or decimal, the wider and “less square” the image.
Authoring X The process, tools, and working environment by which content elements and
functions are compiled, formatted, coordinated, and tested for presentation on target
systems. Comment: Authoring in the context of digital cinema does not necessarily
result in inseparably married or muxed content components. Rather, reference is
made to a virtual answer print, the elements of which may subsequently be
subdivided or combined, encrypted in whole or part, and packaged in various ways
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GLOSSARY
for distribution of the title, a version of the title, or an update for revision of the title
in the field.
Automation X A system used in a theatre projection booth that responds to cues, commands or relay
switches and then controls various elements of presentation, such as:
‰
‰
‰
‰
‰
‰
picture format and corresponding lens (flat or scope)
sound format and corresponding cinema processor settings
curtain movement and position
lighting level in the auditorium
non-sync play and fade in/out
digital cinema projector
Auto Source X The ability of a projector to automatically recognize and lock synchronizing with the
horizontal and vertical scan frequencies of an input signal for proper display.
Bandwidth X The frequency range of a video amplifier.
Baud Rate X The speed (bits-per-second) at which serial communications travel from their origin.
Bit Depth X The total number of bits available to represent each pixel or color sample in a digital
imaging system. Using linear binary coding, the total number of resolution steps
available is equal to 2 raised to the power of the bit depth.
Blanking Time X The time inside one scan line during which video is not generated. The blanking time
of the input signal must be equal to or greater than the retrace time of the projector.
Brightness X In cinema projection, brightness usually describes the amount of light emitted from a
surface such as a screen. It is measured in footlamberts or candelas per square meter.
For other types of projection, brightness is measured and expressed in lumens.
Candela or Candle X Unit of measure for measuring intensity of light in certain types of projectors.
Channel X A collection of measurements stored by the projector for a given input source,
including frequencies, pulse width, polarity, syncs, channel number and location,
user-adjustable display settings, etc. Use channels to switch between a variety of
setups quickly, automatically recalling previously defined display parameters.
Channel List X A list/menu of previously-defined channels (setups) available in projector memory.
Channel Number X A number that uniquely identifies a specific channel retained in projector memory.
The projector can store up to 50 channels for use with a variety of sources.
Checkbox X A menu item that indicates whether an option is currently in effect (checked) or not
(unchecked).
Chrominance X The signal representing the color information (hue and saturation) when the image is
represented as separate chrominance and luminance. Same as “chroma”.
Clean Aperture X The fraction of a motion picture frame image that is intended to be viewed by the
audience. The clean aperture is subjectively free of edge artifacts and lies within the
screen area framed by curtains in a cinema. Aspect ratio is often referenced to the
clean aperture.
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GLOSSARY
Color Gamut X The range of colors allowed in a specific system, as defined within a triangular area
located on the CIE color locus diagram whose corners are the three primaries defined
in the system. Also known as color space.
Color Shift X A change in the tint of a white field across an image.
Color Temperature X The coloration (reddish, white, bluish, greenish, etc.) of white in an image, measured
using the Kelvin (degrees K) temperature scale. Higher temperatures output more
light.
Component Video X See YCbCr or YPbPr.
Composite Video X The output of video tape players and some computers, characterized by
synchronization, luminance and color signals combined on one output cable.
Contrast (ratio) X The degree of difference between the lightest and darkest areas of the image.
Convergence X The alignment of the red, green, and blue light elements of a projected image so that
they appear as a single element. In this projector, convergence can be adjusted by
Christie service personnel only.
Curved Screen X A projection screen which is slightly concave for improved screen gain. Curved
screens usually have screen gains which are greater than 1 but viewing angles much
less than 180°. Curved screens are not recommended for use with this projector.
DCDM X Digital Cinema Distribution Master. A file or collection of files formatted for
exhibition and comprised of all the components of the title. A reference size of about
200 GB per title is likely.
DDC X The Display Data Channel VESA standard enables communication between PCs and
monitors, and is based on E-EDID protocol.
DMD™ X Digital Micromirror Devices™ used in this projector for processed red, green, and
blue color data.
DSM X Digital Source Master. A title’s native source files in acquisition format, edited to
create the distribution master and for reformatting for NTSC, HDTV, DVD, etc., and
potentially archived.
DVI X The Digital Visual Interface standard signal supplies analog or digital RGB, sync,
I2C, and clock information to the processing electronics in the projection head.
Detail X The sharpness of a display from a video source.
Diffused Screen X A type of rear-projection screen which spreads the light striking it. Screen gain is
typically less than 1 but audience viewing angles are increased. Rarely used in
cinema.
Digital Cinema X Professional public presentation of theatrical content by electronic means,
particularly emphasizing projectors whose image source is digital data. Also known
as d-cinema and (rarely) e-cinema.
Digital Interpolation X Also known as digital scaling. The process of averaging pixel information when
scaling (resizing) an image up or down. When reducing the size of an image, adjacent
pixels are averaged to create fewer pixels. When increasing the size of an image,
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A-3
GLOSSARY
additional pixels are created by averaging together adjacent pixels in the original
smaller image.
Dot Clock X The maximum frequency of the pixel clock. Also known as pixel clock rate.
E-EDID X The Enhanced Extended Display Identification Data standard, established by VESA,
enables properties (such as resolution) of a display device to be detected by the
display card in a controlling device such as a PC. The PC, in turn, can then output in
a matching format to fill the display. Some sources used with the projector are VESA
E-EDID reported.
Foot-candle X The intensity of visible light per square foot.
Footlambert X The luminance (brightness) which results from one foot-candle of illumination falling
on a perfectly diffuse surface. 1 fL = 3.423 candela per square meter (cd/m2). Note
that SMPTE RP 98 calls for theatre screen luminance of 12 to 22 fL; 16 +/- 2 fL (55
+/- 7 cd/m2) is the open gate target according to SMPTE 196M. For cinema
applications, xenon lamp wattage is approximated to achieve this level using 12 W/ft2
x (screen height squared) or 5 W/ft2 of total ‘scope image area, for matte screens and
typical lenses.
Frame Rate X The frequency at which complete images are generated. For non-interlaced signals,
the frame rate is identical to the vertical frequency. For interlaced signals, the frame
rate (also known as field rate) is one half of vertical frequency.
Gain or Screen Gain X The ability of a screen to direct incident light to an audience. A flat matte white wall
has a gain of approximately 1. Screens with gain less than 1 attenuate incident light;
screens with gain more than 1 direct more incident light to the audience but have a
narrow viewing angle. For example: An image reflecting off a 10 gain screen appears
10 times brighter than it would if reflected off a matte white wall. Curved screens
usually have larger gain than flat screens.
GPIO X General Purpose Input Output, used for remote control of a limited number of
programmable functions by direct signal or dry-contact connection.
GVG X Grass Valley Group (formerly part of Tektronix). More specifically, the .gvg file
format used for compressed video, audio, and timecode stream transfer in the Profile
video server products, proposed for standardization by SMPTE and as a primary
component of MXF. Initially implemented on Fibre Channel using FTP with TCP/IP
but extensible to XTP or other protocols. Previously called GXF: General Exchange
Format.
HDCP X High-bandwidth Digital Content Protection protocol of keys and encryption helps
prevent DVI source material from being copied.
HDTV X High-definition Television (1035, 1080 and 1125 lines interlace, and 720 and 1080
line progressive formats with a 16:9 (i.e. 1.77) aspect ratio.
Horizontal Frequency X The frequency at which scan lines are generated, which varies amongst sources. Also
called horizontal scan rate or line rate.
Horizontal Offset X The difference between the center of the projected image and the center of the
projector lens. For clarity, offset is often expressed as the maximum percentage of the
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GLOSSARY
image that can be projected to one side of the lens center without degrading the
image quality.
Hot Spot X A circular area of a screen where the image appears brighter than elsewhere on the
screen. A hot spot appears along the line of sight and "moves" with the line of sight.
High gain screens and rear screens designed for slide or traditional movie projection
usually have a hot spot.
Input X A physical connection route for a source signal, described by a 2-digit number
representing 1) its switcher/projector location and 2) its slot in the switcher/projector.
In this projector, sources connected at a switcher must be selected at the switcher
rather than the projector.
Input Signal X Signal sent from a source device to the projector.
Interface Module X A device, such as the Dual SD/HD-SDI Module, that accepts an input signal for
display by the projector.
Interlace X A method used by video tape players and some computers to double the vertical
resolution without increasing the horizontal line rate. If the resulting frame/field rate
is too low, the image may flicker depending on the image content.
Keystone X A distortion of the image which occurs when the top and bottom borders of the image
are unequal in length. Side borders both incline in or out, producing a “keyhole”
shaped image. It is caused when the lens surface is not parallel to the screen.
LampLOC™ X A Christie software feature where internal samples of light in a projector guide the
precise position of the lamp along 3 axes—vertical, horizontal and distance to lens—
so that lamp performance and output is maximized. Not available in all models.
Linearity X The reproduction of the horizontal and vertical size of characters and/or shapes over
the entire screen.
Line of Best Viewing X When light from a projector is incident on a screen, the light reflects from the screen
such that the angle of reflection equals the angle of incidence. The Line of Best
Viewing is along the line of reflection.
LiteLOC™ X A Christie software feature where samples of output light from a projector trigger
automatic adjustments in the lamp ballast power in order to maintain a constant light
output over time. Also known as brightness tracking. Not available in all models.
Loopthrough X The method of feeding a series of high impedance inputs from a single video source
(Loopthru)
with a coaxial transmission line in such a manner that the line is terminated with its
characteristic impedance at the last input on the line.
Lumen X The unit of measure for the amount of visible light emitted by a light source. Rarely
used in cinema applications, but common in most other projection applications.
Luminance X The signal representing the measurable intensity (comparable to brightness) of an
electronic image when the image is represented as separate chrominance and
luminance. Luminance also expresses the light intensity of a diffuse source as a
function of its area; measured in lumens or candles per square foot (1 lumen per
square foot = 1 footlambert). SMPTE RP 98 calls for a luminance of 12 to 22
footlamberts for theatre screens. See: Footlambert.
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GLOSSARY
Lux X The amount of visible light per square meter incident on a surface.
1 lux = 1 lumen/square meter = 0.093 foot-candles
Metadata X Descriptive data about the format of the content—i.e., “data about data”. Upon
receiving metadata, digital cinema projectors will "know" the correct aspect ratio of
the image, and the sound processor will "know" the correct format of the audio, all
without effort on the part of the person setting up the show on a particular projector.
NTSC Video X A 525-line resolution video output format of some video tape and disc players. There
are two types of NTSC (National Television Standards Committee) video: NTSC
3.58 and NTSC 4.43. NTSC 3.58 is used primarily in North America and Japan.
NTSC 4.43 is less commonly used.
Non-cinema X Alternative program material such as concerts, plays, sporting events, and potentially
corporate training or conferencing, presented in theatres in addition to motion picture
exhibition.
Non-Sync X Audio played in a theatre, generally from a CD, when the cinematic presentation is
not running, such as during intermissions and prior to the start of film presentation.
Non-unicode X The non-unicode method of encoding produces a concise character set of 256 alphanumeric characters typically used in for ASCII messaging in most Western
languages. Virtually all projector functions can be executed remotely via non-unicode
(default) or unicode messaging—this is auto-detected. See also unicode.
Optical Screen X A type of rear-projection screen which re-directs light through the screen to increase
image brightness in front of the screen. Screen gain is usually greater than 1 but
audience viewing angles are reduced. Rarely used in cinema applications.
PAL Video X PAL (Phase Alternating Line) video is a 50 Hz standard with 768 x 576 resolution. It
is found on some video tape and disc players used primarily in Europe, China and
some South American and African countries.
PCF X Projector Configuration File, or Presentation Control File. A small file created by the
content owner or installer that controls the presentation of the elements and data
subdivisions constituting a single version of a title. The human readable component
may identify the name of the title, its owner, its length, event points, and other
attributes. The PCF specifies color space, target color gamut, gamma (a.k.a.
“degamma”), aspect ratio and image position settings. It does not include screen
masking (cropping) information. A d-cinema presentation or feature uses a PCF.
Pixel (picture element) X The smallest discernible element of data in a digital image.
Pixel Phase X The phase of the pixel sampling clock relative to incoming data.
Pixel Tracking X The frequency of the pixel sampling clock, indicated by the number of pixels per
line.
Play List X A small file or script typically created by the exhibitor or installer that specifies the
sequence of presentation of programs, including features and trailers.
Playout X The equipment in a digital cinema theatre which delivers previously recorded signals
in real time to the playback system. The playout may also receive, store, and process
these signals prior to delivering them.
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GLOSSARY
Post Production X The phase in film-making that occurs primarily after production ends; its processes
include picture editing, sound effects editing and mixing, ADR, Foley, titles and
opticals, dubbing and print mastering, CGI and visual effects, and scoring. Post
production culminates in acceptance of the original negative answer print. Even
though post production officially begins on the last day of principal photography,
post production facilities such as editing are utilized from very early in the
production phase in order to save time.
Projector-to-Screen X The distance between the projector's front feet centers and the screen. More
Distance
commonly known as "Throw Distance”.
Pull Up (Pull Down) X Shifting the frequency, sample rate, or frame rate to as to achieve a target frequency
or time relationship with another signal, most commonly by +/- .1%–the ratio of
NTSC to B&W TV frame rates. See: 3:2 pulldown.
Pull-down List X A selectable menu item that unfolds into a list of options or choices.
QuVis X A manufacturer of a digital video recorder/player/server, QuBit, frequently used for
providing digital cinema data. QuVis image compression uses a proprietary
technology called Quality Priority Encoding, based on wavelets, in which the user
selects a quality level based on signal-to-noise ratio. The data rate varies to
efficiently maintain that quality level. Frames are coded individually.
Rear Screen X A translucent panel for screen projection. Incident light travels through the incident
surface of a rear screen and forms an image on the other surface. Rarely used for
cinema applications.
Release Print X Composite positive motion picture prints, generally made from internegatives,
intended for distribution to exhibitors.
Resizing X The ability to manipulate the physical size, placement and/or aspect ratio of an
image. Also called scaling.
Resolution X The maximum number of pixels that a display device can display horizontally and
vertically across an image, such as 1400 x 1050 (SXGA+) or 2048 x 1080.
Retrace Time X The minimum time required for a CRT projector to move the position of the scanning
(Horizontal)
spot from the right edge to the left edge.
RGB Video X The video output (analog or digital) of most computers. Analog RGB video can have
3, 4, or 5 wires — one each for red, green, and blue, and either none, one or two for
sync. For three-wire RGB, the green wire usually provides sync. (See TTL Video).
RS232 X A common asynchronous data transmission standard recommended by the
Electronics Industries Association (EIA). A type of serial communication.
RS422 X A less common asynchronous data transmission standard in which balanced
differential voltage is specified. RS422 serial communication is especially suited to
long distances.
S-Video X The output from certain video tape players and video equipment. S-Video separates
sync and luminance from color information, typically producing a higher quality
display than composite video. Also known as Y/C.
Scan Frequency X The horizontal or vertical frequency at which images are generated. Also known as
scan rate or refresh rate.
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GLOSSARY
Scan Line X One horizontal line on the display.
SECAM X A video output format of some video tape and disc players used primarily in France.
SECAM (Sequential Couleur á Mémoire) signals are similar in resolution and
frequency to PAL signals. The primary difference between the two standards is in the
way color information is encoded.
Show Script X A small file consisting of automation cues in addition to a play list, triggering theatre
events (action data), and possibly including parameters that allow the program to be
tailored for a specific venue or engagement. A show script is created by the exhibitor
or installer and provides automated presentations.
Source X The device (such as a server) connected to the projector for supplying incoming data.
Source Setup X See Channel.
Switcher X A signal selector such as the Marquee Signal Switcher formerly manufactured by
Christie that can be connected for adding more sources to a projector.
Sync X The part of the video signal that stabilizes the picture. Sync can occur in three forms:
1) "Composite sync": the horizontal and vertical components are together on one
cable.
2) "Sync-on-green": the sync is part of the green video.
3) "Separate sync" or "H.SYNC and V.SYNC": the horizontal and vertical
components of the sync are on two separate cables.
Sync Width X The duration of each sync pulse generated by a computer. The sync width is part of
the blanking time.
TTL Video X A type of RGB video with digital characteristics.
Terminated X A wire connecting a single video source to a display device, such as a projector, must
be terminated by a resistance (usually 75Σ for video).
Throw Distance X The distance between the front bezel of the projector and the screen. Also called
"Projector-to-Screen Distance”. Always use the correct Christie throw distance
formula to calculate the proper throw distance (±5%) required for your lens.
Throw Ratio X Throw ratio = throw distance / screen width. Typically used to differentiate lenses.
Tint X Balance of red-to-green necessary for realistic representation of NTSC signals.
TMDS X Transition Minimized Differential Signaling is the basis for DVI (Digital Visual
Interface).
Unicode X The Unicode method of encoding produces a very large character set typically
required for ASCII messaging in non-Western languages such as Chinese, Russian,
etc. In unicode, every number (code) is unique to a single character. Menu functions
can be executed remotely via unicode or non-unicode (default) messaging—this is
auto-detected. See also non-unicode.
Variable Scan X The ability of a projector to synchronize to inputs with frequencies within a specified
range.
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GLOSSARY
Vertical Frequency X The frequency at which images are generated or “output”. Vertical frequencies vary
amongst sources. Also known as vertical scan rate.
Vertical Offset X The difference between the center of the projected image and the center of the
projector lens. For clarity, offset is often expressed as the maximum percentage of the
image that can be projected above or below the lens center without degrading the
image quality.
VESA X The Video Electronic Standards Association establishes standards of communication
between electronic components to help ensure universal compatibility.
Video X The signal that is used by display devices (such as projectors) to generate an image.
This term also refers to the output of video tape/disk players and computers.
Video Decoder X A module that converts NTSC 3.58, NTSC 4.4, PAL, PAL-N, PAL-M or SECAM to
RGB video. An 8-bit video decoder is standard in this projector.
Video Standard X A specific type of video signal, such as NTSC, PAL, SECAM.
Viewing Angle X Screens do not reflect equally in all directions. Instead, most light is reflected in a
conical volume centered around the "line of best viewing". Maximum brightness is
perceived if you are within the viewing cone defined by the horizontal and vertical
viewing angles.
Watermark X Data embedded in essence that serve different purposes and that are either
imperceptible or obvious, robust or fragile. Their usual purpose is for legal support of
copyright, and they may also be components of copy control schemes.
White Balance X The color temperature of white used by the projector.
White Field X The area of an image that is white only. For example, a full white field is an image
that is white everywhere. A 10% white field is a white area (usually rectangular) that
occupies 10% of the image; the remaining 90% is black.
YCbCr X A high-end digital component video signal.
YPbPr X A high-end analog component video signal. Sometimes called YUV, Component, or
Y, R-Y, B-Y, the YPbPr signal by-passes video decoding.
YUV X See YPbPr.
Zoom X The adjustment of image size by means of a zoom lens.
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Appendix B
Remote Keypad
Figure B.1. Standard Remote Keypad
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B-1
Appendix C
Serial Communication Cables
Serial Links to Projector X FOR GENERAL COMMUNICATIONS: A serial link of RS232 or RS422 enables ASCII
communication with the Cine-IPM 2K so that it can be controlled remotely from a
PC or other controller. From a PC, connect a standard 9-wire RS232 serial cable to
the RS232 IN port located on the Cine-IPM 2K front panel. Or, for long-distance
(>100 ft.) links with an RS422-compatible PC or controller, connect RS422 cable to
the RS422 port.
FOR SOFTWARE DOWNLOADS: Download
new software to the Cine-IPM 2K via
either serial link.
NOTE: Using an Ethernet link for downloading new software to the projector is not
supported.
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C-1
SERIAL COMMUNICATION CABLES
C-2
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Appendix D
System Integration
GPIO
1
2
6
3
7
4
8
5
9
The GPIO connector located on the Cine-IPM 2K front panel provides a flexible
method of interfacing a wide range of external I/O devices to the Cine-IPM 2K,
usually so that an event on one device automatically triggers an event on the other.
There are 7 GIO pins available on the 9pin D-Sub GPIO connector, all of which are
configurable via RS232 commands. The remaining two pins are reserved for ground
and power – see table below for pin identification.
GPIO Pins
Pin #
1
2
3
4
5
6
7
8
9
Signal
(200mA)
GPIO 1
GPIO 2
GPIO 3
Ground
GPIO 4
GPIO 5
GPIO 6
GPIO 7
+12V
The serial cable required for connecting the external device to the Cine-IPM 2K’s
GPIO connector, whether it’s a standard or custom cable, must be compatible with
the external device.
Configuring the GPIO X The GPIO connector can be configured to automate any number of events using the
serial command code GIO. Each pin is defined as either an input or output
depending on the desired outcome. In general, configure the pin as an input if you
want the projector to respond to something an external device does, and as an output
if you want the external device to respond to an action taken by the projector. For
example, configure the pin as an output if you want the lighting in a room to
automatically dim when the projector is turned on.
A GIO command can also set the state of each pin as high or low. By default, the
state of each pin is high. The voltage applied to pins in the high state is + 3.3V.
Example 1. Turn room lighting on when the projector is turned off. (Assumes a
control/automation unit is configured to turn the lights on when pin 2 of its input goes
high.)
(GIO C2 O)
(GIO 2 H)
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Set pin #2 configuration to output
Set pin #2 to high (state)
D-1
SYTEM INTEGRATION
Request the state and configuration of all pins
Query Command X (GIO?)
(GIO! “HHLLHLH” “OOIOOOI”) Reply of pin state and configuration
(GIO? C2)
Request configuration for pin #2
(GIO! C2 O)
Reply with pin #2 configuration as output
(GIO? 2)
Request the state of pin #2
(GIO! H)
Reply with pin #2 state as high
Real Time Event X Use the serial command RTE to specify an action that is initiated at a particular time
or based on an external stimulus.
For General Purpose IO “G”
Parameter
P1
P2
P3
Name
RTE type
I/O bit
Pin state
(1 Character)
(String)
P4
Commands
Value
G (Real Time I/O Event)
1-7
H = High
L = Low
“LHXXXHLX” Combine multiple inputs and
trigger occurs when all conditions are met
Any valid serial protocol command for the
device
Example 2. Projector powers up when a switch on the external device is turned on.
(GIO C2 I)
(RTE G 2 H “(PWR 1)”)
(RTE G 2 L “(PWR 0)”)
D-2
Set pin #2 configuration as input
Power on when pin #2 set to high
Power off when pin #2 set to low
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Appendix E
Optional Input Modules
The following optional input modules can be installed in either option slot in the Cine-IPM 2K (INPUT 5 or INPUT 6).
Contact your dealer for a complete and up-to-date listing.
NOTE: Any audio connectors shown are non-functional in the Cine-IPM 2K.
RGB500 Input Module X This module receives analog RGB input signals from computers or other RGB source
38-804606-xx
devices.
RGB500 Features
◊
◊
accepts 3, 4, or 5 wire RGB video (sync-on-green, composite sync, or
separate horizontal and vertical sync), up to 500 MHz bandwidth
BNC connectors for RGB signal inputs
RGB400BA Input Module X Connect three-, four-, or five-wire RGB video signals of up to 400 MHz bandwidth—
38-804610-xx
these are signals typically produced by high-resolution computer or workstations. The
buffering capability of the module enables the incoming signal to be sent to a remote
destination. Inputs are 75Σ terminated.
RGB400BA Features
◊
◊
◊
accepts 3, 4, or 5 wire RGB video (sync-on-green, composite sync, or
separate horizontal and vertical sync)
BNC connectors for RGB signal inputs
Buffered signals to a remote destination
RGB400 Active Loop-Thru X This module receives analog RGB input signals from computers or other RGB source
Input Module
devices. Video inputs are 75Σ terminated. Video outputs provide buffered loop38-804607-xx
through to another display device.
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OPTIONAL INPUT MODULES
RGB400ALT Features
◊
◊
◊
accepts 3, 4, or 5 wire RGB video (sync-on-green, composite sync, or
separate horizontal and vertical sync)
BNC connectors for RGB signal inputs
buffered loop-through video outputs
PC250 Analog X This module receives analog RGB input signals from IBM PC compatibles or
Input Module
Macintosh computers. Video inputs are 75Σ terminated. Outputs are provided for
38-804609-xx
buffered loop-through to another display device.
PC250 Analog Features
◊
◊
◊
accepts VGA or MAC RGB video
15 pin D connectors for video
active loop-through video outputs
NOTE: This interface does not accept VGA and MAC signals simultaneously.
DVI Input Module X This module can display digital video input signals conforming to the DVI (Digital
38-804635-xx
Visual Interface) single-channel standard.
Features
◊
◊
◊
Supports Digital Visual Interface (DVI) single-channel
Supports VESA® Extended Display Identification Data (EDID™)
Provides an active-loop-through using a DVI connector (conforming to
the DVI Specification)
Serial Digital Input Module X This module accepts a serial digital 4:2:2 component video signal (YCbCr) via a
38-804602-xx
single SERIAL IN BNC connector. The signal can loop through the SERIAL OUT BNC
out to another device (such as another Cine-IPM 2K / CP2000). Inputs are 75Σ
terminated.
E-2
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OPTIONAL INPUT MODULES
SDI Features
◊
◊
◊
accepts serial digital 4:2:2 component video (YCbCr)
provides both a SERIAL IN and a SERIAL OUT BNC connector
includes status LEDs for signal and error
Dual SD/HD-SDI Module X This module accepts one or two independent standard- or high-definition serial
38-804656-xx
digital inputs, decodes them for processing in the main electronics of the Cine-IPM
2K, and outputs 10-bit YCbCr 4:2:2 video. Either input can be set as the active
primary or secondary part of a Picture-in-Picture display, and either input can be
looped through to one (or both) of the module’s BNC outputs.
Dual SD/HD-SDI Features
◊
◊
◊
◊
◊
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accepts and decodes up to two serial digital inputs
outputs up to two 10-bit RGB/YCbCr 4:2:2 video signals
provides input(s) to output(s) loop-through capability
supplies interchangeable inputs for Picture-in-Picture displays
SMPTE 259M compatible
E-3
Appendix E
Optional Input Modules
1
10-bit Output
How to Connect For, 2-9
How to Use, 2-9
Selecting at the TPC, 2-10
8
8-bit Output
How to Connect For, 2-3, 2-4
How to Use, 2-9
Selecting at the TPC, 2-10
A
AC
Safety, 4-1
Troubleshooting, 5-1
Active Input Window, 3-22
Advanced Image Settings Menu, 3-30
Advanced Size and Position Menu, 3-22
AGC, 3-25
All Joined (Network Setting), 3-36
Anamorphic Image, 3-21
Arrow Keys, 3-9
ArtNet Device Description, 3-38
ArtNet Device Name, 3-38
ASCII Messaging, 3-49
Auto Color Enable, 3-28
Auto Input Level, 3-27
Auto Power-up, 3-33
Auto Setup, 3-5, 3-18
Automatic Gain Control. See AGC
AutoSource Checkbox, 3-18
B
Bad Sync, 3-61
Baud Rate, 2-16
Baud Rate Settings, 3-35
Blacklevels and Drives, 3-28
Blanking, 3-22
Brightness Key, 3-7, 3-24
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Brightness Uniformity
Canceling, 3-56
Definition, 3-53
Prerequisites, 3-53
Procedure, 3-53
Submenu, 3-39
Broadcasting, 3-8, 3-38
C
Channel
Input, 3-18
Locked, 3-18
Name, 3-17
Number, 3-14, 3-18
Signal Type, 3-15
Channel Copy/Delete, 3-16
Channel Edit Menu, 3-17
Channel Key, 3-5, 3-14
Channel Selection, 3-15
Channel Setup Menu, 3-15
And Enter Key, 3-16
And Function Key, 3-16
Channels
Creating Automatically, 3-14
Creating in Channel Setup Menu, 3-16
Definition of, 3-14
Deleting in Channel Setup Menu, 3-16,
3-17
Channels vs. Inputs, 3-13
Checkbox Toggles, 3-11
Cine-IPM 2K
and TPC Settings, 2-14Netwo
Communication with CP2000, 2-4
Components, 3-1, 6-4
Features, 1-1
Installation in CP2000, 2-1
Resetting, 3-62
Specifications, 6-1
Standard Components, 1-2
Status Display, 3-60
Turning on/off, 3-5
Clamp Location, 3-28
Color (Video Option), 3-26
1
INDEX
Color Adjustment
Color Saturation Submenu, 3-42
XY Submenu, 3-41
Color Enable, 3-28, 3-43
Color Matching, 3-50
Color Space, 3-25
Color Temperature, 3-31
Communications Menu, 3-35
Component Video, 2-6
Configuration Menu, 3-32
Contrast Key, 3-6, 3-23
Controllers, 3-49
Cooling
Maintaining Proper, 4-2
CP2000, 2-1
Custom Sizing, 3-19
D
DDOM, 3-62
Decoder Luma Delay, 3-27
Detail (Menu Option), 3-24
Detail Threshold, 3-32
DHCP Server, 2-13, 2-17, 3-36
Display Channel List, 3-34
Display Error Messages, 3-34
Display Slidebars, 3-34
Dual SD/HD-SDI
Using Input On, 3-6
DVI Outputs
Connection of, 2-9
E
EEPROM, 3-62
Edge Blending, 3-40
Description, 3-57
How Blends are Used, 3-57
Main functions, 3-58
Enable Decoder AGC, 3-25
Enter Key, 3-8
Error Messages
Bad Sync, 3-61
How to Find, 3-60
H-Sync or V-Sync, 3-61
No Signal, 3-61
System Warnings/Errors, 3-61
Ethernet
Factory-set, 1-2
How to Connect, 2-12
IP Address Change, 2-17
Networks, 2-17
Troubleshooting, 5-1
Ethernet Settings Menu, 3-36
Exhaust
Airflow Maintenance, 4-2
Exit Key, 3-8
2
F
Film Mode Threshold, 3-32
Filter (Menu Option), 3-24
Floating Inputs, 3-32
Frame Delay Monitor, 3-31
Frame Lock, 3-31
Freeze Image, 3-42
Full Height, 3-20
Full Screen, 3-20
Full Width, 3-20
Function Key Codes, 3-7
G
Gamma, 3-7, 3-24, 6-1
Gamma Table, 3-30
General Purpose In/Out. See GPIO
GPIO, 2-13
H
HDTV Connection, 2-8
Help
Context-sensitive, 3-10
General Topics, 3-10
Help Key, 3-5
Horizontal Position, 3-22
Horizontal Shift, 3-34
Hum bars 3-32
I
Image Adjustments, 3-18
Image Settings Menu, 3-23
InMenu Checkbox, 3-18
Input 1, 2-6
Input 2, 2-8
Input 3, 2-7
Input 4, 2-7
Input 7, 3-6
Input 8, 3-6
Input Levels Menu, 3-27
Input Video Black, 3-26
Inputs
Connection, 2-2
Definition of, 3-13
Input Keys, 3-6
Selecting/switching, 3-13
Specifications, 6-1
Types, 1-1
Installation
Ethernet, 2-12
Serial Communications, 2-11
Installation Tips, 2-4
Interfaces,Optional, 2-8
Invalid Channel, 3-61
IP Address, 1-2, 2-17, 3-36
Network Name, 3-32
Cine-IPM 2K User’s Manual
020-100164-01 Rev. 1 (01/08)
OPTIONAL INPUT MODULES
K
Keypads, IR or Wired. See Remote
Keypads
L
Language Setting, 3-33
LEDs, Status Codes, 3-62
Lens Keys, 3-9
Level Detector, 3-44
Level Value, 3-44
Locked Channel Checkbox, 3-18
Luma Delay, 3-27
M
Main Menu, 3-9
Menu
Advanced IMage Settings, 3-30
Advanced Size and Position, 3-22
Channel Edit, 3-17
Channel Setup, 3-15
Communications, 3-35
Configuration, 3-32
Ethernet Settings, 3-36
Image Settings, 3-23
Menu Preferences, 3-34
Odd Pixel Adjustment, 3-43
PIP and Switching, 3-45
Size and Position, 3-19
Status, 3-48
Video Options, 3-25
Menu Font Size, 3-34
Menu Key, 3-7
Menu Location on Screen, 3-34
Menu Navigation, 3-18
Menu Preferences Menu, 3-34
Menu Time-outs, 3-10
Menus
Blind Use Of, 3-11
Motion Filter, 3-32
N
Native Format Displays, 3-20
Network Name, 2-18
Network Routing, 3-35
Networks
Ethernet, 2-17
Separate, 3-35
Setup in Software, 3-35
No Resizing, 3-20
No Signal, 3-61
Noise Reduction, 3-25
Numbers Select Main Image, 3-48
Numerical Entry, 3-13
Cine-IPM 2K User’s Manual
020-100164-01 Rev. 1 (01/08)
O
Odd Pixel Adjustment Menu, 3-43
Option 1, 3-6
Optional Input Modules, 3-45
Optional Inputs, 2-8
OSD Key, 3-7
Output Format, 3-33
Output Format Submenu, 2-10
P
Peak Detector, 3-29, 3-44
Picture-in-Picture. See PIP Key
PIP
Border Color, 3-47
Border Width, 3-47
Enable, 3-46
PIP and Switching Menu, 3-45
PIP Image Settings, 3-47
PIP Key, 3-9
PIP Size and Position, 3-47
Pixel Phase, 3-21
Pixel Tracking, 3-21
Plug & Display (EDID), 3-23
Port (Ethernet Setting), 3-37
Power
Troubleshooting, 5-1
Primary Colors, Adjusting, 3-50
Projector Key, 3-8
Projector Number, 2-19, 3-35
Pull-Down Lists, Use of, 3-11
R
Remote Keypads, 3-3
Guide to Keys, 3-4
IR, 3-3
Keys and Use, 3-3
Remapping for Inputs, 3-48
Wired, 3-3
Resize Presets, 3-19
RS232
Connection, 2-11
Networks, 2-15
Specifications, 6-3
RS232 and Ethernet Joined, 3-36
RS232 and RS422 Joined, 3-36
RS422
Connection, 2-11
Networks, 2-16
Specifications, 6-3
S
Select Color Adjustment, 3-30
Serial Communication, 2-11
Service Contacts, 1-2
Set Date & Time, 3-33
Shutter Key, 3-7
3
INDEX
Size and Position Menu, 3-19
Size of Image, 3-19, 3-21
Slidebar Adjustment, 3-10
Splash Screen Setup, 3-34
Split Networks
Options for Setup, 2-18
Status Menu, 3-48
Swap Main and PIP Image. See PIP
Sync
Def. and types, A-8
Sync Tip Clamping. See Clamp Location
T
Test Pattern Grey Level, 3-42
Test Pattern Key, 3-5
Test Patterns via Menus, 3-39, 3-42
Text
Editing, 3-12
Tint (Video Option), 3-26
TPC Settings, 2-14, 2-15, 3-33
Troubleshooting
Displays, 5-1
Ethernet, 5-1
Power, 5-1
4
Twin Link. See 10-bit Output
U
UV Warnings, 4-1
V
Vertical Position, 3-22
Vertical Shift, 3-34
Vertical Stretch, 3-21
Video Options Submenu, 3-25
Video Standard, 3-26
W
Warnings for Operation, 4-1
Whitelevels Adjust, 3-27
Wired Remote. See Remote Keypads
Y
YPbPr, 3-25
Connection, 2-6
Cine-IPM 2K User’s Manual
020-100164-01 Rev. 1 (01/08)