Wolf | DCX-1000FD | Owner`s manual | Wolf DCX-1000FD Owner`s manual

Owner's Manual
DCX-500i
DCX-500FD
DCX-1000i
DCX-1000FD
DCX-1500i
DCX-1500FD
Preliminary
Table of Contents
Introduction >
1.1
1.2
1.3
Projector Overview.............................................................................................. 1-1
Components........................................................................................................ 1-2
Warranty.............................................................................................................. 1-2
Installation & Setup >
2.1
Quick Setup........................................................................................................ 2-1
2.2Installation Considerations.................................................................................. 2-3
2.3
Connecting Sources.......................................................................................... 2-12
2.4
Connecting Communications............................................................................ 2-15
2.5
System Integration – GPIO Connector............................................................. 2-18
2.6
Power Connection............................................................................................. 2-18
Operation >
3.1About the Projector............................................................................................. 3-1
3.2
Using the Remote or Built-in Keypad.................................................................. 3-3
3.3Navigating the Menus....................................................................................... 3-10
3.4
Using Inputs and Channels............................................................................... 3-14
3.5Adjusting the Image.......................................................................................... 3-19
3.6Adjusting System Parameters and Advanced Controls.................................... 3-33
3.7
Working with PIP or Seamless Switching......................................................... 3-45
3.8
Working with the Lamp...................................................................................... 3-48
3.9Achieving White Field Uniformity...................................................................... 3-52
3.10Edge Blending................................................................................................... 3-55
3.11Remote Control of the Projector....................................................................... 3-59
3.12Error Conditions................................................................................................ 3-60
Maintenance >
4.1
Warnings and Safety Guidelines......................................................................... 4-1
4.2
Cleaning and Maintenance Guide....................................................................... 4-4
4.3Replacing Remote Batteries............................................................................... 4-5
4.4Lamp Replacement............................................................................................. 4-5
4.5Replacing the Projection Lens............................................................................ 4-9
Troubleshooting >
5.1
Displays............................................................................................................... 5-1
5.2Lamp................................................................................................................... 5-3
5.3Ethernet.............................................................................................................. 5-3
5.4
3D Sync Output................................................................................................... 5-3
Specifications >
6.1
Specifications...................................................................................................... 6-1
Appendix A: Keypad Reference........................................................................................A-1
Appendix B: Serial Communications.................................................................................B-1
Appendix C: Throw Distance.............................................................................................C-1
Appendix D: System Integration........................................................................................D-1
Appendix E: Optional Input Modules.................................................................................E-1
i
Wolf Cinema User’s Operating Manual
Section 1
INTRODUCTION
1.1
Projector Overview
Wolf Cinema DCX-i and DCX-FD units
are all professional 3-chip projectors
based on next-generation Digital Light
Processing™ (DLP™) technology by
Texas Instruments™ to deliver high quality,
crisp, clean images.
Wolf Cinema projectors provide a
powerful combination of HD resolution,
high brightness and high contrast ratios to
produce flawless, cinematic high definition,
as well as realistic three-dimensional
images for virtual reality and gaming.
Main Features >
•
Native SXGA+, HD or HD2 resolution
(model dependant) with all others
fully scaleable
•
Internal scaling of stereo signals (XXXX models)
•
10-bit video processing
•
Built-in multi-standard video decoder
•
Display of NTSC, PAL and SECAM video input
•
User replaceable Cermax® Xenon lamp
•
Lamp Tracking Calibration for constant brightness
•
Lens VariScope System (LVS™) to save and restore lens settings
•
Motorized lens mount for all models
•
Auto-setup feature
•
Networking ability through RS232 and RS422 connectors
•
Status LED display on built-in keypad for easy projector status monitoring
•
Control with IR, wired or built-in keypad
•
Two input slots for Optional Input Modules
Iso - Front Right View
Side - Left View
Refer to Section 6 for a complete list of Specifications including Brightness and Contrast and
Optional Input Modules
1-1
Wolf Cinema Owner's Manual
Section 1 ► Introduction
1.2 Components
The following listed items are shipped with your projector. Ensure you have received all these
items before using your projector.
•
User’s Manual
•
IR remote keypad (includes two, 1.5V AA batteries and a mini-stereo cable for conversion
to wired)
•
Power cord
•
Stereo 3D Cable (XXX only)
•
Warranty Card
Lamp Type
Model Name
Resolution
Wolf WARP
3D
MotorizedLens Mount
500W Models
DCX-500i
HD 1080p
Optional
●

DCX-500FD
HD 1080p
Optional
●

HD 1080p
Optional
●

HD 1080p
Optional
●

HD 1080p
Optional
●

HD 1080p
Optional
●

1000W Models DCX-1000i
DCX-1000FD
1200W Models DCX-1500i
DCX-1500FD
1.3 Warranty
Wolf Cinema Owner's Manual
Please see included Warranty.
1-2
Section 2
INSTALLATION & SETUP
2.1 Quick Setup
The instructions provided here are for those that are familiar with the projector and wish to
quickly set it up and use it temporarily. Refer to the remaining subsections of this manual for a
more complete setup.
Step 1 >
Install the Projection Lens
The projection lens is shipped separately from the projector and must be installed prior to setting
up the projector. Install the projection lens as described in 4.5 Replacing the Projection Lens.
Remove the lens plug from the lens opening in the projector before installing the lens.
Remove the lens when shipping the projector and reuse the lens plug to prevent dust
and debris from entering and settling on critical optical components.
Step 2 >
Position the Projector
Place the projector on a sturdy, level surface and position it so that it is perpendicular to the
screen at a suitable distance. In general, the further back the projector is positioned from the
screen, the larger the image will be.
If required, you can level the projector by adjusting its three feet. With the projector positioned
perpendicular to the screen the image will appear rectangular instead of keystoned.
For more detailed instructions on positioning the projector refer to Projector Position and
Mounting later in this section.
Step 3 >
Connect a Source
Located at the back of the projector is the input panel where all source connections are made.
Each input is clearly labeled for easy identification.
Using the appropriate cable(s), connect your source. Connect RGB and YPbPr sources to INPUT
1 located in the upper right corner of the input panel. Use the DVI-I connector at INPUT 2 to
connect analog or digital display signals. Connect composite video to INPUT 3 and S-Video to
INPUT 4.
NOTE: One of the available optional input modules can be installed at INPUT 5 or INPUT 6 for
additional connections.
Refer to 2.3 Connecting Sources for more details on connecting a specific source.
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Section 2 ► Installation and Setup
Step 4 >
Connect the Power Cord
The North American-rated power cord is provided with each projector. Ensure that
you are using a power cord, socket and power plug that meets the appropriate local rating
standards.
Plug the power cord to the AC receptacle located on the right hand side of the projector and the
3-pronged end into a grounded AC outlet. The input voltage to the projector must be capable of
100 – 240 VAC in 1000W models and 200-240VAC in 1200W models. (See also Section 6 –
Specifications for complete details on all power requirements.)
Use the approved North American-rated power cord supplied with the projector. If you are
connecting to an area outside of North America make sure you are using an appropriately rated
power cord.
Step 5 >
Turn the Projector ON
Press the
POWER button on either the remote or built-in keypad to turn the projector on.
Wait a few minutes to allow the projector to warm up. The LED status window displays an active
pattern of segments to indicate the projector is changing its state from powered down to powered
up. The message “On” appears in the display when the projector has completed its initialization
and is ready for use.
Step 6 >
Select a Source
Press one of the input keys on the remote or built-in keypad to select and display the image for
the source you connected in Step 3.
Step 7 >
Adjust Image
Adjust the more common Picture Adjustments, such as Brightness, Contrast, Gamma, Focus,
Zoom etc. using the direct keys on the IR remote.
You can also access the menu system and adjust these and other Picture Adjustments by
pressing Menu on the remote.
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Section 2 ► Installation and Setup
2.2 Installation
Considerations
Proper installation of your projector will ensure the quality of your display. Whether you are
installing a projector temporarily or permanently you should take the following into account to
ensure your projector performs optimally.
Installation Type >
Choose the installation type that best suits your needs: front or rear screen, floor mount or
inverted mount.
Screen Type >
Front Screen Installations
In front screen installations the projector and audience are positioned in front of the screen,
which can be flat or curved.
Flat screens are recommended with this projector. They offer a gain of about 1 with a viewing
angle just less than 180°. This type of screen reflects incident light equally in all directions so the
audience can see the display from various angles.
Curved screens have a gain greater than 1 with a viewing angle much less than 180°. This type
of screen does not reflect incident light equally in all directions instead it is concentrated in a
viewing cone. The audience sitting within the viewing cone area will see a brighter image than
those sitting just outside this area.
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Section 2 ► Installation and Setup
Rear screen installations
There are two basic types of rear screens: diffused and optical.
A diffused screen has a surface, which spreads the light striking it. Purely diffused screens have
a gain of less than one. The main advantage of the diffused screen is its wide viewing angle,
similar to that of a flat screen for front screen projection. This type of screen is suitable when a
wide viewing angle is required but there is low ambient room lighting.
Optical screens take light from the projector and redirect it to increase the light intensity at the
front of the screen. This reduces it in other areas. A viewing cone, similar to that of a curved front
screen installation is created. This type of screen is better suited for brightly lit rooms where the
audience is situated within the viewing cone.
Screen size
Choose a screen size, which is appropriate for your lens and application. The size of the room
and viewing distance are the defining factors; a rule of thumb is that the primary viewing distance
be 1.5 x screen width.
To fill a screen with an image, the aspect ratio of the screen should be equal to the aspect ratio
of the image (expressed as the ratio of its width to its height). Standard video from a VCR has
a 4:3 or 1.33:1 aspect ratio. For example, to display a VCR output with a 4:3 aspect ratio onto a
10-foot (3m) high screen, the width of the screen must be at least 13.3 feet (4m).
Ambient Light >
The high brightness of this projector is well suited for locations where ambient lighting might be
considered less than ideal for projection. A typical room with ceiling lights and windows rarely
requires special attention. Contrast ratio in your images will be noticeably reduced if light directly
strikes the screen, such as when a shaft of light from a window or floodlight falls on the image.
Images may then appear washed out and less vibrant.
In general, avoid or eliminate light sources directed at the screen.
Other Considerations >
Other considerations and tips that can help improve your installation:
• Keep the ambient temperature constant and below 35°C (95°F). Keep the projector away from
heating and/or air conditioning vents. Changes in temperature may cause drifts in the projector
circuitry, which may affect performance.
• Keep the projector away from devices that radiate electromagnetic energy such as motors and
transformers. Common sources of these include slide projectors, speakers, power amplifiers,
elevators, etc.
Choose the best screen size for the application. Since more magnification reduces brightness,
use a screen size appropriate for the venue but not larger than required. Installing a large screen
in a small room is similar to watching television at a close range; too large a screen can overpower
a room and interfere with the overall effect. A good rule of thumb is to be no closer than 1.5 times
the width of the screen or a 23° viewing angle.
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Section 2 ► Installation and Setup
Projector Position and >
Mounting
Throw distance
Throw distance is the distance measured from your projector’s lens to the screen. This is an
important calculation in any projector installation as it determines whether or not you have
enough room to install your projector with a desired screen size and if your image will be of the
right size for your screen.
You can quickly estimate the throw distance by taking the horizontal width of the screen and
multiplying it by the lens throw ratio. The result of this calculation tells you "roughly" how far back
the projector should be positioned from the screen in order to project a focused image large
enough to fill the screen. For example, using a 0.75:1 lens, throw distance would roughly be 0.75
x screen width.
IMPORTANT: Once you determine the type of lens and screen size you’re going to use,
calculate the precise throw distance using the formula or graphs located in Appendix D. Due to
lens manufacturing tolerances for lens focal length, actual throw distance can vary ±5% between
lenses described as having the same throw ratio.
Iso - Front Right View
Iso - Rear Right View
Measured to center of
projector's front feet.
Iso - Rear Left View
Top View
Side - Left View
2-5
Rear View
Side - Right View
Wolf Cinema Owner's Manual
Section 2 ► Installation and Setup
Vertical and horizontal position
The correct vertical and horizontal position of the projector in relation to the screen depends on
the lens type and the screen size. Ideally, the projector should be positioned perpendicular to the
screen. This way, the image will appear rectangular instead of keystoned (trapezoidal).
The vertical position of the image can be offset – that is moved above or below the optical axis
(lens center) by adjusting the fully motorized lens mount with the keypad. The amount of vertical
offset available depends directly on the lens installed in the projector and can be slightly limited
if horizontal offset has been applied. Vertical offset can also be expressed as the percent of half
the image height OR the number of pixels of shift from lens center. Refer to Figure 2.1 for some
illustrated examples of vertical offset.
Table 2.1 along with Figure 2.2 show the maximum vertical offset of a lens or alternatively, how
much of your projected image will appear above or below lens center if the maximum vertical
offset is applied using that lens.
Table 2.1 Lens Offsets
Lens Type
Offset Movement
(All motorized lenses)
 or 
 or 
HD Lenses
119%
42%
Max. Amount of Display
Above or Below Lens Center
1183 pixels  or 
100%
Max. Amount of Display
Right or Left of Lens Center
1363 pixels  or 
71%
NOTE: 1) Offsets are subject to ±7% centering tolerance 2) % Offset = # pixels of offset / half panel resolution x 100.
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Section 2 ► Installation and Setup
Iso - Front Right View
Side - Left View
Iso - Front Right View
Side - Left View
Iso - Front Right View
Side - Left View
Top View
Rear View
Top View
Rear View
Top View
Rear View
Iso - Rear Left View
Side - Right View
Iso - Rear Left View
Side - Right View
Iso - Rear Left View
Side - Right View
Figure 2.1 Vertical Offset Examples
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Section 2 ► Installation and Setup
Iso - Front Right View
Side - Left View
Iso - Front Right View
Side - Left View
Top View
Rear View
Top View
Rear View
Iso - Rear Left
IsoView
- Front Right View
Side - Left View
Side - Right View
Iso - Rear Left
IsoView
- Front Right View
Side - Left View
Side - Right View
Figure 2.2 Lens Vertical Offsets
Wolf Cinema Owner's Manual
2-8
Top View
Rear View
Top View
Rear View
Iso - Rear Left View
Side - Right View
Iso - Rear Left View
Side - Right View
Section 2 ► Installation and Setup
The horizontal position of the image can be offset – that is moved to the left or right of lens
center, by adjusting the fully motorized lens mount through software. The amount of horizontal
offset available depends on the lens installed and if the image has already been vertically offset.
Horizontal offset can also be expressed as the percent of half the image width – the number
of pixels of shift to one side of lens center. Refer to Figure 2.3 for some illustrated examples of
horizontal offset.
See also Table 2.1 along with Figure 2.4 which shows the maximum horizontal offset of a lens
or alternatively, how much of your projected image will appear to one side of lens center if the
maximum horizontal offset is applied using that lens.
Iso - Front Right View
Iso - Rear
View
Iso - Front
Right Left
View
Top View
Top View
Iso - Rear Left View
Figure 2.3 Horizontal Offset Examples
Side - Left View
Rear View
Side- Left
- Right
View
Side
View
2-9
Rear View
Side - Right View
Wolf Cinema Owner's Manual
Section 2 ► Installation and Setup
Iso - Front Right View
Side - Left View
Iso - Front Right View
Iso - Rear
Iso - Front Right
View Left View
Top View
Rear View
Side
- Right View
Side - Left
View
Top View
Iso - Rear Left View
Top View
Iso - Rear
Iso - Front Right
View Left View
Rear View
Side - Right View
Top View
Iso - Rear Left View
Figure 2.4 Lens Horizontal Offset Examples
Side - Left View
Wolf Cinema Owner's Manual
Rear View
2-10
Side - Left
Side
View
- Right View
Rear View
Side - Right View
Section 2 ► Installation and Setup
Mounting
There are several methods for mounting the projector. Depending on your chosen installation,
one method may be more suitable than another. In typical front and rear screen installations the
projector can be mounted to a secure and level surface, such as a table.
CEILING MOUNT — The projector can also be inverted and suspended from the ceiling using
a specially designed ceiling mount fixture. This type of mounting is recommended for fixed
installations and for those that want the projector out of sight or have a limited space for projector
and audience.
Use only the WOLF CINEMA approved ceiling mount kit designed for your projector.
Refer to the installation instructions and safety guidelines provided in the kit.
SPECIAL MOUNTING — The projector can be rotated (front-to-back) up to 360 degrees and
mounted without it affecting performance. However, the side-to-side tilt limit of the projector must
not exceed ±15 degrees. This tilt limit is required to ensure optimal performance of the lamp.
(Figure 2.5.)
Adjusting projector height
You can modify the height of the projector to remedy a slightly unlevel mounting surface by
adjusting the two feet threaded into the front bottom chassis. Turn each foot clock-wise or
counterclockwise until the project is level on all sides.
Folded Optics
In rear screen applications where space behind the projector is limited, a mirror may be used to
fold the optical path. See Figure 2.7. The position of the projector and mirror must be accurately
set — if considering this type of installation call your dealer for assistance.
Iso - Front Right View
Side - Left View
Top View
Rear View
Iso - Rear Left View
Side - Right View
Figure 2.5 Folded Optical Path
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Section 2 ► Installation and Setup
2.3 Connecting Sources
Sources connect to the Input Panel located at the back of the projector. See Figure 2.6.
The upper right corner (INPUT 1) typically accepts an RGB signal from an external analog RGB
source, or it can also be used for YPbPr signals or additional video sources. Just beside these
BNCs, the DVI-I connector (INPUT 2) accepts digital or analog display signals from a computer.
Connect analog composite video at INPUT 3 or S-Video at INPUT 4 from devices such as VCRs,
laser disc players or DVD players.
There are also several optional interfaces available for connecting other sources — these
interfaces slide into the remaining unused option slot, and can be done while the projector is
running.
RGB (BNC)
Figure 2.6 Input Panel
NOTES: 1) See Section 6, Specifications for details regarding compatible inputs.
2) Use high quality shielded cables only for all connections.
RGB Signals >
INPUT 1 consists of five BNCs (connectors) for linking to a variety of sources. The typical
connection would be to an RGB source such as a PC, Mac. This projector supports multiple sync
types with RGB signals: sync-on-green, composite sync, and separate H & V syncs.
NOTE: Depending on your source, you may need a custom adapter cable with BNC connectors
at the projector end and a different type of connector at the other (such as a 15-pin "D" connector
for some computer sources). Contact your dealer for details.
Connect the SYNC BNC input(s) first. Then connect the red, green and blue source outputs to
the RED, GREEN, and BLUE BNCs on the INPUT 1 panel. If the source uses sync-on-green,
only the red, green, and blue connections are required. If the source provides a composite
sync output, connect it to the SYNC input labeled HOR/COMP. If the source provides separate
horizontal and vertical sync outputs, connect horizontal sync to the SYNC input labeled HOR/
COMP and connect vertical sync to SYNC input labeled VERT. See Figure 2.7.
Wolf Cinema Owner's Manual
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Section 2 ► Installation and Setup
Video
Source
Figure 2.7 Connecting RGB and Sync
NOTES: 1) If for some reason the projector fails to recognize a signal as an RGB signal, specify
this Color Space option within the Picture Adjustments menu. See 3.5 Adjusting the Image.
2) To connect YPbPr signals–such as from DVDs or analog HDTV sources–to INPUT 1, use the
red, green and blue BNCs as described in YPbPr Signals (below).
YPbPr signals >
Connect a YPbPr signal (component video) to INPUT 1 or INPUT 2 as shown in Figure 2.8.
(COMPONENT VIDEO)
NOTES: 1) If, for some reason, the projector fails to recognize a YPbPr signal, specify this Color
Space option within the Picture Adjustments menu. See 3.5, Adjusting the Image. 2) Do not
connect digital component signals (known as YCbCr) to INPUT 1. Install an appropriate optional
module in INPUT 5 or INPUT 6 for this.
From
Digital
Signals
from YPbPr
Source
Figure 2.8 Connecting YPbPr sources
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Section 2 ► Installation and Setup
Composite and S-Video >
INPUT 3 and INPUT 4 provide simultaneous connection of both a composite video source
(INPUT 3) and an S-Video source (INPUT 4). See Figure 2.9.
Figure 2.9 Connecting Composite or S-Video sources
DVI Digital Video >
Use the DVI-I connector at INPUT 2 to connect either analog or digital video devices to the
projector. When connecting devices that transmit an analog video signal such as VCRs, laptops,
and PCs use the DVI cable provided with the projector. Plug the DVI-I (single link) connector
end to the projector and the 15-pin VGA connector to the device.
Use a cable with DVI-I connectors at both ends to connect devices that transmit digital and
analog video signals such as high-quality DVD players, satellite receiver and digital cable TVs.
NOTES: 1) To ensure true digital output from devices that transmit digital signals, connect to
the DVI-I connector. 2) DVI loop through is not available unless you have the optional DVI Input
Module installed at INPUT 5 or INPUT 6.
Optional Inputs >
Optional modules allow you to increase your total number of inputs and/or accommodate different
signal types, whether analog or digital. Install in the areas labeled INPUT 5 or INPUT 6. Options
include:
•
Serial Digital Input Module - HD (SDI)
•
DVI Input Module (standard on XXXX HD models)
•
Dual SD/HD-SDI Module (standard on XXXX HD models)
NOTE: See Appendix F – Optional Input Modules for a brief description of each interface.
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Section 2 ► Installation and Setup
2.4 Connecting
Communications
As an alternative to the projector’s keypad or remote, you may wish to communicate with the
projector using a PC or other controller. Such a device sends commands and receives feedback
via serial links (RS232 and RS422), Ethernet or GPIO communications to the projector, all
described below.
Remote Keypads >
As desired, direct the projector’s IR remote keypad towards the display screen or the projector’s
IR sensors. Alternatively, connect a wired (tethered) version of the remote to the 3.5mm RCA
jack labeled as REMOTE on the projector’s input panel. Note that response to a wired keypad
must also be enabled in the Communications menu — see 3.6, Adjusting System Parameters
and Advanced Controls for more information.
Serial Port Connections >
There are two types of serial ports available on the projector: RS232 and RS422. You can connect
a device with a serial interface, such as a computer to either of these connectors (not both) and
control the projector remotely by entering specific serial communication commands.
Connecting RS-232
The two nine-pin DIN connectors labeled RS232 IN and RS232 OUT on the input panel are
dedicated to serial communication (see Figure 2.10). Using the appropriate serial communication
cables (see Appendix C) connect the controlling source, such as a personal computer to the
RS232 IN connector. Then set the baud rate to match that of the computer. Refer to Section 3
for details on changing the projector’s baud rate.
From WC-Pro Processor
Figure 2.10 Connecting RS-232
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Section 2 ► Installation and Setup
Connecting RS-422
If you wish to control the projector with a computer and or other controlling device with RS-422
capability, connect a RS-422 serial communication cable between the computer and the RS-422
port on the projector (see Figure 2.11). RS-422 is better suited for serial communication over
long distances then is RS-232 communication.
Use the RS-422 port only if your device had RS-422 capability – always consult the
literature provided with your equipment before connecting. Connecting to the RS-422
port with incompatible equipment could damage your projector.
#ONNECTA23
DEVICEONLY
Figure 2.11 Connecting RS-422
Ethernet Communications >
Ethernet Communications
To add the projector to an existing Ethernet network with other equipment such as controllers
and other projectors, connect standard CAT5 Ethernet cable between your Ethernet controller (or
hub) and the Ethernet port on the side of the projector.
Upon connection to an Ethernet network, the projector’s factory default IP address of 0.0.0.0.0
will automatically enable the DHCP function (if available on the network) to assign a new IP
address that is valid and unique for that network. Or, if there is no DHCP function available on
the network (or if a specific static IP address for the projector is preferred or required), you can
set the address in the Ethernet Settings menu or via an ASCII serial command.
Regardless of how it is assigned, once a projector has a valid and unique address it will respond
to commands sent to this address. To determine the projector’s current IP address, consult the
Information or Communications menus.
Refer to Section 3 for further information about setting up and using a projector connected via
Ethernet.
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Section 2 ► Installation and Setup
SETTING THE PROJECTOR’S IP ADDRESS: Upon connection to most Ethernet networks,
each projector’s factory default IP address of 0.0.0.0 triggers the network’s DHCP (Dynamic
Host Configuration Protocol) server function to automatically assign an IP address that is valid
and unique for use on that network. Depending on the network, this DHCP-assigned IP address
usually remains stable for a single session, but may change with subsequent power-ups and
logins. On some networks, the address will remain stable from session to session. In all cases,
the projector’s IP address and port appear in the Information menu as well as the Ethernet
Settings submenu. See Figure 2.15.
Figure 2.15. Setting the Projector's IP Address
Note that if a projector’s IP address is anything other than 0.0.0.0 (shown as 000.000.000.000 in
the Ethernet Settings menu) upon connection to an Ethernet network, or if DHCP is not available
on the network, the automatic DHCP server function for supplying a valid and unique IP address
to the projector is disabled. Instead, a specific and static IP address must be defined in projector
memory—enter the new address in the Ethernet Settings submenu, or send to the projector via
a serial command. The IP address will be in effect until it is changed again, or until the DHCP
checkbox is re-enabled for use with a DHCP server on the network.
CHANGING THE PORT#: On some Ethernet networks, firewall restrictions may require that the
port number of the projector be changed from its default of 3002. If so, enter a new port number
in the Ethernet Settings menu or include the new port# in an XIP serial command sent to the
projector. It is highly recommended not to use a port# below 1000, as these ports are typically
reserved for and used by common IP applications.
SUBNET MASK AND DEFAULT GATEWAY: The Subnet Mask and Default Gateway are
automatically assigned when DHCP is enabled. If a static IP is being used, it must be assigned
before the subnet mask. The Default Gateway is an optional router device used to send and
receive data outside the subnet.
Separating Networks >
By default, communications originating from one type of serial controller — RS232 vs. RS422 vs.
Ethernet — stay on the corresponding network path. A “Separate” setting indicates this separation
for “Network Routing” in the Communications menu. If you are using an RS422 controller, for
example, it will communicate only with the projector to which it is connected unless you change
this setting to either “RS232 and RS422 Joined” or “All Joined”.
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2.5 System Integration
- GPIO Connector
The GPIO connector on the input panel can be used to provide a method of interfacing a wide
range of external I/O devices to the projector.
Refer to Appendix E: System Integration for complete details on pin configuration and how to
program the various pins on the connector.
2.6 Power Connector
The North American rated power cord is provided with each projector. Ensure that
you are using a power cord, socket and power plug that meets the appropriate local
rating standards.
Plug the power cord to the AC receptacle located at the back of the projector, below the input
panel, and the three-pronged end into a grounded AC outlet. Ensure the socket outlet is installed
near the equipment and is easily accessible. The input voltage to the projector must be capable
of 100 – 240 VAC in 500W and 1000W models and 200-240VAC in 1200W models. (See also
Section 6 – Specifications for complete details on all power requirements.)
Use the approved North American-rated power cord supplied with the projector. If you are
connecting to an area outside of North America ensure an appropriately power cord rated for the
region of use is used.
Always power down the projector before unplugging the AC power cord. Wait 5-10 minutes
for the main exhaust fan to turn off and for the lamp to cool sufficiently before unplugging the
projector.
WARNING
Do not attempt operation if the AC supply and cord are not
within the specified voltage and power range.
Wait for the cooling fans to turn off before unplugging the projector.
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Section 3
OPERATION
3.1 About the Projector
Top View
Iso section
- Front
Right
This
explains
how View
to effectively operate the projector once it has been installed. It is
recommended that you read this section and familiarize yourself with the components and the
available menu options before you begin using your projector for the first time.
Input Panel
Rear IR Sensor
Status LED Display
Top
Intake
Built-in Keypad
Front IR Sensor
Projection Lens
Exhaust
Side - Left View
Adjustable Feet (4)
Lamp Door
AC Receptacle
Rear View
Built-in Keypad >
The built-in keypad is located at the back of the projector, beside the input panel. Use it similarly
Top View
to the IR remoteIso
to control
theRight
projector.
A status LED display is also included
on this keypad for
- Front
View
monitoring projector status.
AC Receptacle >
The AC receptacle is located at the back of the projector just below the input panel. Use this
outlet to plug in an appropriately rated power cord. Refer to Section 6 — Specifications for
details.
Adjustable Feet >
Located on the underside and on top, with the (i) models, of the projector are two fully adjustable
feet. Raise or lower these feet when positioning the projector to ensure it is level on all sides so
the displayed image will appear rectangular without any keystone.
NOTE: The third foot, located at the rear of the projector (underside) is not adjustable.
Side - Left View
Rear View
Refer to Section 2 - Projector Position and Mounting for instructions on how to adjust the
projector’s feet.
Lens Mount & >
Projection Lenses
The projector is built with a motorized lens mount that allows for easy lens control and
adjustment. This includes such functions as adjusting vertical and horizontal offsets, zoom and
focus. The lens mount can be fitted with any one of the available optional lenses – see Section
6 — Specifications.
•
Zoom and Focus — There are two internal lens motors that allow for quick motorized
adjustment of zoom and focus. Adjust zoom to fit the displayed image on the screen and
adjust focus to improve the clarity of the image.
•
Lens Offset — Vertical and horizontal offset is performed on the lens mount through the use
of DC motors.
•
Shutter — Standard on all models the shutter allows you to turn the screen absolutely black
when in the “on” state. Press the ‘mute’ button for 1-2 seconds on the remote to operate the
shutter.
•
IRIS — Enables adjustment of light output and contrast ratio.
NOTES: Use the lens cap when transporting the projector to avoid scratching and damaging the
lens, which could affect your displayed image.
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Section 3 ► Operation
Input Panel >
All source connections are made to the input panel located at the back of the projector. Connect
RGB or YPbPr sources to INPUT 1, analog or digital display signals to INPUT 2, composite video
to INPUT 3, and S-Video to INPUT 4. Any of the available optional modules can be installed in
INPUT 5 and/or INPUT 6.
There is no status display on the input panel. The only status display is part of the built-in keypad
located at the rear of the projector.
Intake and Exhaust >
Intake collar and intake blank can be interchanged between intake 1 & 2 depending on where
ducting is originating from.
Intake
Intake Blank
Intake 2
Intake Collar
Intake 1
Exhaust collar and exhaust blank can be interchanged between exhaust 1 & 2 depending
where ducting is originating from. If Exhaust 1 is used the exhaust divider must be attached using
noted screws. If exhaust 2 is used exhaust divider must be removed.
Exhaust
Exhaust Divider
Exhaust Blank
Exhaust Collar
Exhaust 2
Exhaust 1
Exhaust Divider Screws
Front and Rear IR Sensors >
The two IR sensors located on the projector receive transmissions from the IR remote from up
to 100 feet away. It is important to keep the transmission path to these sensors unobstructed
for uninterrupted communications with the projector. The front IR sensor is located next to the
projector’s nameplate and the rear IR sensor is located at the back of the projector just above
the status LED display.
Lamp Door >
The lamp door is located at the back of the projector, which provides easy access to the lamp
module for replacement. See Section 4 for lamp replacement procedures.
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3-2
Section 3 ► Operation
3.2 Using the Remote or
Built-in Keypad
Laser radiation is emitted from the laser diode in the remote. Do not look directly into
the beam of the remote.
The projector can be controlled using one of the following keypads:
Keypad Commands >
•
Built-in Keypad located at the back of the projector
•
Remote Keypad for tethered or tether-less control up to 100 feet away (includes cable for
use as a wired remote)
While each of the keypads provides complete control of the projector, they differ slightly in their
arrangement of keys and in what functions can be accessed directly with a key press rather than
requiring use of the menu system. You may find one keypad more convenient than another for
your specific installation and application.
NOTE: The remote keypad has a single IR protocol and can be converted to a wired remote by
connecting the cable provided with the projector to the RCA jack labeled as REMOTE on the
input panel.
Built-in >
To control the projector when signals from a remote keypad cannot reach the projector, use the
projector’s built-in keypad (Figure 3.1). The nearby LED display provides feedback indicating
current status and activities of the projector, (see Table 3.1). Because the built-in keypad has
fewer keys than the remote keypad, certain projector functions are accessible only through the
menu system rather than via a direct key.
Auto
Setup
Menu
Input 1
BNC
Input 2
DVI
Lens
Shift
Help
Input 3
Video
Input 4
S-Vid
Shutter
Exit
Input 5
Opt.1
Input 6
Opt.2
NOTE: The built-in keypad cannot be disabled.
Figure 3.1 Built-in Keypad
Refer to the key descriptions provided for the IR remote – see Figure 3.2.
IR Remote >
Table 3.1 >
LED Status Display
The IR remote keypad controls the projector by way of wireless communications from a batterypowered infrared (IR) transmitter. Use the IR remote keypad the same way you would use a
remote keypad supplied with a TV or VCR. When making key presses, direct the keypad either
toward the screen or toward the front or rear of the projector. One of the two IR sensors on the
projector will detect the signals and relay the commands for internal processing.
LED STATUS DISPLAY:
DESCRIPTION
--
AC power supplied, projector Off
On
Projector On
LC
Lens calibration in progress
LP
Lamp has reached defined “Lamp Limit” refer
to 3.9 Working with the Lamp
SH
Closed shutter
##
System warning or error has occurred
Cooling down (Rotating Horizontal Bars)
Power to Off state or Powering up (segments
spinning clockwise
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Wolf Cinema Owner's Manual
Section 3 ► Operation
Theater Master >
Remote Control
Figure 3.2. Remote Keypad
Quick
Setup
Quick Setup
Press and hold to toggle or press twice to toggle or press and release, followed by ▲ ON or ▼ OFF
* These are toggle keys, which require you to press and hold or press twice or press and
use the up/down arrow keys.
NOTE: To turn the OSD off you must press
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3-4
OSD
and  .
Section 3 ► Operation
Wired Remote >
You can convert the IR remote into a wired remote keypad using the cable provided with the
projector. Connect one end into the remote and the other to the mini stereo connector on the
input panel labeled as REMOTE. The wired remote is recommended when:
•
•
The built-in keypad is inaccessible
The lighting conditions are unsuitable for proper IR transmission
NOTE: Leave the batteries in the wired remote for the laser key (
Guide to Keypads >
Keypad Commands >

) to work.
Keep in mind the following guidelines:
• Press keys one-at-a-time; there are no simultaneous key combinations required.
• Note that the three keys — Power
, Shutter Shutter and OSD OSD are “press-and-hold”
keys that do not function with a typical quick press-and-release key press (see Figure 3.2).
• Hold arrow keys down for continuous adjustment/movement in one direction. In serial
networks, pause briefly between adjustments to ensure that other devices can “keep up”
with the commands.
• If you press a key while the projector is still responding to the previous action, such as during
power-up, the second key press may not take effect.
Specific keypad commands are explained below:
Power ON/OFF
Press and hold
for two seconds or press twice quickly to toggle the projector (on) or (off)
followed immediately by  (on) or 
with a single keystroke. Or press and release
(off) to guarantee the correct toggle (useful if you are unsure of the present state).
NOTES: 1) After powering down, the lamp cooling fan remains on for approximately five minutes
to cool the lamp. 2) It is a good idea to avoid turning a projector back on until it has been off for
a few minutes. Hot re-strikes of the lamp may reduce lamp life.
Test
Quick
Setup
Test
Press Test to step forward through all internal test patterns and this will eventually lead you to
the current input. If you press Test and then cycle by using the  and  right arrow keys,
you’ll be cycling in either direction through the test patterns only, no input.
Quick Setup
Press Auto to initiate an automated process in which the projector optimizes critical display
parameters such as size, position, pixel tracking, etc., for the current source. These parameters
are listed in Table 3.1. An Auto Setup can save time in perfecting a display and you can modify
the adjustments as desired.
What an "Quick Setup" Does
OPTIMIZES:
SETS TO DEFAULT:
Pixel Tracking
Contrast
Pixel Phase
Brightness
Size and Blanking
Auto Input Level (Off)
SVertical Stretch
Detail (if video source)
Position
Filter
Color Temp
Luma Delay
Table 3.1 QuickSetup
NOTE: You must have an unlocked channel present to use Auto Setup.
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Section 3 ► Operation
Channel
Channel
Press Channel to select a specific source setup (channel) defined and stored in projector memory.
Once you enter a two-digit channel number (or, if there is a list displayed, highlight it and press
 ), the display will automatically change and update according to the numerous setup
parameters defined for that channel. Note that a new channel is automatically created if you
adjust an image from a new source.
NOTE: Channel ( Channel ) key behavior during a presentation depends on whether or not the
Display Channel List option is enabled in the Menu Preferences menu. You can choose to
use a scrollable list of channels when you press Channel , or you may prefer to enter the desired
channel number “blind”, i.e., without on-screen feedback. See Menu Preferences later in this
section.
Input 1
Input 1
Press
1.
Input 2
to display from the DVI source connected to INPUT 2.
Input 3
to display from the composite video source connected to INPUT 3.
Input 4
Press
Input 5
Input 2
Input 3
Press
Input 4
to display from the data or video input source connected to BNCs labeled INPUT
Input 2
Press
Input 3
Input 1
Input 4
to display from the S-Video source connected to INPUT 4.
Input 5
Press
Input 5
to display from the INPUT 5 interface module installed in the Option 1 slot.
NOTE: If you have the optional Dual SD/HD-SDI Module installed and there are two inputs
connected here, the second input (B) is considered INPUT 7. If you are using the built-in keypad
or the remote keypad, press INPUT 5 to access INPUT 7 as follows:
Input 6
•
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.
NOTE: If you have the optional Dual SD/HD-SDI Module installed and there are two inputs
connected here, the second input (B) is considered INPUT 8. If you are using the built-in keypad
or the remote keypad, press INPUT 6 to access INPUT 8 as follows:
Wolf Cinema Owner's Manual
•
While displaying from INPUT 6, press
•
While displaying from any input other than the Dual SD/HD-SDI Module, press Input 5 , which
switches to either INPUT 5 or INPUT 8, 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.
3-6
Input 5
again. This switches to INPUT 8.
Section 3 ► Operation
Contrast
Contrast
 keys until you reach
Press Contrast to change the amount of white in your images. Use 
the desired level of contrast — for best results, start low and increase so that whites remain
bright but are not distorted or tinted and that light areas do not become white (i.e., “crushed”).
Conversely, low contrast causes dim images. See 3.5, Adjusting the Image (Picture Adjustments
subsection).
Bright
Brightness
 keys until
Press Bright to increase or decrease the amount of black in the image. Use 
you reach the desired level of contrast—for best results, start high and decrease so that dark
areas do not become black (i.e., “crushed”). Conversely, overly high brightness changes black
to dark gray, causing washed-out images. See 3.5, Adjusting the Image (Picture Adjustments
subsection).
Gamma
Gamma
“Gamma” determines how gray shades are displayed between minimum input (black) and
maximum input (white) for a given amount of signal. The proper setting helps maintain optimized
blacks and whites while ensuring a smooth transition for the “in-between” values utilized in
grays. Unlike brightness and contrast controls, the overall tone of an image can be lightened or
darkened without changing the two extremes and your images will be more vibrant yet with good
detail in dark areas when using the Gamma control.
The normal gamma setting of 2.2 is correct for most video and 2.6 for film. If excess ambient light
washes out the image and it becomes difficult or impossible to see details in dark areas, lower
the gamma setting to compensate. This will improve contrast ratio while maintaining good details
for blacks and whites
Menu
Menu
Press
OSD
Menu
to enter or exit the projector’s menu system.
OSD (On-screen display)
 to hide the projector’s menu system during use. To see the menus again, do
Press OSD
one of the following:
• Press and hold OSD for two seconds
• 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 key presses on the keypad.
NOTE: With OSD “on”, you can still hide error messages and slide bars by disabling these
options in the Menu Preferences menu.
Shutter
Shutter
Press and hold Shutter for two seconds to toggle the internal mechanical shutter blade
closed or open with a single keystroke. Or press and release Shutter followed immediately by
 (closed) or  (open) to guarantee the correct toggle (useful if you are unsure of the
present state). Alternatively, press Shutter Shutter to toggle from the present on/off state. A closed
shutter blanks the display (turns it to black). Close the shutter to mute all display while maintaining
access to projector functions. Opening the shutter restores the image.
NOTES: 1) The status display shows “5H”, when the shutter is closed. 2) The shutter is open
upon power-up.
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Wolf Cinema Owner's Manual
Section 3 ► Operation
Func
Function Key
IF WITHIN A MENU: Using the Func 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.
Setup Functions: Press Func followed by a 2-digit number
to enable a specific color or colors in the display (see right). For
6
4
example, Func
will display only red and green data,
Func
6
7
will display all color data. Eliminating one or
more colors can help with certain diagnostics and setups.
NOTE: Color enabling can also be implemented from numerous
locations within the menu system.
Proj
Projector
Press Proj to access a specific projector within a group of projectors or to confirm if the local
projector is listening. The number in the “Enter Number” window indicates which projector is
currently listening to commands, and will match the projector number that has been defined in
the Menu Preferences menu.
The “Projector” checkbox (read-only) shows whether or not the projector physically connected
to a keypad is listening to commands from that keypad. A checkmark means that connected
projector is listening; if there is no checkmark, you are communicating with a different projector.
To control a specific projector with the keypad, press Proj and then enter the three-digit number
assigned to the projector you want to use. If you switch to a projector other than the one you are
currently using, the checkmark will disappear.
To broadcast to multiple projectors, press Proj and then Proj again without entering a projector
number. Keypad commands will then affect all projectors present. Note that there is no method
of controlling a group of projectors within the same wired configuration using the wired keypad
exclusively, since there is only one wired protocol available.
NOTES: 1) The "Broadcast Keys" option in the Communications menu must be selected for
only one (any) projector in a serial network. The keypad in use must be OFF (disabled) for the
remaining projectors. 2) See 3.6, Adjusting System Parameters and Advanced Controls.

Enter
Exit
Exit
Press  to select a highlighted item, to toggle a checkbox, or to accept a parameter adjustment
and return to the previous menu or image.
Press
Exit
to return to the previous level, such as the previous menu.
NOTE: Exit does not save changes within text editing boxes (including number editing of a
slide bar value) or within pull-down lists. It acts as a “cancel” in these cases.
Wolf Cinema Owner's Manual
3-8
Section 3 ► Operation
Arrow Keys
 keys to change a slidebar value or to select a different option within a pullUse the 
down list without having to first scroll through options. See also Editing Text later in Section 3.
Use the 
Focus
,
Zoom
,
Lens H
,
Lens V

keys to navigate within a menu, pull-down list or text box.
Lens Focus, Zoom and Lens H Shift, Lens V Shift
When adjusting the image for focus, zoom, horizontal and vertical positioning, use the specific
arrow keys (  /  or  /  ) related to each function. A small window will appear
to indicate the type of adjustment taking place. For example,
•
Use the “Focus”

or

keys to improve image clarity as desired.
•
Use the “Zoom”

or

keys to achieve a desired image size.
•
Use the “Lens H”
it rectangular.

or

keys to position the image horizontally while still keeping
•
Use the “Lens V”
rectangular.

or

keys to position the image vertically while still keeping it
Press
Exit
to return to presentation level.
 keys to get the same
NOTE: Use the
key (built-in keypad) with the general 
effect as if using the arrow keys related to “Lens V” or “Lens H” on the IR remote.
Lens
Shift

Laser
Press  to activate the laser pointer on the remote.
This feature is useful when making presentations just point the remote at the screen to highlight an area
of your presentation. The closer you are to the screen
the brighter the laser beam appears. The laser pointer
works best in an environment where ambient lighting
can be controlled.
NOTE: Leave batteries in the wired remote keypad for the
3-9
CAUTION
LASER RADIATION
DO NOT STARE INTO BEAM
LASER DIODE
Wavelength 670nm
Max Output 1mW
CLASS II LASER PRODUCT

key to work.
Wolf Cinema Owner's Manual
Section 3 ► Operation
3.3 Navigating the Menus
Most of the controls for the projector are
accessed from within the projector’s menu
system. There are several groups of related
functions, with each group selectable from
the Main menu as shown at right. Press
Menu at any time to display this Main menu.
On the remote keypad, either enter the
number corresponding to the function menu
you wish to access, such as 2
for the
Picture Adjustments menu, or use the 

keys on any keypad to highlight
the desired option, then press  . The
corresponding function menu or pull-down
list of further options will then appear.
1.
2.
3.
4.
5.
6.
7.
8.
Geometry and Position
Picture Adjustments
Channel Setup
Display Setup
Lamp
Information
PIP
Test Pattern
With a function menu displayed, navigate in a similar manner—enter a menu option number for
any numbered option, or use the keys to highlight the desired option, then press (Enter). Extra
long menus have a scroll bar on the right—use the arrow keys to access the remainder of the
menu. Locked items or items that do not pertain to the current action or condition appear dimmed
and cannot be selected.
NOTES: 1) If there is no signal present, all source-dependent adjustments are disabled. 2) After
15 minutes of inactivity, the projector leaves the menu system and returns to the presentation. 3)
The Information menu is read-only.
When finished with a function menu, do one of the following:
On-Line Help >
• Press
Exit
• Press
Menu
to leave the menu system and return to the presentation
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.
1.
2.
3.
4.
5.
6.
7.
8.
Wolf Cinema Owner's Manual
to return to the previous screen
Lamp
Lamp Hours 0
Lamp S/N ?
Lamp Message
Lamp Limit 1000
Lamp Mode Power
Power 500
Intensity 0
Iris 3
Lamp History
Change Lamp
3-10
Help
Enable a notice upon power-up
indicating the lamp has logged a given
number of hours as specified by
the lamp limit (default is lamp specific).
Section 3 ► Operation
Press Help from the presentation level to access general Help Topics. Scroll as necessary
within a topic; press Help or Exit to return to your presentation.
1.
2.
3.
4.
5.
Time-outs >
The Global Icon >
Using Slidebars and >
Other Controls
Using Help
Setup
Keys
Source (Input) Selection
2 Digit Status Display
If a slidebar, menu or message is displayed you have limited time in which to make a keypad
entry before the projector returns to presentation level and the graphic disappears. These timeouts may vary depending on what is displayed.
Menu options that include this icon apply universally to any incoming signal.
Most of the function menus allow you to change settings by using slidebars, checkboxes, and
pull-down lists. To select a slidebar, toggle a checkbox status or view a pull-down list, do one of
the following within the function menu:
•
Enter the menu option number corresponding to the setting you wish to change (for example,
1
3
press Menu
to select Vertical Stretch in the Size & Position menu).
•
Move the highlight to the option desired and press 
•
Move the highlight to the option desired and press
•
Bypass the menus entirely and use a single key to immediately access an adjustment during
your presentation (NOTE: applies only to options having their own key, such as Focus,
Zoom, etc.).
•
For “blind” access, hide the entire menu system (see OSD key, above) and/or direct slidebars
activated by their own key (such as Contrast, Brightness, etc.). Control by using the proper
keypress or numerical sequence of key presses.

(Enter).

to adjust immediately.
Once selected, change the setting as desired (see below) and press 
the current function menu.
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to save and return to
Wolf Cinema Owner's Manual
Section 3 ► Operation
Slidebars in menus — The current value for a given parameter, such as
size or vertical stretch, appears to the left of its slidebar icon (adjustment
window). This number often expresses a percentage, or it may have units associated with it
 to
(such as pixels, degrees Kelvin, etc.), depending on the specific option. Press 
gradually adjust the setting up or down — both the number and the length of the bar change
accordingly. Hold for continuous adjustment. Or press 
to activate a slidebar text box for
specific number entry via the keypad, then press  to save (or press Exit to cancel).
“Direct” slidebars — For quick access, you can access Gamma, Brightness, and Contrast
slide bars without traveling the menu system. For example, simply press Cont to immediately
display the same contrast slide bar accessed with the Contrast option in the Picture Adjustments
menu.
Use the arrow keys to adjust a direct slide bar, or press  and enter a specific number from
the keypad, then 
or  or  to save (or Exit to cancel). 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  (Enter)
Enter the menu option number
Use the  or  keys to navigate up and down within the list (the current choice is noted
with a small ►). Press  to choose an option from the list, if desired. (See figure 3.3).
Front IR Protocol
Back IR Protocol
Wired Keypad Protocol
Figure 3.3 Example of Pull-Down List
If you prefer to quickly scroll through a list without first pulling it down, highlight the option and
use  or  . Press  when the desired choice appears.
NOTES: 1) Press  or  to jump between pages in an extra long pull-down list. 2) Press
Exit
while in a pull-down list to cancel any change.
Wolf Cinema Owner's Manual
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Section 3 ► Operation
Editing Text >
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
move the cursor backwards as desired.

to move the cursor forward or
EDIT A CHARACTER: To edit a highlighted character,
use  and  to scroll through the alphabet,
numbers, spaces and punctuation available. When
the character you need appears, press  to select
it — the cursor will move to the next character of
current text, if present. Note that you can also enter a
number directly from the keypad — it will be accepted
and the cursor will move on.

to
2.35
Figure 3.3 Entering Text
ADD OR DELETE A CHARACTER OR SPACE: To insert a space at the cursor location, press
Func
 . To delete a highlighted character (or space), press Func
 .
2.35
2.35
2.3 5
2.3
PRESS 
(ENTER) WHEN FINISHED: To accept edits and leave the edit window, press
 (Enter).
NOTE: Press
Editing Numerical Values >
Exit
at any time to cancel changes and return to the previously-defined text.
Enter numbers directly from the keypad in order to specify numbers representing projectors,
channels (source setups) or slots. As each digit is entered, it is displayed and the cursor moves
on. Note that channel numbers are defined with 2 digits—for example, if you enter only a single
digit (such as “7”) for a channel number, the channel will automatically be defined as “07”. Enter
“07” to utilize this channel.
NOTES: 1) Once you enter the first digit, this digit replaces all old digits. 2) If you press any nonnumbered 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.
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Section 3 ► Operation
3.4 Using Inputs and
Channels
NOTE: See Section 2, Installation and Setup, for details on connecting sources to the
projector.
The projector stores and automatically recalls up to 50 different channels (source setups) for a
variety of inputs. This memory feature allows you to define and conveniently use a wide variety
of customized setups rather than having to repeatedly re-configure the projector for different
presentations. Depending on what you have defined, each physical source connection (i.e., input
at the projector) can have several different channels associated with it.
Do I Select an Input >
or a Channel?
INPUT — An input is a source physically connected at the projector.
signal according to which input slot it is connected.
Input
describes the source
SWITCHING INPUTS — Press the appropriate “direct” key — Input 1 , Input 2 , Input 3 , Input 4 , Input 5
or Input 6 to quickly display from one of the six inputs connected. The image will be displayed
according to the following:
If it is the first time you have used the source/input (or if you used the input but did not
define a channel by adjusting anything), the projector will recognize the new input signal
based on its frequencies and polarities, and will automatically display an image according
to default settings for such a signal. In general, the image from the new source will be as
large as possible without losing its aspect ratio. This and other default Picture Adjustments
depend on the incoming source.
If you used the source once before and changed a display parameter such as contrast,
V-Position, etc., then a channel was automatically created and still exists in projector memory
(see below). Using one of the Input keys will automatically recall this channel — and all its
setup parameters — and update the display accordingly.
If more than one channel exists for the input, the image will be displayed according to the
setup parameters for the first channel with matching characteristics.
NOTE: Inputs 7 and 8 require the Dual SD/HD-SDI module in either of the projector’s option
slots. For their selection, see also 3.2 Using the Remote or Built-In Keypad.
CHANNEL — A channel is a collection of measurements, locations and settings that tailor the
display of a signal to your specific needs. Since source types and applications can vary greatly,
you will likely want to adjust and define a wide variety of parameters, such as brightness, contrast,
aspect ratio, etc., in order to customize and optimize the display from or for a particular source.
For example, the display settings you choose for a VCR source may be very different from those
you choose for a high resolution computer source, or one signal may simply vary from another
signal used previously through the same input location. Once you have adjusted a display
parameter, such as pixel tracking or contrast, all current settings are collectively stored in the
9
projector’s memory as a unique 2-digit channel, such as 0
. You can have numerous
distinct channels available for the same input, any of which can be selected by using the Channel
key on the keypad followed by the 2-digit channel number.
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Shown at right is a sample channel list as would
be available from Channel . This is typically called the
channel list.
NOTE: The Channel key may display a channel list or
not, depending on what you have defined for “Display
Channel List” (see Menu Preferences later in this
section).
In order to access channels by using Channel on the
keypad, you must first create the channels. See
below.
Creating a New Channel >
– AUTOMATIC – Channel List
To use a new source with the projector, a new channel must be added to projector memory so
that the projector will respond properly to an input signal from that source in the future. A new
channel can be created automatically, as described here, or it can be copied from an existing
channel and then edited as necessary (see Copying or Deleting Channels later in this section).
When you select a direct input ( Input 1 , Input 2 , Input 3 , Input 4 , Input 5 or Input 6 ), any existing channels
in the projector are searched for matching input and signal parameters – this only occurs if
Auto Source is enabled on these channels. If no match to the incoming input signal is found
in currently-defined channels, a new channel is temporarily created based on factory-defined
defaults for this type of signal. The channel number assigned is the lowest available number
from 01-50.
NOTES: 1) An automatic channel will be discarded unless one or more of its parameters are
changed and will not appear in the channel list (see below). 2) If two channels have the same
distinguishing source characteristics except for the reversal of sync connectors (i.e., H-sync and
V-sync, are switched), they are still defined as distinct channels. 3) You cannot define a new
channel without an incoming signal.
If the incoming signal does match an existing channel, the image will be set up and displayed as
usual according to the parameters currently defined for that channel.
USING A CHANNEL: You can normally select a channel at any time by pressing Channel (see
below). If you want to prevent a channel from appearing in this list, you must edit the channel as
described in Channel Edit later in this section. Such a channel can still be selected by entering
its number as shown at right.
NOTES: 1) The current channel is highlighted upon entering the channel list, or, if this channel is
not displayed here, the first channel in the list is highlighted. 2) Channels created automatically
do not appear in the channel list unless a parameter for the channel has been changed.
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Section 3 ► Operation
What Channels >
Are Defined So Far?
All available channels are listed
in the Channel Setup menu,
which describes how each
channel can be accessed
and which serves as the
gateway for editing, copying
and deleting channels.
Figure 3.9. All Channels Appear in the Channel Setup Menu
Press Menu from the presentation level to display the Main menu. To display the Channel Setup
menu, press 3 , or move the highlight to the Channel Setup option and press  . The
Channel Setup menu will appear (see sample above), with the active channel highlighted.
WHAT APPEARS IN CHANNEL SETUP MENU? This menu lists all channels defined so far and
indicates where they are connected on the input panel. The far left column lists channel numbers
currently defined. The values in the far right columns indicate horizontal and vertical frequencies
— if someone has defined a name for this channel, it appears here
instead. Remaining columns contain details pertaining to each
channel setup, such as its switcher number (always 0 = projector),
slot location, a variety of icons indicating access to each channel,
and an abbreviated description of each signal type. See Editing a
Channel Setup for details.
NOTE: If you have more than a handful of channels, use
channels not visible in the initial display of channels.

and

to see the remaining
SIGNAL TYPE — Either channel list, whether the Channel key list or the Channel Setup menu,
identifies signal types in a shortened form as defined below. These descriptors indicate what
signal information the projector uses to identify a match for a given channel, and are preceded
by either an “i” (interlaced signals) or “p” (progressive signal“). See Table 3.2.
Table 3.2. Abbreviations for Signal Type
Abbrev.
Signal Type
4WH
Composite (4 wire) on HC input
4WV
Composite (4 wire) on V input
SG
Sync-on-green
5W
Separate H,V
5WR
Separate H,V swapped
SVid
S-Vid
CVid
Composite Video
Dig
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:
Wolf Cinema Owner's Manual
•
Press Func if you want to copy the selected channel or delete this or other channels. See
Copying or Deleting a Channel on the next page.
•
Press  if you want to edit channel setups (i.e., non-image related parameters) for the
selected channel. See Editing a Channel Setup, on the following pages.
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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:
Copying or Deleting >
Channels
•
Press Func if you want to copy the selected channel or delete this or other channels. See
Copying or Deleting a Channel below.
•
Press  if you want to edit channel setups (i.e., non-image related parameters) for the
selected channel. See Editing a Channel Setup, below.
TO COPY A CHANNEL, highlight the desired channel in the Channel Setup menu, then press
Func
to go to the Channel Copy/Delete submenu. Select “Copy” and press 
— a new
channel will be created. It is identical to original, which still remains, but it is identified with the
next available number from 01-50. If you change your mind and do not want to copy the current
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 aspect ratios in the future.
Figure 3.10. Copying A Channel
TO DELETE A CHANNEL, highlight the desired channel in the Channel Setup menu, then
press Func to activate the Channel Copy/Delete submenu. Select “Delete” and press  — a
confirmation window will appear to make sure that you really want to delete this channel. See
figure 3.5
Figure 3.5. Deleting a Channel
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TO DELETE MULTIPLE CHANNELS, highlight any channel in the Channel Setup menu and
press Func to go to the Channel Copy/Delete submenu. Select “Delete Unlocked Only” and
press  to delete all unlocked channels. Or select “Delete All Channels” to delete all channels,
even those that are locked. In either case, the current channel will remain but will be redefined
from projector defaults.
NOTE: For any deletion, a confirmation box appears to make sure that you really want to delete.
Select “Cancel” (default) if you don’t want to delete after all.
Editing a Channel Setup >
The basic setups that describe how and where a channel can be accessed are listed in the
Channel Setup menu. These channel setups can be edited at any time in the Channel Edit
submenu.
CHANNEL EDIT — STEP 1
Press Menu from the presentation level to display the main menu. To display the Channel Setup
menu, press 3 , or move the highlight to the Channel Setup option and press  . The
Channel Setup menu will appear.
CHANNEL EDIT — STEP 2
To edit parameters shown in the Channel Setup menu, select the relevant channel and press
 . The Channel Edit menu will appear similar to the sample shown below.
Figure 3.12. Channel Edit Menu (SAMPLE)
CHANNEL EDIT — STEP 3
If desired, review and/or edit the following channel setups in the Channel Edit menu:
•
CHANNEL NAME: An alpha-numeric label can be defined and/or changed here. Channel
names can be up to 12 characters in length.
•
CHANNEL NUMBER: A 2-digit channel number can be changed here.
NOTES: 1) If you enter a channel number that already exists, a dialog message appears
indicating that this number is already in use – assign a different channel number. 2) You can
define up to 50 channels.
•
INPUT: 1-8, corresponding to where on the projector’s input panel the source is
connected.
•
IN MENU: If checked (default, except for automatically defined channels with unchanged
parameters), this defined channel will then appear in the list available when Channel key is
pressed. If unchecked, the channel must be accessed via Channel on the keypad or via the
Auto Source function.
NOTE: Onscreen display of the channel list is an option that must be set in the Menu
Preferences menu.
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3.5 Adjusting the Image
•
AUTO SOURCE: If checked, (default), the projector can automatically locate this channel
when an incoming input signal matches. If not checked, the projector can locate the selected
channel only when it is directly selected via Channel on the keypad — and a change in input
signal will not result in a channel change.
•
LOCKED: If checked, all of the Picture Adjustments for this channel are disabled. If
unchecked (default), all available Picture Adjustments can be adjusted as desired. You
cannot use Auto Setup with a locked channel.
•
PREVIOUS CHANNEL: Select this option to see or change Channel Edit settings for the
previous channel in the Channel Setup list.
•
NEXT CHANNEL: Select this option to see or change Channel Edit settings for the next
channel in the Channel Setup list.
The most commonly used options for image adjustments are accessed through two menus:
1
2
Geometry and Position ( Menu
) and Picture Adjustments ( 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 slide bars, checkboxes and pulldown 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
2
3
system. For example, press Menu
to quickly access the “Gamma” option in the
Picture Adjustments 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 (available for certain
display parameters only). For example, press Contrast to access the “contrast” slide bar immediately.
Press Exit to return to your presentation.
NOTES: 1) To hide these “direct” slide bars, disable the “Display Slide bars” checkbox in the
Menu Preferences menu. 2) To hide the entire menu system from view, turn off the on-screen
 .
display by pressing OSD
Before You Begin >
Use Auto Setup (
Auto )
For a good and efficient first step in perfecting the image, press Auto . This initiates an automated
process in which the projector quickly optimizes critical display parameters such as size, position,
pixel tracking, etc., based on the type of incoming source data detected. An Auto Setup can save
considerable setup time, and you can still modify the adjustments as desired using menu options
described below.
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Section 3 ► Operation
Geometry and Position >
Menu
In the Geometry and Position
menu, you can increase or
decrease the size of your
image, change its proportion
(aspect ratio), move the image
to a specific area of the screen,
and refine other related
parameters. Use Geometry
and Position controls to match
the image precisely to the
screen used at the site.
Geometry and Position
1.
Resize Presets No Resizing
2.
Size 1000
3.
Vertical Stretch 1000
4.
Pixel Track 858
5.
Pixel Phase 0
6.
H-Position 360
7.
V-Position 262
8.
9.
0. Advanced Size and Position
Refer to “Using Slidebars and
Other Controls” (earlier in this
section) if you need help using any of the options and controls. Changes made in the Geometry
and Position menu are applied immediately and are saved when you exit the menu (press Exit
or Menu ).
Resize Presets
NOTE: The same resize presets are available to all HD and HD2 widescreen models. Please
note however, the graphics used to describe each preset in this section are of the SXGA+ models
only.
Select a Resize Presets option to quickly display an image in its native resolution or to automatically
resize an image to closely fill the projector’s native resolution or to optimize the width or height
of your display. Size, Position and Blanking parameters will automatically adjust accordingly or,
if Blanking is set first, which defines an Active Input Area; Resize Preset scaling will occur in this
region of interest only. Resizing options are explained in detail below.
1.
2.
3.
4.
5.
6.
Default
No Resizing
Full Size
Full Width
Full Height
Letter Box
WHAT IS THE RESIZING DEFAULT? By default when displaying a new source, your image will
utilize as much of the projector’s display area as possible for the type of incoming source data,
but with minimal or no changes to aspect ratio. See Select “Default” on the following page.
WHEN “CUSTOM” APPEARS: The “Custom” re-size descriptor automatically appears in the
Geometry and Position menu when any of the values for Size, Vertical Stretch, H-Position,
V-Position or Blanking do not correspond to those for a preset. This option is not offered in the
Resize Presets pull-down list.
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Section 3 ► Operation
•
Select “DEFAULT” for most sources (factory default). The image will be centered and
displayed as large as possible depending on the type of source.
•
Select “NO RESIZING” to display the image in its native resolution, which may or may
not match the projector’s 1400 x 1050 resolution. For example, for a source with a native
resolution of 800 x 600, “No Resizing” will use the central 800 x 600 pixels and have a black
border—the black border areas are unused areas. See below.
•
Select “FULL SIZE” to use all pixels (1400 x 1050) for displaying the image, regardless of
source or original aspect ratio. Incoming source material having a different aspect ratio than
the projector will be stretched for display.
•
Select “FULL WIDTH” to fill the projector’s display from left-to-right without changing the
original aspect ratio of the image. Depending on the source, data at the top and bottom may
be discarded (cropped), or the display may have black borders at the top and bottom (called
“letterbox”).
•
Select “FULL HEIGHT” to fill the display from top-to-bottom. Depending on the source, this
may create borders.• •
Select “ALETTERBOX” to display a letterbox image in its native 16:9 aspect ratio. The
image will fill the screen from side-to-side and be centered.
Size
“Size” controls both the image width and height in tandem, maintaining the current aspect ratio
(proportion) of the displayed signal data.
Vertical Stretch
“Vertical Stretch” adjusts the height of the image while keeping the width constant. Use “Vertical
Stretch” to change the aspect ratio of the display.
Pixel Track
Steady flickering or several soft vertical stripes or bands across the entire image indicates poor
pixel tracking. Proper pixel tracking helps ensure that the image quality is consistent across
the screen, that aspect ratio is maintained, and that pixel phase can be optimized (described
below). Tracking determines the frequency of the pixel sampling clock, indicated by the number
of incoming pixels per line, so that all pixels generated by a particular source are sampled.
NOTE: By default, the projector samples at the correct frequency for most sources.
For best results, use a good test pattern such as a smooth gray consisting of a clear pattern
of black and white pixels, or a similar “half on, half off” graphic image, such as the Windows
shutdown screen. Adjust the slidebar until the vertical stripes broaden to the point where one
large stripe fills the image. If the image still exhibits some shimmer or noise, adjust Pixel Phase
(next page).
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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 highfrequency noise from the signal. See Picture Adjustments.
H-Position
This option moves the image right or left within the area of available pixels.
NOTE: The value shown represents where the approximate center of the image lies in relation
to the total number of pixels available horizontally. This varies widely according to the signal —
watch the image while adjusting.
V-Position
This option moves the image up or down within the area of available pixels.
NOTE: The value shown represents where the approximate center of the image lies in relation to
the total number of pixels available vertically. This varies widely according to the signal — watch
the image while adjusting.
Advanced Size and Position — SUBMENU
This submenu consists of the following options:
ACTIVE INPUT WINDOW: This read-only value indicates the current size (i.e., area) of your
displayed data or “region of interest” as defined by the blanking controls. By default, the projector
automatically determines what portion of its full resolution to use, and pixels in the surrounding
borders are turned off. You can also specify a specific active input window size by adjusting one
or more “Blank” settings. For example, if you have blanked (cropped) 100 pixels from both the
left and right edges of an incoming source of 1400 x 1050, the remaining active input window
will be reduced to 1200 x 1050. When using SD or HD or a decoded video source at INPUT 3 or
INPUT 4, the default blanking of “0” defines an active input window of 720 x 483.
Advanc ed Size & P os ition
Active Input Window
Top Blank
1.
Bottom Blank
2.
Left Blank
3.
Right Blank
4.
5. Plug & Display <EDID>
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720x483
0
0
0
0
Native R es olution 60Hz
Section 3 ► Operation
BLANKING (TOP, BOTTOM, LEFT, and RIGHT):
Crop the image as desired so that unwanted
edges are removed from the display (changed to
black—see right). Blanking defines the size of the
Active Input Window, or area of interest. Range
of adjustment depends on the source resolution
and other factors. After adjustment of blanking it
may be necessary to perform a source switch.
NOTE: Blanking a PIP image resembles zoom
(see Figure 3.6). For example, left Blanking
zooms the right side of the PIP image; Right
Blanking zooms the left side. There are no black
bars.
Blanking of a Primary Image
P IP Advanc ed S ize & P os ition
1.
2.
3.
4.
5.
Active Input Window
Top Blank
Bottom Blank
Left Blank
Right Blank
Plug & Display <EDID>
1600x1200
0
0
0
0
Native Resolution 60Hz
P IP Advanc ed S ize & P os ition
1.
2.
3.
4.
5.
Active Input Window
Top Blank
Bottom Blank
Left Blank
Right Blank
Plug & Display <EDID>
1600x1200
49
2
485
67
Native Resolution 60Hz
Figure 3.6 Blanking of a PIP Image
PLUG & DISPLAY (EDID): By default, a Plug & Play (EDID)
source outputs a signal according to the EDID information
provided by the projector. To override this information and
display in a different format (for example, if your Plug & Play
[EDID] device does not support the projector’s resolution and/
or frequency), select the desired Plug & Play (EDID) resolution
from the list.
EDID = Extended Display Identification Data standard.
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1.
2.
3.
4.
5.
6.
7.
8.
9.
0.
Native Resolution 60 Hz
1400x1050 60 Hz
720p (1280x720 60Hz)
DC2K (2048x720 60Hz)
1024x768x116Hz 3D
1280x1024x110Hz 3D
1400x1050x102Hz 3D
1080p 60Hz / 1080i 60Hz
1080p 50Hz / 1080i 50Hz
1080p 24Hz / 1080i 30Hz
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Section 3 ► Operation
Picture Adjustments Menu >
Use options in the Picture
Adjustments menu to alter your
image without affecting its size
or position. Changes made to
the Picture Adjustments menu
are applied immediately and are
saved when you exit the menu
(press Exit or Menu ). Options
not available for the projector
model or source are disabled and
appear dim (gray).
Picture Adjustments
Contrast
(SHORT CUT: Press
Contrast
and adjust the slide bar.)
“Contrast” increases or decreases the perceived difference between light and dark areas of your
image (0-100). For best results, keep it under 50. If contrast is set too high, the light parts of the
image lose detail and clarity. If set too low, the light areas will not be as bright as they could be
and the overall image will be dim. For best results, start with a low value and increase so that
whites remain bright but are not distorted or tinted and that light areas do not become white (i.e.,
are “crushed”).
NOTE: If the environment lighting changes, an adjustment of Gamma is recommended (see
below).
Brightness
(SHORT CUT: Press
Bright
and adjust the slide bar.)
“Brightness” increases or decreases the amount of black in the image (0-100). For best results,
keep close to 50. Start with a high value and decrease so that dark areas do not become black
(i.e., are “crushed”). Conversely, high brightness changes black to dark gray, causing washedout images.
Gamma
and adjust the slide bar.)
“Gamma” is a global setting that determines what gray shades
are displayed between minimum input (black) and maximum
input (white) for all signals. A good gamma setting helps to
optimize blacks and whites while ensuring smooth transitions
for the “in-between” values utilized in other colors. Thus,
unlike “Brightness” and “Contrast” controls, the overall tone of
your images can be lightened or darkened without changing
the extremes, and all images will be more vibrant while still
showing good detail in dark areas.
Gamma = 1
Signal Input Level
Output Intensity
Gamma
Output Intensity
(SHORT CUT: Press
Gamma = 3
Signal Input Level
Gamma is used to fine-tune the gamma table currently in use, ranging from 1 – 3 (2.2 = default).
If excess ambient light washes out the image and it becomes difficult or impossible to see
details in dark areas, lower the gamma setting to compensate. This will improve contrast while
maintaining good details for blacks. Conversely, if the image is washed out and unnatural, with
excessive detail in black areas, increase the setting. In high ambient light conditions, lower
gamma may produce better results than higher gamma. Gamma of 2.6 (default) indicates the
gamma table has not been adjusted. For more information, refer to Advanced Image Settings
submenu, Gamma Table. Again, good gamma improves contrast while maintaining good details
for blacks.
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Section 3 ► Operation
Filter
The proper filter setting is automatically set for virtually all signals, and rarely
needs to be changed. It applies a low pass filter for noise reduction in the
incoming input signal, particularly for HDTV or SDTV. Applied in the analog
domain before sampling, this filtering removes high frequencies and thus
reduces pixel phase noise (note this also reduces signal bandwidth). Override only if standard
pixel tracking and phase adjustments do not adequately clear up a “noisy” video signal, or if a
graphics signal appears overly “soft”. Both instances indicate that “Filter” may be set to the wrong
option.
Detail
“Detail” adjusts the sharpness of a video image so that edges remain clearly defined. It can be
particularly useful if a significant “Noise Reduction” adjustment has caused the image to appear
too soft. Adjust until the display is as sharp as desired, keeping in mind that because “Detail”
adds some high frequencies back into the image, it can also re-introduce a certain degree of
noise.
Noise Reduction
“Noise Reduction” is similar to the “Filter” control, but operates in the post-sampling digital domain
with a more subtle effect. Higher settings are most useful for clearing up noisy RGB images such
as those from a PC. Adjust as desired, keeping in mind that reducing noise (which reduces high
frequencies) may also soften the image.
Color Space
“Color Space” determines how the color components of an analog input
signal are decoded for accurate color in the display. Selecting a color space
option is useful only for analog signals connected to INPUT 1, INPUT 2,
INPUT 5 or INPUT 6. Although color space for these analog signals is
automatically determined by the projector, in some circumstances you may wish to override this
and manually set a specific color space.
NOTE: For digital signals or for signals connected to INPUT 3 or INPUT 4 on the projector, the
color space function is entirely automatic and the pull-down list disabled.
The current color space appears in the Picture Adjustments menu. Press
different option:
•
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).

to select a
NOTE: When certain RGB signals are first connected, the projector may not initially recognize
them as RGB and will incorrectly decode their color information as YPbPr (video). These signals
can include:
•
RGB signals in NTSC, PAL, SECAM frequency ranges
•
Scan-doubled sync-on-green
•
Scan-quadrupled sync-on-green
For these signals, change the Color Space to RGB, and then define a new channel for future
use.
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Section 3 ► Operation
Video Options — SUBMENU
This submenu is used with video sources
only (INPUTS 3 or 4).
Video Options
1.
Auto Color Level
2.
Video Standard
3.
Input Video Black
4.
Color
5.
Tint
6. Chroma Luma Delay
Enhanced 0 IRE
Auto Color Level: Auto Color Level
affects decoded video images only. Enter
a checkmark (default) in most instances —
this activates the Auto Color Level circuit to
ensure properly bright images. Delete the
checkmark if a decoded video image exhibits strange color artifacts such as stripes in highly
saturated colors, indicating an incompatibility between this source and the Auto Color Level.
VIDEO STANDARD: For all but the more unusual video standards available
in the world, the projector automatically detects the incoming horizontal and
vertical frequencies and sets the projector’s processing of this signal to the
corresponding standard. The current video standard name appears in the Video
Options submenu, and includes an “A” if it has been auto-detected. Press 
to view or select a different video standard from those available to the projector—
any that are disabled have frequency characteristics that differ from those of the
incoming signal. Selecting a specific standard forces the projector to process the
signal according to this standard.
NOTE: Best results are obtained with defined channels. Otherwise, switching from one video
source to another can sometimes cause slight disturbances in the display, indicating that the Auto
function is struggling. Recover by briefly selecting a different video standard, then going back.
Table 3.3. Regions and Video Standards: Summary
Standard
Where Used (SUBJECT-TO-CHANGE)
NTSC
N. America and Japan
NTSC 4.43
A tape-only standard for partially-translated hybrid signals
PAL
Most of Europe, China, Australia, some of S. America, some of Africa
PAL-M
Brazil
PAL-NC
Argentina, Chile, other Latin American countries
PAL 60
SECAM
France, Eastern Europe, most of Africa
NOTE: Generally, use “Auto” for all instances EXCEPT: 1) a poor quality input signal or 2) a
black-and-white video signal. In order to detect and display such signals, select the relevant
standard from the list.
INPUT VIDEO BLACK: This control
1. Enhanced 0 IRE
compensates for incoming elevated
2. Video 7.5 IRE
black levels present in certain video
signals, and ensures that blacks in the
display are neither crushed (i.e., where dark grays appear black) nor excessively elevated (i.e.,
where blacks appear dark gray). By default, the projector automatically determines the best
setting according to the type of incoming video signal:
•
Enhanced 0 IRE – Used for DVD output with “enhanced black”, SECAM, most PAL
standards, and Japanese NTSC.
•
Video 7.5 IRE – Used for most NTSC video signals.
For some types of video, you can override the setting. The control is disabled for other types
of video (and all graphics sources). Generally, if black appears crushed when brightness = 50,
choose “Enhanced 0 IRE”. If black appears excessively elevated, use “Video 7.5 IRE”.
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Section 3 ► Operation
COLOR: This slidebar adjusts the Color Temp Adjust level, i.e. the amount of color in a video
image. Lower settings produce less saturated colors — for example a setting of “0” produces a
black and white image. If the color level is too high, colors will be overpowering and unrealistic.
TINT: This slidebar adjusts the red/green color hue for true color reproduction of video signals
connected to INPUT 3 or 4 of the projector. For best results, adjust tint while displaying an
external color bars test pattern — otherwise, it is recommended that tint remain at its default
setting.
Chroma Luma Delay: This control affects any incoming composite or S-video signal, delaying
the luma signal (intensity) in relation to the chroma (color). In the image, increasing the luma
delay will move luma (seen as a shadow where colors overlap) to the right slightly, with colors
remaining in place. Decreasing this delay will move the shadow slightly to the left. If necessary
for your current source, adjust so that no shadows occur with adjacent colors.
Input Levels — SUBMENU
NOTES: 1) Because the projector automatically optimizes input levels for all but the most unusual
of sources, it is recommended
Input Levels
that only experienced users use
1.
Auto
Input
Level
the Input Levels submenu. 2)
2. Red (Pr) Black Level
Before beginning, check that
3. Red (Pr) White Level
overall contrast and brightness
4. Green (Y) Black Level
settings are near 50 and that
color temperature is properly
5. Green (Y) White Level
set up on an internal grayscale
6. Blue (Pb) Black Level
test pattern. 3) There must be at
7. Blue (Pb) White Level
least 2 consecutive white pixels
8.
Auto Color Enable
present in the image for proper
9.
Clamp Location
“Auto Input Level” function.
0.
Peak Detector
Leave this control off after use.
Color Enable
Good RGB or input levels — that is, the drives and black levels for each of the three colors,
red, green and blue — ensure that images from analog sources other than decoded video
have maximum contrast without crushing black or white. By default (and in an “Auto Setup”),
the projector automatically determines the best input levels by monitoring image content and
adjusting the controls appropriately — further adjustment is typically not required to obtain proper
blacks or whites.
NOTE: This automatic adjustment requires at least 6-12 consecutive white pixels in the image.
Without these pixels, input levels may produce skewed colors, particularly in nonvideo images.
However, for a very unusual source exhibiting one or more overly high blacklevels (typically
caused by a noisy source causing blacklevel spikes), an experienced user may prefer to use
the Input Levels menu (shown above). These adjustments, which together serve as a calibration
process compensating for differences in sources and cabling, enable an experienced user to
perfect the source image input levels and eliminate the “overshoot” and “undershoot”. Note that
Input Levels are of limited use with digital signals, but do offer some ability to tweak poorly
mastered source materials.
NOTES: 1) Input levels apply for the current source only, but for any color temperature used. 2)
Assuming that color temperature has been set up based on the internal test patterns, you can
then set up input levels for a given source so that it matches the color temperature of the internal
test patterns.
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AUTO INPUT LEVEL – Temporarily enter a checkmark only if you are an experienced user and
you have an unusual source that you feel needs further color temperature and/or input level
adjustment. This compensates for incoming out-of-range drives (white) and black levels (black)
that would cause “crushing” of light and dark colors in the image. After entering a checkmark,
wait for the six slide bar values to stabilize, then delete the checkmark and exit. The Auto Input
Level is automatically turned off upon exit from the Input levels Menu.
BLACK LEVELS AND DRIVES - To check your image and adjust these controls:
1. Make sure overall “Contrast” and “Brightness” settings are both set to near 50. NOTE: Not
required for “Auto” adjustment.
•
Contrast
= 50 (approx.)
•
Bright
= 50 (approx.)
2. Check the color temperature setup using an internal grayscale test pattern, making sure to
obtain a neutral grayscale.
NOTE: Not required for “Auto” adjustment.
3. Confirm that you are using an analog source not connected to INPUT 3 or INPUT 4, as
Input Levels are not applicable for digital sources or sources going through the decoder. A
grayscale is recommended.
4. If the blacks and/or whites appear OK, input levels do not need adjustment. If black levels
are too high (and/or whites are too low, which is rare), you likely have a noisy source that is
producing skewed input levels. Continue with Step 5.
5. T
emporarily enable “Auto” in the Input Levels submenu. Wait for all 6 values to stabilize.
Alternatively, do not use “Auto” — reduce blacklevels manually instead. Judge by eye and
change one or more of the six levels as necessary to obtain proper blacks and whites.
You may want to see only a certain color while adjusting — use the “Color Enable” option
(described below).
6. Delete the “Auto” checkmark and leave the Input Levels menu.
IMPORTANT: Do not use Input Levels to adjust color temperature. This will distort Contrast
and Brightness functions as well as color temperature.
AUTO COLOR ENABLE – When a checkmark is present, selecting a specific black level or drive
to adjust will automatically enable the corresponding color in the display. Delete the checkmark
to see all colors, or to enable a different specific color through the Color Enable Control.
CLAMP LOCATION – This option (formerly known as sync tip clamping)
1. Back Porch
can brighten the image produced from certain high-resolution high2. Front Porch
frequency graphic sources. The projector automatically selects the best
clamp location for almost all sources. Use the normal Back Porch location if the image is either
sufficiently bright or overly bright. Select Sync Tip if the image appears unusually dim, if there are
horizontal streaks across the image, or if there is significant color drift. This moves the clamping
pulse from the normal back porch location (which is likely too short) to the tip of the horizontal
sync pulse. Tri Level is typically needed for an HDTV source.
COLOR ENABLE – Select which color or colors you want to see in the display, useful while
working with color temperature white levels or input levels.
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Section 3 ► Operation
NOTES: 1) Input levels apply for the current source only, but for any color temperature used. 2)
Assuming that color temperature has been set up based on the internal test patterns, you can
then set up input levels for a given source so that it matches the color temperature of the internal
test patterns.
PEAK DETECTOR – The Peak Detector is a tool to assist with defining individual input levels,
enabling you to accurately set the Input Levels for any particular source with the appropriate
image. Enabling the Peak Detector activates a special operating mode for detecting only pixels
that are considered black or white — all other levels are displayed as a mid-level gray. When used
with a smooth grayscale pattern in which black and white are known to be at opposite edges of
the image, you can watch these isolated areas while adjusting individual black levels and white
levels until both black and white edges are just visible and distinguished from neighboring pixels.
Images from this source will then display correct blacks and whites without crushing.
See Figure 3.7. Adjusting Input Levels Using the Peak Detector:
1. D
isplay a 16 level grayscale test pattern from the desired external source, and enter a
checkmark in the Peak Detector checkbox. NOTE: The “Peak Detector” will initially render
the grayscale as a uniform gray field before adjustment.
2. Display one primary color. NOTE: Selecting Auto Color Enable ensures the correct color is
displayed for each setting.
3. F
or the current color, adjust its corresponding “Black Level” slide bar just until a single
band of black appears at one edge of the screen. This band represents the first band of the
grayscale pattern, which should be 100% black. Do not adjust too far.
4. W
ith the same color still active, adjust its corresponding “White Level” slide bar just until a
single band of color appears at the opposite edge of the screen. This band represents the
last band of the grayscale pattern, which should be 100% white (or the current color, if a
certain color is enabled). Do not adjust too far.
5. Go back and check the black band — adjust the black level slide bar if necessary.
NOTE: Readjusting the black levels affects the gain at this point; only readjust when
absolutely necessary.
6. Repeat Steps 3-5 with the other two remaining primary colors. When each primary color
shows one optimized black band and white (or colored) band, the input levels for this source
are correctly set. Upon exiting the Input Levels menu, the Peak Detector checkbox will
clear.
Input Levels
1.
Auto Input Level
2. Red (Pr) Black Level
3. Red (Pr) White Level
4. Green (Y) Black Level
5. Green (Y) White Level
6. Blue (Pb) Black Level
7. Blue (Pb) White Level
8.
Auto Color Enable
9.
Clamp Location
0.
Peak Detector
Color Enable
Figure 3.7. Adjusting Input Levels Using the Peak Detector (RED EXAMPLE SHOWN)
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Section 3 ► Operation
Advanced Image Settings
— SUBMENU Use the Advanced
Image Settings submenu to make the
adjustments necessary for lesser-used
but more specialized applications on
your projector.
Advanc ed Image S ettings
Gamma Table
1.
2. Select Color Adjustment
Color Temperature
3.
Iris
4.
5.
Simulation 3D
6.
Motion Filter
7.
8. 2/3 Pulldown Threshold
Detail Threshold
9.
GAMMA TABLE: This control applies a
default video, graphics or simple gamma
table or “curve” to your images, controlling
the intensity of mid-level colors and
producing maximum contrast, brightness
and color performance. As shown at
right, the graphics curve is a modified power curve that will show
more detail in darker areas of the projected content while the
video curve has a linear segment near black to compensate for
increased black levels typical of video signals. A simple gamma
curve is a true power curve that does not alter the contrast or the
intensity of mid-level colors.
Keep in mind that any Gamma Table choice sets the related
Gamma value (shown in the Picture Adjustments menu) to a 2.6
default, where it can be fine-tuned as desired. Different values
(1-3) here indicate that the original gamma table has been
adjusted with either the Gamma slide bar or direct key.
Graphics
Max. Drives
7600
3
Auto
0
0
Gamma Table
1.
2.
3.
4.
5.
6.
7.
8.
9.
Graphics
Video
Simple
B&W Film
Film 1
Film 2
Fluorescent
Incandescent
Sunlight
SELECT COLOR ADJUSTMENT: In “Select Color Adjustment”,
choose an overall color performance for all images. The “Max
Drives” factory default simply drives all 3 colors at their maximum
level so that they are fully on and cannot be changed. The two
other pre-defined color adjustment choices — SD Video and
HD Video — apply a color gamut optimized for video sources
(standard or high-definition). Alternatively, you can specify a
color temperature, which enables the nearby Color Temperature
slidebar and applies its current setting (default = 6500K). If none
of the pre-defined “Select Color Adjustment” options or color temperatures suit your
application, select one of four color gamuts previously defined by a user (User 1, 2, 3, 4).
A “User” option applies a customized color performance in which the user has precisely
set the hue and intensity of each color component in the Color Adjustment by X/Y or Color
Temp Adjust submenus, and is most often needed with multiple-projector applications. Select the
color adjustment producing the best color accuracy for your application and installation.
To configure a “User” color adjustment (gamut), use either the Color Adjustment by X/Y or Color
Temp Adjust submenu found in the Display Setup menu under Geometry and Color.
NOTES: 1) “Color Temperature” defaults to 6500K until changed. All four “User” options default
to SD Video unless the user has redefined them. 2) Factory-defined color primaries, which
ensure consistent color gamut from projector-to-projector, can be calibrated in the Service
menu only. If you suspect alteration, the factory settings can be recovered with selection of
“Reset to Factory Defaults?” in the Color Primary Settings submenu within the Service menu
(password-protected).
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COLOR TEMPERATURE — Adjust to apply a specific and accurate color temperature to all
displays. Color temperatures are expressed in degrees Kelvin (3200-9300K), and utilize different
combinations of the projector’s original native color primaries to produce a “coloration” or cast
(reddish or bluish) in images—the lower the temperature, the more reddish the cast; the higher
the temperature, the more bluish the cast. Note that the slide bar is enabled only if you have
a source connected and have selected “Color Temperature” in the adjacent “Select Color
Adjustment” pull-down list in the Advanced Image Settings menu.
IRIS - The IRIS inside the projector controls the diameter of the light beam passing through the
system. With a fully open aperture (slide bar default of “0”), the maximum amount of light passes
through for maximum brightness in your images. Increase the slide bar setting to reduce the
aperture diameter and maximize contrast ratio instead. Performance of aperture depends on the
lens in use.
NOTE: IRIS also appears in the lamp menu.
Simulation 3D — SUBMENU OF ADVANCED IMAGE SETTINGS
Use the options in the Simulation 3D menu to make the timing adjustments necessary for realistic
simulation and 3D images.
FRAME DELAY MONITOR — This slide
bar 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.
S imulation 3D
1.
2.
3.
4.
5.
6.
Frame Delay Monitor
Frame Delay
Frame Lock Enable
1047
1000
Locked
FRAME DELAY — Set the number of lines delayed between the input signal and its appearance
on screen, keeping in mind that projector processing always adds one frame of delay to the
frame delay setting. For applications such as simulation, where the feeling of “real time” image
response is a priority, a minimum setting is usually preferable. For projectors capable of 3D
(stereographic) applications where alternating left-right frames must be synchronized with the
corresponding L/R shutters in 3D glasses, a total frame delay setting of two (or multiple of two)
may be more useful. If set too high or low, frame locking will not be possible — most sources
require approximately 50 lines of delay to ensure frame locking.
FRAME LOCK ENABLE — This option allows the projector to control the
output frame timing based on the input signal. The locked option forces (if
possible) the output image to be phase locked to the input frames. Rate
Matched means that the output runs at close to the input frequency but isn’t
locked to it so the output will drift in phase relative to the output. Free Run
forces the output to run at a 60Hz frame rate.
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1. Locked
2. Rate Matched
3. Free Run
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Section 3 ► Operation
Advanced Image Settings - SUBMENU (continued)
MOTION FILTER — This control is most useful for smoothing out moving
images from interlaced sources. In most cases the proper Motion Filter setting
is automatically determined according to the type of incoming source signal.
However, if your source is jittery and/or tearing you may wish to “force” a setting
to ensure stable processing for this source—if desired, override the default
“Auto” setting by selecting the appropriate motion filter:
1. AUTO: The projector will automatically use the correct motion filter according to the incoming
signal.
2. STILL: For static images with no motion, such as graphics from a CD.
3. MOTION: For video images that did not originate from film, or for moving computergenerated images.
4. F
ILM: For video images that originated from film. This will optimize image quality and
stability.
2/3 PULLDOWN THRESHOLD — This setting determines how sensitively the projector can
detect if an incoming video signal originated from film or not.
DETAIL THRESHOLD — Use “Detail Threshold” to define at what frequency level the “Detail”
control will begin to magnify high frequencies, which adds details back into the image. Raise
the threshold to ignore more of these high frequencies, and lower the threshold to magnify
more of these frequencies. A setting of “0”, for example, means no noise will be ignored and
all will be magnified. An ideal detail threshold is one in which high frequencies that are causing
objectionable noise are not magnified when using “Detail”, but frequencies which can help
sharpen an overly-soft image are magnified.
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Section 3 ► Operation
3.6 Adjusting System
Parameters and
Advanced Controls
Use the Display Setup menu to
define general operating parameters
and communications with other
projectors and equipment, and to
access other advanced processing
and image adjustments affecting
overall performance. In addition,
the Display Setup menu provides
access to diagnostics, calibration
tools and the Service submenu
(password-protected).
Display Setup
Language
English
Image Orientation
Front
1.
2.
3.
4.
Auto Power Up
5.
Set Date and Time
6.
Menu Preferences
7.
Communications
8.
Geometry and Color
9. Diagnostics and Calibration
0.
Service
Option Card 1 : Dual HDSDI Input
Keep in mind that settings in the Display Setup menu (and its submenus) are typically “global”
settings applied regardless of the type of source being used. This characteristic is identified
with the (globe) icon alongside the option. The first six options in the Display Setup menu are
explained below:
NOTE: The Display Setup menu is recommended for experienced users/technicians only.
System Configuration >
— GENERAL —
The first six options in the Display Setup menu are explained below:
Language
Choose from available languages to use in the projector’s menus. The change will take effect
immediately.
Image Orientation
Set the orientation of the image according to the orientation of your projector. If the setting is
incorrect, projected images will be reversed and/or upside down.
Auto Power-up
Enter a checkmark to enable the projector to automatically power up after losing power due to a
power failure or due to unplugging the projector during operation. Wolf Cinema recommends that
this be left unchecked, as a power loss in an unattended house will result in the projector turning
on without anyone realizing it is on. Note that unsaved display adjustments may be lost.
Set Date & Time
Enter/read the current year-month-day and hour-minute-second. Changes here reset the
projector’s real-time clock.
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Section 3 ► Operation
Menu Preferences — SUBMENU
Use the options in this submenu to adjust the appearance, content and/or location of on-screen
menus and messages.
Display Bar Scale
8.
Splash Screen Setup
Always On
LARGE MENU FONT — Enter a checkmark to enlarge menus and their text. You may have to
adjust “Menu Location” to accommodate the increased menu area.
MENU LOCATION — Use the pull-down list to choose a pre-defined default or customized
location for the display of all on-screen menus.
To create a custom menu location quickly, choose a preset that is closest to the desired location.
Then adjust “Horizontal Shift” and “Vertical Shift” slidebars to move the menu to the desired
location. Avoid locations too close to a corner or edge to prevent cropping of larger menus.
HORIZONTAL SHIFT AND VERTICAL SHIFT — Shift your menus as desired, creating a
customized menu location.
DISPLAY CHANNEL LIST — Enter a checkmark if you want to see a scrollable channel list
whenever you press Channel from your presentation. Channels marked with a list icon in the
Channel Setup menu will appear here. The “Display Channel List” option also enables on-screen
feedback when using the Channel key. If you prefer to hide the channel list and input dialog box
while switching channels and sources during a presentation, clear the checkbox.
NOTE: The Channel List and input dialog box cannot be hidden during use of the menus.
DISPLAY SLIDEBARS — Enter a checkmark to superimpose a small slidebar over the current
image whenever an adjustable parameter is selected directly with a key such as Contrast 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 ERROR MESSAGES — Choose how you want to be notified of errors detected in
either the incoming signal or projector. Select “Screen” or “All” (default) to see brief on-screen
messages. This is particularly recommended during setup or testing of the projector. Or select
“Serial Ports” to receive messages via RS232 or RS422 serial communication only. To hide error
message displays, such as during shows and presentations, select “Off” or “Serial Ports”.
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Section 3 ► Operation
System Configuration >
— COMMUNICATIONS —
Settings in the Communications submenu define and control how single or multiple projectors
are linked with each other and with a controlling device.
10. Wired Keypad Protocol
Any
Figure 3.14. Communications
Baud Rates
The baud rate setting determines the speed of communication to and from the projector on the
RS232 or RS422 links. The maximum rate for the RS232 is 115200; for RS422 it is 19200. Set
the baud rate to match that of your controlling device, such as your PC. If you are unsure about
what baud rate to choose, refer to the documentation for the controlling device. In an existing
network of projectors, if you discover that a projector has a different baud rate, use the pull-down
list and select the correct baud rate using the 
key — do not just scroll this control with
 or  keys. Serial communication is always eight data bits, no parity.
Projector
Enter a three-digit number (such as “001”) to assign or change a number to the projector currently
in use. If the current projector already has a number assigned, that number will appear here (for
example, “004” in the menu shown above). Numerical identity for projectors enables you to
communicate with a single projector within a multiple-projector application (see also Proj key in
3.2, Using the Keypads). If you make a mistake in assigning or changing the projector number,
press Exit to cancel.
NOTE: When multiple projectors are being used and you want to adjust the color and edge
blending settings for individual projectors to create one seamless image, you must assign
different numbers for each projector to allow switching back and forth between projectors while
adjustments are being made.
Network Routing
NOTE: Not applicable for stand-alone projectors or simple serial networks with only one type of
controller and linking.
SEPARATE: Select “Separate” (factory default) to keep RS232, RS422 and Ethernet messages
on their respective paths instead of being broadcast to the other types of ports. In Figure 3.8A,
RS422 controls only the projector to which it is connected. In Figure 3.8B, either RS232 or
RS422 will control the network.
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RS232 AND RS422 JOINED: Messages originating from an RS232 or RS422 controller will be
relayed to all RS232or RS422 ports. Any Ethernet communication, however, will not.
RS232 AND ETHERNET JOINED: Messages to and from the RS232 ports will also be relayed
to the Ethernet port, and vice versa. Any RS422 communications will be isolated.
ALL JOINED: All messages reach all ports, regardless of type.
Ethernet Settings - SUBMENU
NOTE: Recommended for network administrators only.
DHCP: Enable this checkbox if you want a DHCP server to automatically change the projector’s
default IP address (0.0.0.0) to one that is valid and unique for use on the current Ethernet
network. On networks without a DHCP server, or to simply override the automatic DHCP server
function, delete the checkmark and enter the new “IP Address” settings desired. Remember
that only a 0.0.0.0 address will trigger the DHCP addressing service, and only when the DHCP
checkbox is enabled.
IP ADDRESS: Enter a valid and unique IP address for use on the network to which the projector is
currently connected. This address will overwrite any previous IP address such as the projector’s
factory-defined default (0.0.0.0), or one that has been assigned by a DHCP server or other user.
It takes approximately 10 seconds for the projector to respond at its new address.
PORT: On some Ethernet networks, firewall restrictions may require that the port number of the
projector be changed from its default of 3002. If so, enter a new valid port number here. It is
highly recommended not to use a port # below 1000, as these ports are typically reserved for and
used by common IP applications.
SUBNET MASK AND DEFAULT GATEWAY: The Subnet Mask and Default Gateway are
automatically assigned when DHCP is enabled. If a static IP is being used, the IP must be
assigned first since the projector estimates the subnet mask after the IP is entered. The Default
Gateway is an optional router device used to send and receive data outside the subnet.
NETWORK NAME: Set the name for the projector, as it should appear on the local network.
The control is most useful when DHCP is enabled, since the IP address may change from one
session to another.
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Section 3 ► Operation
Broadcast Key
Enter a checkmark if you want keypad commands sent to one projector to be relayed to all
projectors in a serial network. Note that the key will temporarily “override” the effect of a broadcast
setting and allow you to control a specific projector when necessary. Disable the setting for all but
one (any) projector in a network.
Backlight
Toggle the built-in keypad lighting on/off.
Front IR / Back IR
As needed for your application, set to “any” so that the front and/or rear IR sensor locations on
the projector respond to the IR keypad. Set to “off” to disable.
To disable both IR sensors, you cannot use the IR remote keypad to select the second OFF
setting. This safeguard prevents accidentally disabling an IR keypad while you are using it.
Instead, use either the built-in keypad or a wired remote (optional) to set the remaining active
sensor to OFF. The projector will no longer respond to an IR remote keypad.
NOTE: Protocols B – G are used for rental staging applications.
System Configuration >
— GEOMETRY & COLOR —
In the Display Setup menu, select
the Geometry and Color submenu
1.
when you need to modify overall
color performance and/or image  2.
3.
geometry for all sources.
Test Pattern
Choose the desired internal test
pattern or select OFF to turn off a
test pattern. Alternatively, use the
Test
key for cycling through test
patterns.
4.
5.
6.
7.
8.
9.
Geometry and Color
Test Pattern
Keystone
White Field Uniformity
Edge Blending
Color Adjustments by X,Y
Color Temp Adjust
Black Edge Blending
Default Color Adjustment
Lens VariScope (LVS)
Grid
50.0
 Keys tone and Warping if Wolf Cinema warping module is present
(standard in Wolf Cinema models, optional in all others).
Keystone (Not recommended to use Keystone on Wolf Warp pictures)
Use to correct a keystoned image shape in which both sides of your image are inclined toward
the top or bottom edge. Keystone is typically caused by tilting the projector in relation to the
screen, so that the lens surface and screen are no longer parallel to each other.
Figure 3.16. Keystone Adjustment
NOTE: Wolf Cinema recommends that the keystone feature not be used unless absolutely
necessary, as it may cause some artifacting in the image.
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Section 3 ► Operation
White Field Uniformity — SUBMENU
Corrects for shadows caused by short throw or anamorphic lenses.
Edge Blending — SUBMENU
The Edge Blending submenu provides a range of controls for smoothing together the overlapping
bright edges of multiple adjacent projected images to create a single larger “seamless” image.
These controls, which primarily affect white levels, are typically used in conjunction with mechanical
lens blinders (optional), which are installed on the front of the projector and which primarily affect
black levels. There is a centerline (both horizontal and vertical) in the Edge Blending test pattern.
The intersection of these lines is the true center of the projector’s display area.
NOTES: 1) There is a centerline (both horizontal and vertical) in the Edge Blending test pattern.
The intersection of these lines is the true center of the projector’s display area. 2) See also 3.10,
Using Multiple Projectors.
Color Adjustments by X/Y, and Color Temp Adjust — SUBMENUS
NOTES: 1) For defining or changing a User 1, 2, 3, or 4 color performance or “gamut”. Sometimes
known as Comprehensive Color Adjustment™. 2) Factory-defined primary color levels, which
ensure a specific color performance from projector-to-projector, can be calibrated in the Service
menu only. If you suspect alteration of these defaults, the factory settings can be recovered with
selection of “Reset to Factory Defaults?” in the Color Primary Settings submenu accessed
via the Service menu (password-protected).
From the factory, the projector can utilize any
of the three pre-defined color performance
settings identified at right (default=Max Drives),
or colors can be driven on the basis of color
temperature. For most applications, one of these
gamuts will produce accurate and realistic colors
from a variety of sources. They can be applied
at any time in the Advanced Image Settings
menu (“Select Color Adjustment”), and are not
adjustable.
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Section 3 ► Operation
DEFINING “USER” COLOR GAMUTS: In some cases, you may find that none of the predefined “Select Color Adjustment” options exactly suit your needs. For example, you may require
a unique color gamut (range) for a single projector or application, or you may need to precisely
match colors across multiple adjacent displays. In such cases, use the Color Adjustments by X,Y
or Color Temp Adjust submenu to define the precise hue of each primary color component (red,
green, blue, and white) used to generate the millions of colors produced in displays. You can
create up to four custom color gamuts (User 1, 2, 3, or 4) with these adjustments.
Note that the two menus differ only in their user interface, so use whichever menu best suits your
needs and application. A color meter can help with adjustments.
•
Color Adjustments by X,Y — Enter known x/y coordinates from the chromaticity graph.
•
Color Temperature Adjustment — Adjust color slide bars and judge image color by eye or
meter.
A user-defined color “adjustment” can be applied by selecting it in the Advanced Image Settings
menu (“Select Color Adjustment”).
COLOR ADJUSTMENT BY X,Y: Use this submenu if you want to create, alter or copy a color
gamut (i.e., “color adjustment”). Controls in this menu define the precise hue of each primary
color component (red, green, blue, and white) used to generate the millions of colors produced in
displays. The x/y coordinates for each color define its location on the standard CIE chromaticity
graph (see Figure 3.10)—changing either or both of these numbers will change the hue of the
color, and relocate the “triangle” for possible colors. For example, changing the x/y coordinates
for red may move the color closer to orange or closer to violet, which will in turn affect all
displayed colors having a red component. Adjust the slide bars or enter new specific coordinates
as desired to define or change up to four “User” color gamuts needed for your environment and
applications. Apply at any time in the Advanced Image Settings menu.
Color Adjustments by X,Y
1. Select Color Adjustment
2.
Color Temperature
User2
6521
3.
4.
5.
6.
7.
8.
9.
0.
0.655
0.341
0.332
0.575
0.144
0.093
0.320
0.330
Red X
Red Y
Green X
Green Y
Blue X
Blue Y
White X
White Y
Auto Color Enable
Color Enable
Copy From
Red
Max Drives
Figure 3.19. Custom Color
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Section 3 ► Operation
Figure 3.10. Chromaticity Diagram
(without Yellow Notch Filter)
NOTE: Keep new x,y coordinates within the original color gamut triangle shown here.
PROCEDURE FOR X,Y ADJUSTMENTS: See 3.10, Using Multiple Projectors.
Color Temp Adjust: Use this submenu
if you do not have specific color
coordinates in mind and will simply
judge color performance by meter. Like
the Color Adjustment by X,Y submenu,
each color control actually defines
new x/y coordinates for that color and
changes its hue — it is just a different
interface.
Color Temp Adjust
Adjust the hue of each primary color
(red, green, blue, and white) by using
more or less of it in relation to the other
colors.
NOTE: A Color Temp Adjust adjustment defines the corresponding x/y coordinates shown in
the Color Adjustment by X,Y submenu. These x/y coordinates will remain stable for this User
gamut until they are changed again via either menu. Values displayed in the Color Temp Adjust
menu, however, will likely fluctuate as you use the projector, and will be different when you return
to this menu at some point in the future. These floating changes do not affect the x/y coordinates
or gamut.
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Section 3 ► Operation
Black Edge Blending — SUBMENU
Black Edge Blending is a feature that eliminates the differences between black levels when
edge blending multiple projectors. The Black Edge Blending submenu provides many controls
to allow the edges of adjacent images to be smoothly overlapped creating a “seamless” image.
Edge blending smoothes white levels, and if edge blending is not in use, Black Edge Blending
is disabled. Black Edge Blending provides a simple solution for uneven black levels, without
the need for external hardware, by matching up black level hues with a “target area” hue (the
intersection of the center lines), and adjusting the overlaps (edges) surrounding the target area.
NOTES: 1) Refer to section 3.10, Using Multiple Projectors for additional information. 2)
There is a centerline (both horizontal and vertical) in the Black Edge Blending test pattern. The
intersection of these lines is the true center of the projector’s display area. 3) Adjust white levels
before adjusting black levels. 4) Blinders are recommended for fixed installations.
Default Color Adjustments — SUBMENU
Refer to System Configuration – Geometry and Color, Color Adjustments by X,Y for
description.
Lens VariScope™ (LVS™) — SUBMENU
LVS™ provides the ability to recall focus and zoom settings specific to each source input. Custom
lens settings you’ve chosen for any source will be quickly and accurately applied when you
select a source that has already been calibrated. Place a checkmark in the checkbox to enable
LVS™. If no calibration has previously been done you may be prompted to do a full calibration.
If a motion calibration has been done, you will be prompted to complete a reference calibration.
If both calibrations have been done, the checkbox will be checked and LVS™ enabled. If LVS™
is enabled, a reference calibration will be done on power up and the lens will return to the
saved position of the source that is active at the time of power up or to the position the lens was
located when it was powered on. Further adjustments to the zoom, focus and position will be
automatically saved for source the selected source. If you switch to a source with different lens
settings and switch back, the lens will automatically move to your saved settings upon return.
Other sources can be used without using LVS™ .
NOTES: 1) See System Configuration – Diagnostics/Calibration, LVS Calibration for further
details about calibration. 2) LVS™ control is a preference setting and will be retained between
power cycles.
System Configuration >
DIAGNOSTICS/CALIBRATION
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.
NOTE: There is a centerline
(both horizontal and vertical)
in the Edge Blending test
pattern. The intersection of
these lines is the true center
of the projector’s display
area.
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1.
2.
3.
4.
5.
6.
7.
8.
9.
0.
Diagnostics and Calibration
Test Pattern
Grid
512
Grey Level
Freeze Image
White
Color Enable
Odd Pixel Adjustment
Peak Detector
Level Detector
Level Value
Aspect Ratio Overlay
Lamp Tracking Calibration
LVS Calibration
Automatic LVS Lens Calibration
512
Calibrate Lamp Tracking
Full Calibration
Wolf Cinema Owner's Manual
Section 3 ► Operation
Test Pattern Grey Level
Set the desired level of grey for displaying in the full gray field test pattern.
Freeze Image
Enter a check mark to freeze (stop) an image on a single frame. This diagnostic tool is useful
if you need to examine in detail a still version of an incoming image that cannot be “frozen” at
the source. For example, in moving images it is sometimes difficult to observe artifacts such
as external de-interlacing/resizing and signal noise. Remove the checkmark to return back to
normal.
Color Enable
Select which color or colors you want to see. This is useful while working with color temperature,
input levels or other special setup parameters. Colors can also be enabled/disabled by entering
the corresponding function code listed on the back of the standard remote keypad.
Odd Pixel Adjustment
NOTES: 1) Factory-set and rarely required by user. 2) Source must be >90 MHz.
When using certain RGB sources, you may need to adjust the normal gain or offset of odd
pixels in relation to even pixels. This will smooth out very narrow (one-pixel wide) “checks” or
vertical stripes that indicate adjacent “on” and “off” pixels. Using the Level Detector simplifies
this process (see Figure 3.11):
1. Use an external analog native-sized continuous grayscale test pattern with at least
256-levels.
2. Turn “Level Detector” on.
3. Set “Level Value” to ~200. The image should now be black-and-white (or black-and-one
color, if you use “Color Enable” function).
4. Adjust offset. Half of the pixels will move, the other half will not.
5. Adjust until the two transition regions overlap. The stripe of noise will be minimized, defined
by the value in the slide bar.
6. Set “Level Value” to ~800. The image should now be black-and-white.
7. Repeat Steps 4 and 5, but adjusting gain.
8. Repeat Steps 3-7 for all remaining colors. Your RGB source should now be OK.
Two sets of values are automatically saved with these controls — one value for Input #1, and one
for Input #2 (analog). The current set of values depends on which source is in use. This enables
a source to be processed correctly via two different inputs.
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Section 3 ► Operation
Figure 3.11. Using “Odd Pixel Adjustment”
NOTES: 1) Adjust offset before gain, since offset affects gain. 2) A value of 128 represents no
change in normal odd pixel offset or gain. 3) Odd Pixel Adjustment eliminates “one pixel on, one
pixel off” artifact only, not any type of larger artifacts.
Reserved
No function.
Peak Detector
The “Peak Detector” is a fast method for defining individual input levels, and can improve the
accuracy of input levels set by the Auto Input Level function. Enabling the “Peak Detector”
activates a special operating mode for detecting only pixels that are considered black or white
— all other levels are displayed as a mid-level gray. When used with a 16-step grayscale pattern
in which the two black and white bands are known to be at opposite edges of the image, you
can watch these isolated areas while adjusting individual black levels and white levels until both
bands are just visible. Images from this source will then display correct blacks and whites without
crushing or washing out.
NOTE: If using Peak Detector with PIP, both images must have the same color space.
Level Detector
The “Level Detector” checkbox enables specific thresholds for blacks and whites — input levels
that fall below a specified Level Value (see below) are displayed as black, and all others are
displayed as white. It aids in Odd Pixel Adjustment. To use:
1. Enable “Level Detector” and display a continuous grayscale.
2. Set “Level Value” to near black (such as 200).
3. Adjust Offsets to minimize area of black stripe.
4. Set “Level Value” to near white (such as 800).
5. Adjust Gains to minimize area of white stripe.
Level Value
Level Value defines the value to be used by the Level Detector in recognizing blacks and whites.
See Level Detector, above.
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Section 3 ► Operation
Aspect Ratio Overlay
Selecting this option with a checkmark will overlay a number of common aspect ratio boxes on
top of the source image. This is very helpful during the setup of the projector and can be turned
off after desired specifications have been achieved.
Lamp Tracking Calibration
NOTES: 1) Lamp Tracking Calibration takes up to two minutes. 2) For best results, allow the
projector to warm up for 15 minutes prior to calibration.
Lamp Tracking Calibration defines the range of power needed to maintain lamp brightness.
Select Calibrate Lamp Tracking for calibration using your projector’s unique specifications
(recommended) rather than standard specifications. The projector will revert to the default backup in the event of a power failure.
Lens VariScope System (LVS™) Calibration
This option allows you to choose between three types of lens calibrations. Reference calibration
determines a reference point that is used as a defined starting position for relative motion of the
lens. All positioning is measured from this reference point. A reference calibration is lost when
power is removed from the projector and will occur on every power up as long as LVS™ is
enabled. A Motion calibration determines the characteristics of each motor and values are saved
in the projector’s memory. If LVS™ is enabled and a motion calibration has previously been
done, the projector will automatically recall these settings from memory when it’s being powered
up and a motion calibration will not take place. A Full calibration performs both a reference and
motion calibration.
Automatic LVS Lens Calibration
When this option is selected (default) and the projector is in LVS mode, the projector will perform
a lens calibration on each power-up. During calibration, the shutter will be closed and the status
LED will display ‘LC’. If LVS is not selected, the ALC setting will be ignored. If, during power-up,
ALC is not selected and LVS is, the last stored location from the previous LVS calibration will be
assumed to be true and the lens will moved to that position upon power-up if necessary.
System Configuration >
OPTIONAL INPUT MODULES
System Configuration >
CONFIGURE CHANNELS
- SUBMENU
Wolf Cinema Owner's Manual
The two “Option Card”
Option C ard 1: Dual S D/HD-S DI Module
entries In the Display
1.
Loop
Thru Output Selection
Input A to C, Input B to D
Setup menu identify which
2.
Configure
Channels
Automatic
optional input modules
(a.k.a. cards) are present
at INPUT 5 (Option 1)
1. Input A to C, Input B to D
and INPUT 6 (Option
2. Input A to D, Input B to C
2). If either of these
3. Main to C, PIP to D
option slots is empty, the
4. Main to D, PIP to C
corresponding read-only
menu entry does nothing.
If there is a module installed, the corresponding menu entry may activate a submenu of further
options pertaining to that module.
For example, if the Dual SD/HD-SDI module is installed at INPUT 5 (Option 1). The Option
1 Card submenu provides controls for configuring the various connections on this multi-input,
multi-output module. As desired for your application, you can define 1) which physical input
loops through to which output, and 2) which functional input (main or PIP signal) loops through
to which output.
Select Automatic mode or a series of manual modes. In Automatic mode the input video payload
information is read and compared to that of the SMPTE 352 standard to detect the dual link
format and the primary channel. Single video input will also work in this mode without any
payload information. Dual link input video which does not contain payload information must be
set up manually. Select the format and which of the two channels is the primary input.
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Section 3 ► Operation
3.7 Working with PIP or
Seamless Switching
PIP (Picture-in-Picture) and Seamless Switching are independent but related projector features
that both utilize two image-processing paths within the projector. In the case of Picture-inPicture, this double processing enables you to display two different images simultaneously –
typically a smaller “secondary” image within a large “primary” background. In a seamless switch,
the double processing essentially occurs between displays so that a full image relayed from
one source can smoothly transform into a full image from another source. This change can be
virtually instantaneous, or slowed as desired so that the current image appears to dissolve or
“fade” into the new image.
Options for enabling and controlling PIP and Seamless Switching all reside in the same menu.
Note, however, that because both features utilize the projector’s double processing capability,
PIP and Seamless Switching cannot be used together. For example, fading a pair of PIP images
into a new display from a different source is not possible.
For best PIP or Seamless Switching results, use two different signal types* as defined below. Do
not mix two signals of the same type.
Signal Type
Description (Input Location)
#1
5 BNCs (RGBHV or YPbPr)
#2
DVI - I (analog or digital)
#3
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).
#4
Analog Option Cards
#5
Digital Option Cards
#6
Digital Option Cards
* HD interlaced sources are not recommended for the PIP window.
Other PIP or Seamless Switching tips to keep in mind include:
• .When using two digital signals or one analog and one digital, each must be ≤ 165
megapixels.
• When using two analog signals, each must be ≤ 90 megapixels.
• Avoid using an interlaced source in the PIP window
• Seamless switching may affect image quality in some cases
Working with PIP >
NOTE: To control the primary image, access all picture controls through the Main menu. To
control the secondary (PIP) image, access picture controls through the Picture-in-Picture and
Switching menu.
Use the first of six
options in the PIP
menu to enable and
define how you want
to use PIP.
Picture-In-Picture (PIP)
Pic ture
-inPic ture
Options
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1. Swap Main and PIP Image
2.
PIP Enable
3.
PIP Size & Position
4.
PIP Image Settings
5.
PIP Border Width
6.
PIP Border Color
7.
Image Optimization
8.
Fade Time
9. Numbers Select Main Image
4
Red
PIP Only
S witc hing
Options
(n/a)
Wolf Cinema Owner's Manual
Section 3 ► Operation
Swap Main and PIP Image
Toggle the current picture-in-picture relationship so that the primary (main) image becomes
secondary (PIP), and the secondary image becomes primary. Swapping is available only when
PIP is enabled.
NOTE: There may be a slight delay when swapping the Primary and Secondary images.
PIP Enable
Short cut: Press
PIP
on the Remote if menu not present.
Toggle to display from two sources at once (Picture-in-Picture) or the primary source only. This
checkbox turns the secondary source on and off.
NOTE: Disable PIP and Best Switching for Interlaced sources > 35kHz.
PIP Size and Position – SUBMENU
Most controls in the PIP Size and Position
menu adjust the PIP (secondary) image
in the same fashion as their counterparts
in the main Geometry and Position
menu adjust the main image — see
3.6, Adjusting the Image for details.
Exceptions are:
POSITION PRESETS – Set the location
of the PIP (secondary) image in the
display.
PIP Size and Position
Position Presets Bottom Right
Size 0.729
Vertical Stretch 1.090
Pixel Track 858
Pixel Phase 0
H-Position 360
V-Position 262
Aspect Ratio Presets Letterbox
1.
2.
3.
4.
5.
6.
7.
8.
9.
0. Advanced Size and Position
ASPECT RATIO PRESETS – Choose the desired aspect ratio for your PIP pixels. Use the
“Default” aspect ratio when incoming format has square pixels (most common). This ensures
that the resulting PIP image maintains its intended aspect ratio. Use “Anamorphic” for NTSC
signals having narrower pixels--this will stretch the pixels horizontally to regain the intended
aspect ratio of the PIP image.
NOTE: If the image is already resized at the source it will remain that way in the PIP window. If,
for example, an NTSC signal is already set to anamorphic through the Resize and Preset menu
it will remain that way in the PIP window. If the NTSC signal is formatted as widescreen at the
source, then the image in the PIP window will appear with black bars above and below it.
PIP Image Settings — SUBMENU
Adjust the PIP (secondary image) without affecting the size or position. The primary image
remains unchanged. See 3.6, Adjusting the Image for details
PIP Border Width
Set the desired line thickness for your PIP window border.
PIP Border Color
Select the desired color for the PIP window border.
NOTES: 1) Numbers 7 and 8 on the Picture-in-Picture and Switching submenu control switching
parameters. 2) Disable PIP in order to work with Seamless Switching. 3) Disable PIP and Best
Switching for Interlaced sources > 35kHz.
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Section 3 ► Operation
Working with Seamless >
Switching
Seamless Switching is the ability to instantly and/or smoothly switch sources, and is controlled
with options 7 and 8 in the PIP menu. To use Seamless Switching, PIP must be disabled.
Tips for best source switching:
•
•
•
•
Ensure a channel has been configured for each source.
Progressive digital and analog sources are recommended.
Set Image Optimization to Seamless Switching (see below).
For best results, use the same frame rate and gamma setting for each.
NOTE: Avoid using two interlaced sources.
Image Optimization
Use this setting to choose what is more important, image quality or switching between sources.
Selecting Best Image Quality will ensure your image is always proper however when switching
sources, the screen will go blank increasing your switching time. Smooth Switching allows for a
cleaner transition between sources. The image will fade from one image to another according
to the Fade Time control. Seamless Switching overrides the Frame Lock Enable settings and
forces the output to run at 60Hz regardless of the input signal. Image is 100% seamless when
switching sources.
NOTE: Disable PIP and Best Switching for Interlaced sources > 35kHz.
Fade Time
Set how long (in seconds) it takes to gradually dissolve one image into another for a source
switch when Image Optimization is set to Smooth Switching.
NOTE: PIP must be disabled for Fade Time to take effect. Also, the PIP window must be closed
to activate it.
Numbers Select Main Image
Use Numbers Select Main Image to use the numeric keys #1-8 as input keys. This remapping
of the keypad (see right) can be particularly useful with PIP displays, providing a convenient
shortcut for changing the primary (background) image without first having to return to the Main
menu. Select “Always” to use the keys in this manner all of the time, even with single displays.
For normal keypad function, select Never (default). Set to When PIP Active to activate number
keys only when PIP is in use.
NOTE: Numbers Select Main Image keypad functionality works only when menus are closed.
PIP
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Section 3 ► Operation
3.8 Working with the
Lamp
Whenever you install a new lamp in the projector,
access the Lamp menu to record the lamp serial
number in the projector’s memory. You can also
choose a lamp mode for regulating power and light
output, change Iris size, and access other readonly information pertaining to past and present
lamps.
LAMP HOURS (read-only) shows the number
of hours logged on the current lamp. Whenever
you record a new lamp serial number this value
automatically resets to “0”, where it begins to
log time for the new lamp. This information also
appears in the Information menu.
1. Lamp Message
Lamp Limit
2.
Lamp Mode
3.
Power
4.
Intensity
5.
Iris
6.
Lamp History
7
8. Change Lamp
LAMP S/N (read-only) is the serial number recorded for the current lamp. When you install a new
lamp and enter its serial number, the number will appear here.
Enter a checkmark for LAMP MESSAGE to enable a warning message that will appear upon
power-up when the lamp has reached the specified lamp limit and should be replaced. Delete
the checkmark to prevent display of this message — instead, when your lamp expires, only the
status display messages on the back of the projector will provide the visual warning to replace
the lamp.
NOTES: 1) It is recommended that the Lamp Message checkbox remain enabled. 2) When a
lamp warning message appears, press Exit to temporarily cancel the message. The message
will continue to appear upon power-up until you install a new lamp.
Set LAMP LIMIT to the number of hours you expect to log on the current lamp before replacing
it. This will trigger a lamp message on-screen (if enabled).
NOTES: 1) If you change modes over the life of a lamp, the lamp limit you originally expected
may no longer be possible. 2) Turning the lamp on and off reduces lamp life significantly, as do
other factors. 3) It is recommended that Lamp Limit not exceed the expected lamp life, otherwise
a lamp could become dangerously fragile with overuse.
Set which LAMP MODE you want to use in order to control the light
output. You can choose to run the lamp as bright as possible (i.e.,
always using maximum power — this is the default upon power up)
or you can power the lamp with a specific wattage appropriate for
Figure 3.22.
the installed lamp or you can set a specific intensity (brightness) to
maintain. Although there are exceptions, generally higher light output or higher power settings
can shorten lamp life.
Use the lamp mode that best suits your brightness needs. For example, in a tiled application you
may want to precisely match brightness levels between adjacent images — judge by eye and
set each individual Lamp Power setting as necessary. Or if you want images to be as bright as
possible — choose Max Brightness. Always keep in mind that higher lamp power settings can
shorten lamp life.
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Section 3 ► Operation
Lamp modes are described below:
•
Max Brightness: The lamp will always burn as brightly as possible, driven by 100% of the
power level rating for the installed lamp (see Section 6, Specifications). Keep in mind
that the “maximum brightness” for any lamp gradually diminishes with age — images will
become dimmer over time. Its current output level appears in the “Intensity” option (not in
lumens).
•
Intensity: Brightness will remain close to a specified level for as long as possible. Once
you select this option, enter a number representing the intensity level (brightness) you
wish to maintain — the projector will automatically adjust power as needed to maintain this
intensity as closely as possible. Note that the intensity value is a correlation only and does
not represent an actual lumens level. See “Intensity” below.
•
Power: The power supplied to the lamp will remain at your specified wattage level. Once
you select this option, enter the number of watts representing the power level you wish to
maintain. See “Power” below.
POWER – This slidebar and number indicates how many
watts are applied to the lamp. You can apply anywhere from
approximately 60-65% of the maximum power intended for the installed lamp up to 100% of the
lamp rating. Set for the number of watts as desired, keeping in mind that lower power levels
produce dimmer images. When in either Power or Max Brightness modes, the power level
remains constant. Specifying a maximum power level here is the same as operating in Max
Brightness mode.
NOTES: Power level can be set only if the lamp is in Power mode.
INTENSITY – This value and slidebar represents the current
brightness of your lamp, decreasing over time when you are
operating in Max Brightness mode or at a specific Power level. When you are operating in
“Intensity” mode this value remains at the original “Intensity” setting chosen and cannot be
adjusted.
NOTE: The number shown for “intensity” is not the actual lumen output, but rather a correlated
value only — 1246 may represent 3500 lumens, for example.
To use “Intensity” mode, judge by eye (or use a meter) and set the level as desired for your
application. Over time, the projector will automatically increase the power supplied to the lamp
as needed to maintain the chosen intensity as closely as possible.
HOW LONG CAN I MAINTAIN BRIGHTNESS? Software can maintain your “Intensity” setting
until the required power reaches the maximum rating for the lamp. The lower the setting, the
longer it will take to reach this threshold and the longer you can maintain the desired brightness.
Keep in mind that once the lamp power reaches its maximum wattage (see “Power”, above), this
tracking is no longer possible. At this point, the lamp will gradually begin to dim as usual, even
though your original “Intensity” value will still appear in the menu. To resume accurate tracking,
reduce the intensity setting so that the resulting “Power” value is less than its maximum — the
lower the intensity, the longer it can be maintained.
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Section 3 ► Operation
For example, a 1000 watt lamp can be driven at no more than 1000 watts. To produce desired
brightness at the screen, a new lamp would likely need less than this maximum rating — perhaps
812 watts (example only). Over time, however, the lamp will require more and more current in order
to generate the desired light, until eventually the lamp wattage reaches its 1000-watt maximum
and the lamp power automatically levels off. At this point, the tracking function terminates (i.e.,
the power level stabilizes) and the lamp will begin to dim normally. Either reduce your “Intensity”
setting or replace the lamp.
Do not lower the “Intensity” so much that the corresponding “Power” value reaches its minimum
— the intensity setting will be inaccurate and cannot be maintained. For best results in achieving
uniform intensity amongst tiled images, choose an “Intensity” setting that enables all lamps to
operate at less than the maximum number of watts available in your projector but high enough to
keep the corresponding lamp power above its minimum. See “Power”, above.
NOTES: 1) Lamps become more stable over time, thus a specific intensity is more easily
maintained as the lamp ages. 2) Intensity can be set only if the lamp is in “Intensity” mode 3)
Intensity cannot exceed the output of Max Brightness mode.
IRIS – The IRIS inside the projector controls the diameter of the
light beam passing through the system. With a fully open aperture
(slidebar default of “0”), the maximum amount of light passes
through for maximum brightness in your images. Increase the
slidebar setting to reduce the aperture diameter and maximize
contrast ratio instead.
Iris
LAMP HISTORY – This read-only option lists the lamps most recently installed
and recorded in the projector. Lamp History automatically updates whenever
you record a new lamp serial number — the new lamp is added to the bottom
of the list.
Use CHANGE LAMP to record the serial number for a newly installed lamp:
In the Lamp S/N window, use the number text entry keys to record the new lamp serial number
and press again to accept the change. See Using Slidebars and Other Controls if you need help
entering the number. Once entered, the new lamp serial number will be added to the Lamp
History menu and the Lamp Hours timer will reset to “0”. Lamp Mode and Lamp Limit remain as
they were for the previous lamp and can be changed at any time. See Figure 3.12.
Iris
Figure 3.12. Recording the New Lamp Serial Number
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Section 3 ► Operation
NOTE: Enter a serial number only if you have just installed a new lamp. This will help ensure
that lamp timer is not reset on an old lamp and that the number of hours logged on the lamp will
be accurate.
IMPORTANT: Always record the serial number of a NEW lamp.
How Old is My Lamp >
When a new lamp is installed and its serial
number recorded by selecting “Change Lamp”
in the Lamp menu, the lamp timer resets to
“0” and begins logging time for the new lamp.
This tally appears in both the Lamp menu (see
right) and the Information menu.
To review the number of hours logged for
previous lamps, consult the Lamp History
menu.
When to Replace the Lamp >
Iris
If the “Lamp Message” checkbox has been
enabled in the Lamp menu (recommended),
an expiry message will appear upon power-up
when the lamp has reached its defined “Lamp
Limit”. The lamp should be replaced.
The “Lamp Limit” setting should not exceed the expected lamp life, as an old lamp becomes
increasingly fragile and more prone to sudden failure.
Information Menu >
The read-only Information menu lists a variety of details about the standard and optional
components currently detected in the projector. Refer to the Information menu for versions of
hardware and software installed, the type (size) of lamp, the hours logged in total and for a
specific period (such as a rental period), and for your projector model name and serial number.
In addition, the Information menu identifies the current channel, its location, its frequencies and
other details.
Scroll the full Information menu using 
3-51
 . Use


for page up/down.
Wolf Cinema Owner's Manual
Section 3 ► Operation
3.9 Achieving White
Field Uniformity
WHAT IS WHITE FIELD UNIFORMITY?
•
•
•
No area of the screen appears more red, green or blue than another
No area of the screen appears brighter than another
Color and light output from one screen closely matches adjacent screens
Before You Begin
Read through the entire procedure before attempting to adjust White Field Uniformity controls,
and keep in mind the following checklist of prerequisites and guidelines:
ADJUST COLORS FIRST — Always adjust the primary colors as described in the “Matching
Colors in Multiple Screens” procedure (above) before attempting to work with White Field
Uniformity. This ensures that primary colors, color temperature, and maximized light output
are all well matched from one screen to another. These matches are needed before you can
achieve good White Field Uniformity results.
 RUN LAMP FOR 100 HOURS — Light output and White Field Uniformity can vary significantly
during the first 100 hours of lamp use. For best results with new lamps, either set up White
Field Uniformity after this period, or do an initial setup and re-check at 100 hours
SET LAMP POWER — Ensure that each “Lamp Power” setting is as high as possible for
your application while still maintaining a good overall match of light output from screento-screen. By nature, achieving a uniform brightness will require a slightly reduced overall
brightness—this reduction will help ensure that you have enough range of adjustment when
examining brightness variables more closely from screen-to-screen, and will help prevent
premature “maxing out” when trying to match to a certain color, zone or projector.
 USE A “USER” COLOR TEMPERATURE — Always adjust White Field Uniformity for a
User color temperature defined when you matched primary colors, and continue to use it
for all sources displayed on the wall. Your other color temperatures will not necessarily be
matched from screen-to-screen.
 WHITE UNIFORMITY SLIDE BARS — White Uniformity slide bar values may not reduce to
“0”. Each slide bar adjusts overall light output in a specific screen zone, but the value shown
represents the current setting for green in this zone. When other “hidden” values (red or
blue) are lower than green, during adjustment in the White Uniformity menu their values will
reach “0” first, causing the slide bar to stop earlier than expected.
 JUDGE BY EYE OR USE A METER — Good White Field Uniformity can be achieved with
either.
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Section 3 ► Operation
Step 1: General Setup
1a)Adjust primary colors (see Matching Colors in Multiple Screens) to ensure matched overall
color temperatures and light output between screens.
IMPORTANT
Double-check that all WHITES and LIGHT OUTPUT are well-matched.
1b)Enable the White Field Uniformity
checkbox. This will enable access to the
uniformitycontrols and will apply the settings
to your image.
White Field Uniformity
1. Uniformity Enable
Test Pattern
2.
Left Uniformity
3.
Right Uniformity
4.
Top Uniformity
5.
Bottom Uniformity
6.
Top Uniformity
7.
8. Color Adjustment by X,Y
Color Temp Adjust
9.
Lamp
0.
Off
1c) Select the 13-Point test pattern for display. This pattern
provides nine screen “zones” with 13 targets.
FOR BEST RESULTS: Rather than examining the CENTER
of each zone when assessing White Field Uniformity
adjustments focus on extreme EDGES as indicated in the
illustration at right.
1d)In either Color Adjustments menu, select a “User” color. Then:
• If you have created a “User 1” color gamut (recommended) for a well-matched wall, continue
to Step 1e.
• If you prefer maximum brightness rather than a particular color temperature, select “Max
Drives”.
IMPORTANT: Do not change User 1 Color Adjustment in color-matched applications!
1e)In the White Uniformity menu, set the “Overall” output level to 50.0 and all remaining slide
bars to 0.0. This decreases the light output just enough throughout the screen so that any
color level can then be increased later
as necessary for matching light output
from zone-to-zone. Do not exceed 50.0
for “Overall”—a higher level will likely
interfere with achieving White Field
Uniformity and is not recommended.
Ensure that overall light output
remains well matched from one screen
center to the next. Where necessary,
increase or decrease Lamp Power
slightly to recover center matches.
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Section 3 ► Operation
Step 2: Adjust Color (level of red/green/blue) in Eight Zones
NOTES: 1) At this point, ignore the brightness of individual zones. 2) Always ignore menu
colors.
2a) On each screen, compare the color temperatures in the eight target zones (four edges and
four corners) to that of the color temperature of the center. Compare using a white field only,
and take note of any areas that do not match the center. Also decide if any screen exhibits
a more obvious color shift than other screens — begin with this screen in Step 2b.
2b)Return to the White Field Uniformity menu. Beginning with the screen that exhibits the most
obvious color shift(s), for each edge that exhibits a noticeably different color temperature
from the center, select the corresponding Uniformity adjustment menu — Left, Right, Top or
Bottom. For example, if any part of the left side is too blue, too red or too green, go to the
Left Uniformity menu and adjust the colors (i.e., change their light output) until all portions of
the left side closely match the center color temperature. Adjust an edge first (focusing on its
center), and then adjust its corners. See Figure 3.17.
Figure 3.16. Match Zones to Center Color Temperature
Repeat the color adjustment of sides and corners for each edge of the screen that does not yet
match the center (note that each corner is adjustable in either of its two adjacent “side” menus).
When done, all areas of a given screen should match. Repeat Steps 2a & 2b for all remaining
screens.
Step 3: Adjust Light Output in Eight Zones
3a) For each screen, compare the light output of each edge and corner to that of the center. If
any of the areas differ, use the White Uniformity menu to match edges and corners to the
center as described below (see Figure 3.17). Begin with the screen exhibiting the most
obvious variations in light output.
•
•
•
Wolf Cinema Owner's Manual
Adjust edge White Uniformity first—note that each edge adjustment also affects the rest of
the screen slightly. Keep all edges just slightly lower than the center light output rather than
matching light output precisely. Otherwise, it may not be possible to brighten the corners
(typically the dimmest areas of the screen) enough. I.e., the best uniformity is a compromise
between the brightest and darkest areas of the screen.
Adjust corner White Uniformity last—each corner adjustment affects only this quadrant.
Repeat for each screen.
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Section 3 ► Operation
Figure 3.17. Match Zones to Center Light Output
Step 4: Readjust Color Temperature (level of red/green/blue) in Eight Zones
NOTES: 1) At this point, ignore the brightness of individual zones. 2) Always ignore menu
colors.
4a)Return to Steps 2a & 2b and, if necessary, fine-tune the zones so that they all still exhibit a
single color temperature.
Cancelling White Field Uniformity
If you do not want to use or apply White Field Uniformity settings, delete the checkmark from the
“Uniformity Enable” checkbox at the top of the White Field Uniformity menu.
3.10 Edge Blending
Edge Blending is an innovative set of software functions that can quickly and easily blend white
levels along the edges of multiple adjacent projected images to create a single seamless larger
image.
What is a Blend?
In simple terms, a blend appears as a gradient strip along an
edge of a projected image. It is darkest along the extreme
edge of the image, and lightens nearer to the rest of the
image (see right).
How Are Blends Used?
In multiple-projector walls, complementary blends between
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:
Figure 3.18. Edge Blending Concept
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Section 3 ► Operation
For best results, use the same projector model and type throughout your display wall. In addition,
avoid high-gain screens whenever possible—the optical performance of such screens demands
minimal image offset, thus projectors must be located very close to one another.
Edge blending software controls are located in the two-page Edge Blending submenu—access
via Display Setup menu, then go to the Geometry and Color menu and select Edge Blending.
The More option opens the second page of the Edge Blending submenu.
Main Functions
Use Edge Blending controls to set the precise width, shape and midpoint you need to blend
overlapping edges together smoothly.
• Blend Width determines how much area is used for blending along an overlapping edge.
Slide bar values represent the number of eight-pixel steps used for the blend. For example,
a setting of “eight” creates a blended edge 24 pixels wide. A setting of “0” signifies no
blending. For best results in most applications, use a blend width of 16-48 steps (128-384
pixels).
Ranges: 0-80 horizontal, 0-60 vertical.
•
Blend Shape determines the rate of roll-off
across the blend width, i.e. how quickly the
white levels across the blend change from
light and dark. Increasing the Blend Shape
setting accelerates the rate of change at both
extremes so that less of the region appears
mid-gray (see Figure 3.20). Decreasing the
Blend Shape setting slows the rate of change
so that more of the region appears mid-gray.
For most applications, this subtle control is
best left close to 50.
Figure 3.20. “Shape” Examples
•
Blend Midpoint determines the white level
at the blend midpoint (the point equidistant
between the beginning and end of the blend).
Increasing the Blend Midpoint setting creates
a blend that appears brighter than the rest of
the image. Decreasing the Blend Midpoint
setting creates a blend that is darker than
the rest of the image. A setting of 50 means
the midpoint is approximately 50% black—
for best results in most applications, keep
fairly close to this default.
Figure 3.21. “Midpoint” Examples
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Section 3 ► Operation
•
Show Blending Overlap turns your defined
blend width area to solid gray so that, if
needed, simply overlapping the gray bars
can seamlessly align two adjacent images.
Toggle the Show Blending Overlap off to
reactivate the blend effect.
NOTE: Blending Overlap appears as
Reserved when Wolf WARP is installed.
Other Functions
For convenience, the Edge Blending submenu
also includes related options for enabling a
specific color and/or test pattern, or for working
with colors or the lamp. Such functions duplicate
those provided elsewhere in the menu system.
Edge Blending Procedure
NOTE: Before attempting to work with edge blending software functions, you must 1) physically
align the projectors/images by correctly overlapping the displays from your intended external
source, and 2) Match colors and White Field Uniformity.
IMPORTANT: For a shared edge, all Blend procedures and settings should be identical on BOTH
projectors.
1. Start with two projectors. Display full white field test pattern from both.
2. In the Edge Blending submenu, enable Edge Blending by entering a checkmark in the top
checkbox.
3. SET STARTING POINTS FOR ADJUSTMENT:
• Set all blend widths to 0.
• Go to “More” and set everything in the Edge Blending (2) menu to 50.
Figure 3.21. Set Starting Points for Each Projector
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Section 3 ► Operation
4. SET BLEND WIDTH: On one projector, increase the Blend Width for an overlapping edge
(for example, if the projector’s image is on left, its right edge overlaps the adjacent image
— adjust Right Blend Width). Use the same setting on the second projector for this shared
edge.
5.Re-adjust width (both projectors) until the overly bright band at the midpoint of the
overlapping blends disappears or just changes to very light gray. For the shared edge, use
the same Blend Width setting on each projector. If the “best blend” appears to be between
two settings, choose the wider setting for both projectors.
6. CHECK BLEND: If the blended region appears too dark or light in relation to the rest of the
image:
• Increase Blend Midpoint in both projectors to “lighten” the overall blend, decrease to “darken”
the overall blend.
• Adjust Blend Shape in both projectors to fine-tune change the amount of mid-gray intensity
(as opposed to black/white) in the blend.
7.Repeat with remaining projectors / overlaps.
8. Check completed display wall with the desired external signal.
9.Adjust mechanical alignment if necessary to maintain perfect pixel-on-pixel alignment over
time.
In applications where you are projecting only white or light images, the Blend Width may be
slightly higher—set according to how much overlap you have between images. Use the following
as a guide (examples show overlapping width only — values for overlapping height will differ):
•
Black Edge Blending >
Recommended overlap is 12.5% - 25%
Similar to Edge Blending, Black Edge Blending allows you to adjust the black level hues of
multiple adjacent projected images to create one large seamless display. Edge blending must be
enabled in order to use the Black Edge Blending features.
Black Edge Blending Procedure
NOTES: 1) Adjust white levels before adjusting black levels. 2) The zones in BLB menu
correspond to the Edge Blend zones. If a given Edge Blend zone width is set to 0 (i.e. no blend
on that side) then the corresponding BLB zone is disabled. It only becomes accessible when that
Edge Blend zone is active.
1. Start with two projectors. Select the black test pattern for both projectors from the Geometry
and Color submenu.
2. In the Black Edge Blending submenu, enable black blending by putting a checkmark in the
checkbox for each projector.
Black Edge Blending
3. Working with one projector at a time, use the center brightness slide bar to adjust the center
brightness (brightness of the non-blended region) so that the center intensity matches that
of the brightest blended region (the center of all images when blending a 2 x 2 display is the
target area).
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Section 3 ► Operation
4. Use the following three color slide bars, Black Red Level, Black Green Level and Black Blue
Level, so the black hue of each projector matches.
5.You can choose which of the next four options, Top, Bottom, Left, Right, to use depending on
which edge of the projector you are working with has been edge blended. The blend width
can be adjusted to line up properly but by default it corresponds to the edge blending setting
determined for that edge.
6. The brightness and black hues of the blended region can be adjusted in more detail in case
fine-tuning is needed (may be only necessary for blending a 2 x 2 projector display because
of blending differs for the sides and center).
NOTES: 1) The menu options vary depending on the Edge Blending parameters. 2) You may
need to re-adjust the black level hues following the overlap adjustments on each blended edge.
3) When adjusting six or more projectors, you need to ensure that the hue and brightness of each
target area is matched at closely as possible.
3.11 Remote Control of
the Projector
As an alternative to using a keypad, most projector functions can be controlled remotely, typically
at a controller such as a PC, via 1) simple bi-directional ASCII messaging on an Ethernet or serial
communication link or 2) a web interface or an Ethernet network. Using a PC interface can also
prove to be useful in instances where extreme warping is applied and the menu items become
illegible and hard to navigate.
VIA ASCII MESSAGING — Connect a serial link between your controller and the RS232 or
RS422 port (recommended), or open an Ethernet socket (i.e., Telnet) between your controller
and the valid projector address. Valid ASCII codes and messages are documented in the Serial
Communications document available at the Wolf Cinema website.
VIA WEB INTERFACE — Connect your PC to the projector’s Ethernet port. In your web browser
(Internet Explorer, for example), enter the IP address of the projector you wish to control. This will
start a password-protected application — enter the factory default “ccm7” login and password
to open the program. If the projector is powered up, you can access assorted menu options and
slide bars.
Repeat for remaining networked projectors as desired. Keep in mind that multiple units can
be controlled from one PC, but each unit will be in its own interface (web browser) at the PC.
Likewise, you can make up to five separate web locations to a single projector.
The default login provides access to security settings, where you can define other users with
the same or fewer rights. Use “unlimited” rights for most applications. For all logins, the Service
menu is still protected with its own password.
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Section 3 ► Operation
3.12 Error Conditions
Occasionally the projector will encounter an error condition that can interrupt normal operation.
Such a condition can be caused by a simple invalid keypad entry, an input signal error (most
common) or a system error. The manner in which users are to be notified of error conditions is
set in the Menu Preferences menu:
•
To see error messages displayed on-screen, select the “Screen” or “All” option (recommended
by Wolf Cinema).
•
To be notified via a serial communication only, select the “RS232” option.
•
To receive both types of notifications, select “All”.
•
To disable error messages (except for “invalid user key entry”, which can’t be hidden), select
“Off”.
Note that a two-digit error code appears in the status LED display window located beside the
built-in keypad at the rear of the projector. Normal operation is indicated by the “On” status
code.
User Errors >
Auto
Setup
Menu
Input 1
BNC
Input 2
DVI
Lens
Shift
Help
Input 3
Video
Input 4
S-Vid
Shutter
Exit
Input 5
Opt.1
Input 6
Opt.2
Invalid User Entry
A keypad entry not recognized by the projector triggers a short on-screen error message
identifying the problem. For example, if you specify a channel number that is not available,
the message “Invalid Channel will appear. Or if you try to enter the wrong password, you’ll see
“Invalid Password”. Press  or Exit 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 >
An input signal error message occurs if you are in presentation level (i.e., there are no menus
present) and have selected an input on which the projector detects a problem. While menus
remain operational and any key press will temporarily remove any displayed error message, you
must resolve the signal problem in order to permanently eliminate the message.
No Signal
The message "No signal" occurs when there is no source signal detected at the selected input—
both HSYNC and VSYNC are inactive and the screen background is black. Connect or correct
the signal, or try another input.
Bad Sync
The message "Bad Sync" occurs when HSYNC or VSYNC are active but the signal cannot be
displayed. Such a condition occurs when only one of the two sync signals is present or when
either sync signal is unstable or is the wrong frequency. Correct the signal or select another
input.
Other Signal Error Messages
In addition to the common "Bad Sync" and “No Signal” errors, you may encounter a signal error
message indicating that HSYNC and/or VSYNC are either too fast or too slow. When such a
message appears, check the frequencies shown in the Information menu. If they are correct, the
projector does not recognize the signal. On some PCs you may be able to change the settings
to generate a compatible signal. If the frequencies shown in the Information menu are incorrect,
check the cabling to see where the problem might originate.
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Section 3 ► Operation
System Warnings / Errors >
When the projector encounters a system malfunction, either a System Warning message
or a System Error message may appear. Both types of messages are accompanied by
a numerical error code on the status LED display. A system malfunction can be cleared
Exit
with Exit
from presentation level, but may indicate the need for service by a
qualified service technician.
NOTE: System messages appear on-screen only if Display Error Messages has been
set to “Screen” or “All”.
System Warnings
A system warning indicates that a system malfunction has been detected (see Status
LED Codes, below). A system warning message replaces any input signal message
and disappears when the input signal status changes. While the projector will remain
operational, the message indicates the presence of a potentially serious problem that
Exit
should be investigated. You can press Exit
to remove the message, but for best
results you should reset the projector — power the projector down and up again with
the
(power) key.
System Errors
A system error message indicates that a serious malfunction has been detected and
must be investigated as soon as possible (see Status LED Codes, below). The projector
will no longer operate and must be reset — power the projector down and up again with
the
(power) key.
The Status LED Codes
If the status code display on the back of the projector shows one of the following values,
you have encountered a likely system error requiring the attention of a qualified service
technician (see System Warnings and System Errors, above). Acknowledge and clear the
Exit
error with Exit
from presentation level, or try resetting the projector by powering it
off and on again, cooling when necessary. Consult Table 3.5 and contact your dealer if the
problem persists.
The specific code number identifies the source of the error detected, and is particularly
useful in cases where the projector is far away. For example, the code “27” means the
lamp could not be turned on. Error codes for this projector are listed in Table 3.5 on the
next page.
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Section 3 ► Operation
Code
12
13
14
15
16
17
18
20
21
23
26
27
28
29
46
4C
C0
51
52
53
54
55
56
57
58
60
61
62
63
64
65
66
67
68
Description
Code
GENERAL
Software bug. Contact dealer/factory.
CRC error in flash ROM. Download new software.
Engineering-only programming is complete. Call Wolf Cinema, replace TIPM.
Attempting to download code without being in boot mode
Invalid interrupt. Power off/on. If it persists, contact dealer/factory.
User forced system to stay in boot mode
Jumper for programming boot not installed
LAMP FAILURES
Lamp turned on unexpectedly (fault related to ballast)
Lamp airflow low, overheating imminent
Cannot read valid ballast ID
Lamp 1 Interlock: lamp door open, lamp not installed
Can’t turn lamp on
Lamp turned off unexpectedly
Lamp ballast overheated
POWER AND COOLING
Red DMD temperature probe overheated
Projector shutdown due to critical error
Lamp blower failure (lamp not turned on)
LVPS fan failed (Fan 1)
LVPS/ Red cooling fan failed (Fan 2)
DC lamp fan failed in 500W / 1kW models (Fan 3)
Red DMD heatsink fan failed on 1kW and 1.2kW models (Fan 4)
Green DMD heatsink fan failed on 1kW and 1.2kW models (Fan 5)
Blue DMD heatsink fan failed on 1kW and 1.2kW models (Fan 6)
TIPM fan failed (Fan 7)
TIPM fan failed (Fan 8)
TIPM (Image Processor)
Boot code CRC failed
Unable to program DigMux PLD
Unable to program Control PLD
Unable to program Bubks PLD
Unrecognized ROM type
Write to flash ROM failed
TIPM failure
Downloaded code will not fit
Scaler communication problem
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70
71
80
81
82
83
84
85
86
87
88
89
8A
93
94
95
A0
A1
A2
A3
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Description
BUILT-IN KEYPAD
Unable to access EEPROM on the built-in keypad
EEPROM memory re-initialization on the built-in keypad
PANEL DRIVER AND FORMATTER
Unrecognized Panel Driver
Unable to program device on Panel Driver
TI flash download failure
TI flash download failure
TI flash download failure
TI-I2C write failure
One or more Formatters not responding — Probable Formatter s/w fault
Formatter reports RDRAM failure
Red modular Formatter communication failure
Green modular Formatter communication failure
Blue modular Formatter communication failure
Modular formatter architecture error
Modular formatter DMD mismatch
Modular formatter sequence mismatch
MISCELLANEOUS
Unable to program the optional module
Unable to power the optional module
Unable to program the Dual Slot Backplane Module (DSBP)
Unable to program the optional Post Processing Module (Warp module)
Exit . If necessary, try resetting the
Clear system errors with Exit
projector by powering it off and on again (cooling if necessary). For
detailed information, monitor the RS232 IN port. Contact dealer/
factory if error persists. Codes omitted from this table should not
appear in your projector.
Table 3.5 Error Codes
Section 4
MAINTENANCE
4.1 Warnings and Safety
Guidelines
The projector is an international regulatory agency approved product designed for safe and
reliable operation. To assure complete safety at all times it is important to acknowledge the
following precautions while operating the projector.
WARNING
Always power down the projector using appropriate procedure and disconnect
all power sources before cleaning or servicing.
WARNING
Always remove the lens when shipping the projector.
WARNING
NEVER look directly into the projector lens.
The high brightness of this projector could cause permanent eye damage.
WARNING
For protection from ultraviolet radiation, keep all projector shielding intact
during operation.
CAUTION
Qualified personnel should perform installation ONLY.
Labels and Markings >
Observe and follow all warnings and instructions marked on the projector.
The exclamation point within the equilateral triangle alerts the user to important
operating and maintenance (servicing) instructions in the literature accompanying
the projector.
The lightning flash and arrowhead symbol within the equilateral triangle alerts
the user to uninsulated “dangerous voltage” within the projector’s enclosure
that may be of sufficient magnitude to constitute a risk of electric shock.
Instructions >
Projector Location >
Read all operating instructions prior to using the projector.
Operate the projector in an environment, which meets the operating range specified in
Section 6 – Specifications.
•
Do not operate the projector close to water, such as near a swimming pool. Do not
operate in extremely humid environments.
•
Do not place the projector on an unstable cart, stand or table. A projector and cart
combination should be used with care. Sudden stops, excessive force and uneven
surfaces may cause the projector and cart combination to overturn.
•
Only use Wolf Cinema-approved ceiling mount fixture, if the projector is to be
ceiling mounted.
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Section 4 ► Maintenance
Lamp >
Lamp: The projector uses a Cermax® Xenon lamp to deliver its high brightness. A lamp should
be replaced when it has reached its end of life or if a noticeable change in brightness occurs.
Keep track of the number of hours the lamp has been in use (Lamp Menu) and be aware of
any changes to brightness. These indicators will help you effectively maintain operation of the
projector.
WARNING
Wait approximately five minutes after powering down the projector to allow
internal cooling fans to stop and for the lamp to cool sufficiently before
removing.
Never attempt to remove the lamp housing directly after use. The lamp is under
great pressure when hot and may explode, causing personal injury and/or
property damage. Allow cooling completely.
WARNING
Use only lamps supplied by Wolf Cinema.
Use lamps of the correct wattage for your projector model when replacing.
Filter: Replace the filter when you replace the lamp or sooner if required. It is important the filter
be replaced regularly to ensure sufficient airflow through the projector, otherwise it could cause
the projector to overheat.
WARNING
Use only filters supplied by Wolf Cinema.
Refer to 4.4 Lamp and Filter Replacement for instructions.
Power Cord and >
Attachments
The North American rated power cord is provided with each projector. Ensure that
you are using a power cord, socket and power plug that meets the appropriate local
rating standards.
Use only the attachments and/or accessories recommended by Wolf Cinema.
Use of others may result in the risk of fire, shock or personal injury.
WARNING
Use only an AC power cord recommended by Wolf Cinema.
Do not attempt operation if the AC supply and cord are not within the specified
voltage and power range.
Wolf Cinema Owner's Manual
•
Do not set or rest items on the power cord. Place the projector in an area where the projector
cord cannot be abused or damaged by persons walking on it or by objects rolling over it.
•
Operate the projector at the specified voltage only. Do not overload power outlets and
extension cords as this can result in fire or shock hazards.
•
The projector is equipped with a three-wire plug having a third grounding pin. This is a safety
feature – if you are unable to insert the plug into an outlet contact an electrician to have the
outlet replaced. Do not defeat the safety purpose of this grounding-type plug.
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Section 4 ► Maintenance
Ventilation >
Servicing >
Slots and vents in the projector provide ventilation. Never block or cover these openings. This
ensures reliable operation of the projector and prevents overheating.
•
Do not place the projector over a radiator or heat register. The projector should not be placed
in an enclosure unless proper ventilation is provided.
•
Do not insert objects into the ventilation openings of the projector. They may touch dangerous
voltages or short-out components resulting in a fire or shock hazard. Do not spill liquids of
any kind into the projector. Should an accidental spill occur, immediately unplug the projector
and have it serviced by a qualified service technician.
If any of the following conditions exist, immediately unplug the projector from the power outlet
and ask a qualified service technician to look at it.
•
The power cord has been damaged.
•
The internal cooling fans do not turn on within two minutes when the projector is first powered
up.
•
Liquid has been spilled into the projector.
•
The projector has been exposed to excessive moisture.
•
The projector is not operating normally or its performance has significantly deteriorated in a
short period of time.
•
The projector has been dropped or the shipping case (if applicable) has been badly
damaged.
WARNING
Do not attempt to service the projector yourself. All servicing must be performed by
Wolf Cinema accredited service technicians.
Use replacement parts that are manufacturer-approved only. Use of any other part other
than the ones specified by the manufacturer can result in fire, electric shock or other
damage.
4-3
Wolf Cinema Owner's Manual
Section 4 ► Maintenance
4.2 Cleaning and
Maintenance Guide
Part
Description
Frequency
Action
Clean the lens only when absolutely necessary.
A small amount of dust on the lens has very little
effect on picture quality.
Lens
As required
As required
To clean: Use a soft lint-free cloth without any
chemicals. Use only a high-quality coated optics
cleaning fluid, which can be purchased from
most camera supply stores. Apply the coated
optics fluid directly onto the lint-free cloth until
moistened. Wipe in a single sweep across the
surface of the lens. To avoid scratching the lens
do not scrub or rub in a circular motion. Discard
the cloth after every use. Do not use cleaning
tools treated with Ether. Do not use cleaning
solvents that contain ammonia. Use compressed
air to remove any particles remaining on the
lens.
CLEAN: Clean if absolutely necessary. Never
touch the glass surface of the lamp. Fingerprints
left on the glass will seriously degrade lamp
performance or cause “hotspots” which can
lead to an accumulation of intense heat in the
touched area and cause the lamp to shatter.
Lamp
To clean: Wait until lamp is cool. Moisten
a clean, lint-free cotton cloth with isopropyl
alcohol and gently rub the surface of the glass
in a circular motion until clean.
1000 hrs or
REPLACE: Refer to 4.4 Lamp and Filter
sooner if required Replacement procedure later in this section.
CLEAN: Clean dust from external covers using
a clean, lint free cotton cloth as required.
Covers
(External)
As required
NOTE: Before cleaning the modules, it is
recommended that you install the lens cap. This
will keep dust particles from settling on the glass
surface of the lens.
Table 4.1. Maintenance Guide
WARNING
Proper face shield and protective gloves are required if
the lamp module is removed from the projector.
Wolf Cinema Owner's Manual
4-4
Section 4 ► Maintenance
4.3 Replacing Remote
Batteries
The IR Remote Keypad uses two AA size, 1.5V batteries (preferably alkaline). To install new
batteries:
1. Open the battery compartment at the backside of the keypad by placing your thumb in the
oval depression and sliding the cover out about ½ inch. See Figure 4.1. Remove the old
batteries and properly discard. Wait a minute or two.
Figure 4.1.Replacing Batteries
2. Place the new batteries in the compartment, orienting the positive/negative of each battery
according to the labels in the compartment. When the batteries are in place, replace the
cover by placing the cover ½ inch from its closed position and slide it into place. Do not
force the cover.
NOTE: Always wait a minute or two when replacing batteries so that the internal electronics
discharge and can recognize the change.
4.4 Lamp Replacement
Use the following instructions when replacing the lamp. The lamp is located at the back of the
projector (below the input panel) and can be accessed by removing the lamp access panel. Use
only the Wolf Cinema approved Lamp and Filter Kit for your specific projector model. See Table
4.2 below.
Projector Model
Lamp (Watts)
Part Number
DCX-500i
500W
DCX-500i
DCX-500FD
500W
DCX-500FD
DCX-1000i
1000W
DCX-1000i
DCX-1000FD
1000W
DCX-1000FD
DCX-1500i
1225W
DCX-1500i
DCX-1500FD
1225W
DCX-1500FD
A lamp should be replaced when it reaches its end of life (2000 hours, typical) or sooner if a
noticeable degradation in brightness occurs (typical in aging lamps). You can set the number of
hours you expect to log with the lamp before replacing it, by setting the Lamp Limit in the Lamp
menu. You can also enable a warning message to appear upon powering up the projector that
will indicate the lamp has reached the limit you set, by entering a checkmark beside the Lamp
Message option. NOTE: The lamp mode you choose to run the projector in may have an impact
on the number of hours expected for the lamp.
4-5
Wolf Cinema Owner's Manual
Section 4 ► Maintenance
NOTE: The lamp mode you choose to run the projector in may have an impact on the number
of hours expected for the lamp.
Tools required: #2 Phillips screwdriver
Warnings
A qualified service technician must perform lamp replacement.
Cool the lamp completely and handle by the housing only.
Install the correct wattage lamp supplied by Wolf Cinema (see above) and read the
Lamp Replacement procedure in its entirety before proceeding.
Iso - Rear Right View
ght View
Do not touch the glass surface of the lamp. Fingerprints left on the surface can
lead to an intense accumulation of heat called a “hotspot”, which could potentially
result in the lamp shattering. It is recommended you wear clean, lint-free gloves
and a face shield when working with the lamp.
1. TURN THE LAMP OFF
Press
(power) to turn the lamp off. Allow the cooling fans to stop automatically (within
approximately five minutes) before proceeding with Step 2. This wait period is also required
to allow the lamp to sufficiently cool before handling.
2. UNPLUG THE PROJECTOR
When the cooling fans have stopped, turn the projector’s main switch off, and unplug.
WARNING
Always power down and unplug the projector prior to servicing.
Allow the lamps to cool before handling.
3. REMOVE THE LAMP DOOR
WARNING
Protective gear required. Wear a face shield.
Top View
. sing a #2 Phillips screwdriver, remove the two (2) screws securing the lamp door, which is
U
located at the rear of the projector below the input panel. See Figure 4.2.
Lamp Door - 2 Screws
Figure 4.2. Open Lamp Door
eft View
Wolf Cinema Owner's Manual
4-6
Rear View
Front Right View
nt Right View
ide - Left View
e - Left View
Section 4 ► Maintenance
4. RELEASE THE LAMP LOCK
Pull out and turn the lamp lock lever, which is located to the left of the lamp module, and turn
it ¼ turn counter clockwise to the “unlock” position. See Figure 4.3.
Top View
Figure 4.3. Release the Lamp Lock
Iso - Rear Right View
Rear View
5. REMOVE THE LAMP MODULE
Firmly grasp the lamp by its housing only and pull it straight out (lamp slides along guides)
until it is free. See Figure 4.4. Discard the lamp using safe disposal/recycling practices.
Figure 4.4. Remove the Lamp Module
6. INSERT THE NEW LAMP MODULE
Align the new lamp with the top and bottom guides on the left side of the lamp compartment
(see Figure 4.5). Slide the lamp all the way in – a slightly harder push may be required right
at the end to ensure it’s fully seated into the terminal block.
Top View
NOTE: The lamp module must make full contact with the terminal block. The projector will
not power up again if the lamp is not fully connected to the terminal block.
Figure 4.5. Insert New Lamp Module
Rear View
WARNING
Improper installation could cause a serious meltdown inside the projector.
4-7
Wolf Cinema Owner's Manual
Sid
Section 4 ► Maintenance
7.LOCK IN THE NEW LAMP MODULE
Pull out and turn the lamp lock lever (turned up in Step 4) ¼ turn clockwise to “lock” the lamp
in place.
NOTE: If you can’t turn the lamp lock into position, it is likely the lamp is not fully inserted. In
this case, partially remove the lamp and try pushing it back in again. Then, try switching the
lock lever to the “lock” position.
8. REPLACE THE LAMP DOOR
Replace the lamp door and secure it with the two (2) screws removed in Step 2.
IMPORTANT: The lamp module is calibrated for maximum performance and brightness in
this projector. Do not attempt to re-align or adjust the lamp module.
9.
•
•
•
•
RECORD THE SERIAL NUMBER OF THE NEW LAMP
Plug in the projector and power it up.
In the Lamp menu, select “Change Lamp”.
In the Lamp S/N text box, enter the serial number.
Press to record the number and to reset the lamp timer. The timer will now begin to log time
for the new lamp.
1.
2.
3.
4.
5.
6.
7.
8.
L amp
Lamp Hours 0
Lamp S/N ?
Lamp Message
Lamp Limit 1000
Lamp Mode Power
Power 500
Intensity 0
Iris 3
Lamp History
Change Lamp
New serial# entry
automatic ally updates
Lamp History...
Lamp S/N
...and resets Lamp
Hours to “0”
Wolf Cinema Owner's Manual
L amp
S/N
5679
1234
His tory
Hours
1001
0
IMPORTANT: If you neglect to enter a serial number, the lamp timer will not reset to “0” and
will therefore be inaccurate. The lamp life limit may then expire prematurely.
4-8
Section 4 ► Maintenance
4.5 Replacing the
Projection Lens
STEP 1 >
A variety of lenses can accommodate different throw distances and specific types of installations.
Refer to Section 6 - Specifications for details. To change a lens, follow the steps below. No tools
are required for “compact” lenses shown.
Turn off the projector, cool and unplug
NOTE: If necessary, a lens can be swapped out while the projector is running, but this can result
in dust being drawn into the projector. Avoid if possible.
Before removing or installing any lens, turn off the projector and allow the fans to cool the lamp
before unplugging the projector. Ensure that the lens cap is on.
WARNING
Unplug the projector.
Figure 4.8. Lens Assembly
STEP 2 >
Install the lens cap and press the lens release button.
See Figure 4.9.
Figure 4.9. Depressing Lens Release
4-9
Wolf Cinema Owner's Manual
Section 4 ► Maintenance
STEP 3 >
Rotate the lens
Rotate the lens counterclockwise until the tabs are
free from the lens retainer ring.
See Figure 4.10A.
NOTE: The connector slide
assembly allows the connector
to move as the lens is rotated.
STEP 4 >
Pull lens out
Lens connectors will disconnect
when you pull the lens straight
out from the projector. See
Figure 4.10B.
STEP 5 >
Insert new lens
Figure 4.10. Rotating the Lens
NOTE: Remove small rear cap! Keep front cap on.
•
•
•
•
Electrical connector: Line up male connector on the lens with the female connector on the
connector slide assembly.
Insert lens: Align the tabs on the lens plate lock with the slots in the lens retainer ring. Push
the lens in approximately ½ inch.
Rotate the lens: Rotate the lens clockwise until the tabs are tightly secured and the lens
release button CLICK.
Secure lock-down screws (optional): For added
stability, secure the adjustment screws provided
on the lens-retaining ring (see Figure 4.11). If you
have installed a large zoom lens, one or more of the
screws may be inaccessible—simply tighten those
that are accessible (Figure 4.12).
NOTE: Recommended for heaviest lenses such as
0.73:1 and 1.2:1.
STEP 6 >
Power Up
Remove the lens cap and power up the projector.
STEP 7 >
Reposition the Projector for New Lens
Reposition the projector closer or further from the
screen as necessary for the screen and the new lens
type – refer to lens descriptions in Section 2, Section
6 and Appendix D, Throw Distance. In a permanent
installation, always use the appropriate throw distance
formula to calculate the best position for the projector.
Figure 4.11. Adjustable Screws on
Retaining Ring
Figure 4.10. View with Zoom Lens installed
Wolf Cinema Owner's Manual
4-10
Section 5
SPECIFICATIONS
DCX-500i and
DCX-500FD
DCX-500i
DCX-500FD
Light Engine
Cinema Contrast three chip DLP™ light engine
Cinema Contrast three chip DLP™ light engine
Color Filter
Filmic Color Correction Filter
Filmic Color Correction Filter
Lamp
Xenon lamp 500W
Xenon lamp 500W
Lens System
VariScope constant height lens system
VariScope constant height lens system
Lens Options †
.67:1** RP lens
1.1:1** FP lens
1.45-1.8:1*
.67:1** RP lens
1.1:1** FP lens
1.45-1.8:1*
Gamma
Correction
Film 1 Correction
Film 2 Correction
B&W Film Correction
Incandescent Light Correction
Fluorescent Light Correction
Sunlight Correction
Film 1 Correction
Film 2 Correction
B&W Film Correction
Incandescent Light Correction
Fluorescent Light Correction
Sunlight Correction
Picture Quality
Multi Standard Color Management and
Calibration Control
White Field Uniformity/Correction
Multi Standard Color Management and
Calibration Control
White Field Uniformity/Correction
Communications
RS232 in and out
IR input
Wolf Sentry IP monitoring and control
RS232 in and out
IR input
Wolf Sentry IP monitoring and control
Inputs
6 HDMI 1.3 inputs (1 on front panel),
2 Component, 1 S-Video, 1 Composite
6 HDMI 1.3 inputs (1 on front panel),
2 Component, 1 S-Video, 1 Composite
Outputs
1 HDMI 1080P Video (set to native rate of
display)
1 HDMI audio loop out with delay
1 HDMI 1080P Video (set to native rate of
display)
1 HDMI audio loop out with delay
Contrast Ratio
2,500- 50,000:1 full on/off ***
2,500- 50,000:1 full on/off ***
Lumens
2500***
2500***
Lamp Life
2500 to 4000 depending on lamp power setting
2500 to 4000 depending on lamp power setting
Power
100 VAC to 240 VAC ± 10% @ 50/60 Hz,
Power consumption: 900W maximum,
Thermal dissipation: 3000 BTU/hr,
Operating current: 9.5A @ 100V/5A @ 200V
100 VAC to 240 VAC ± 10% @ 50/60 Hz,
Power consumption: 900W maximum,
Thermal dissipation: 3000 BTU/hr,
Operating current: 9.5A @ 100V/5A @ 200V
Dimensions
Length: 21 1/2
Width: 28 1/4
Height: 11 1/2
Length: 41 5/8
Width: 29 7/8
Height: 12 1/8
Dimensions with
VariScope 2.35
Length: 31 3/4
Width: 28 1/4
Height: 11 1/2
Length: 41 5/8
Width: 29 7/8
Height: 12 1/8
Options
VariScope 2.35
Automated 2.35 lens and motor for use with
VariScope lenses
Wolf Warp
Geometric distortion correction for more flexible
installation solutions
VariScope 2.35
Automated 2.35 lens and motor for use with
VariScope lenses
Wolf Warp
Geometric distortion correction for more flexible
installation solutions
1.86-2.58:1*
2.65-4.0:1*
4.5-6.7:1*
1.86-2.58:1*
2.65-4.0:1*
4.5-6.7:1*
** VariScope feature not available with this lens option.
** VariScope feature not available with this lens option.
*** Depending on lamp power setting, installed iris and iris setting.
5-1
Wolf Cinema Owner's Manual
Section 5 ► Specifications
DCX-1000i and
DCX-1000FD
DCX-1000i
DCX-1000FD
Light Engine
Cinema Contrast three chip DLP™ light engine
Cinema Contrast three chip DLP™ light engine
Color Filter
Filmic Color Correction Filter
Filmic Color Correction Filter
Lamp
Xenon lamp 1000W
Xenon lamp 1000W
Lens System
VariScope constant height lens system
VariScope constant height lens system
Lens Options †
.67:1** RP lens
1.1:1** FP lens
1.45-1.8:1*
.67:1** RP lens
1.1:1** FP lens
1.45-1.8:1*
Gamma
Correction
Film 1 Correction
Film 2 Correction
B&W Film Correction
Incandescent Light Correction
Fluorescent Light Correction
Sunlight Correction
Film 1 Correction
Film 2 Correction
B&W Film Correction
Incandescent Light Correction
Fluorescent Light Correction
Sunlight Correction
Picture Quality
Multi Standard Color Management and
Calibration Control
White Field Uniformity/Correction
Multi Standard Color Management and
Calibration Control
White Field Uniformity/Correction
Communications
RS232 in and out
IR input
Wolf Sentry IP monitoring and control
RS232 in and out
IR input
Wolf Sentry IP monitoring and control
Inputs
6 HDMI 1.3 inputs (1 on front panel), 2
Component, 1 S-Video, 1 Composite
6 HDMI 1.3 inputs (1 on front panel), 2
Component, 1 S-Video, 1 Composite
Outputs
1 HDMI 1080P Video (set to native rate of
display)
1 HDMI audio loop out with delay
1 HDMI 1080P Video (set to native rate of
display)
1 HDMI audio loop out with delay
Contrast Ratio
2,500- 50,000:1 full on/off ***
2,500- 50,000:1 full on/off ***
Lumens
5500***
5500***
Lamp Life
2500 to 4000 depending on lamp power setting
2500 to 4000 depending on lamp power setting
Power
100 VAC to 240 VAC ± 10% @ 50/60 Hz,
Power consumption: 1500W maximum, Thermal
dissipation: 5460 BTU/hr, Operating current:
10.4A @ 100V/8A @ 200V
100 VAC to 240 VAC ± 10% @ 50/60 Hz,
Power consumption: 1500W maximum, Thermal
dissipation: 5460 BTU/hr, Operating current:
10.4A @ 100V/8A @ 200V
Dimensions
Length: 21 1/2
Width: 28 1/4
Height: 11 1/2
Length: 41 5/8
Width: 29 7/8
Height: 12 1/8
Dimensions with
VariScope 2.35
Length: 31 3/4
Width: 28 1/4
Height: 11 1/2
Length: 41 5/8
Width: 29 7/8
Height: 12 1/8
Options
VariScope 2.35
Automated 2.35 lens and motor for use with
VariScope lenses
Wolf Warp
Geometric distortion correction for more flexible
installation solutions
VariScope 2.35
Automated 2.35 lens and motor for use with
VariScope lenses
Wolf Warp
Geometric distortion correction for more flexible
installation solutions
1.86-2.58:1*
2.65-4.0:1*
4.5-6.7:1*
** VariScope feature not available with this lens option.
** VariScope feature not available with this lens option.
*** Depending on lamp power setting, installed iris and iris setting.
Wolf Cinema Owner's Manual
5-2
1.86-2.58:1*
2.65-4.0:1*
4.5-6.7:1*
Section 5 ► Specifications
DCX-1500i and
DCX-1500FD
DCX-1500i
DCX-1500FD
Light Engine
Cinema Contrast three chip DLP™ light engine
Cinema Contrast three chip DLP™ light engine
Color Filter
Filmic Color Correction Filter
Filmic Color Correction Filter
Lamp
Xenon lamp 1225W
Xenon lamp 1225W
Lens System
VariScope constant height lens system
VariScope constant height lens system
Lens Options †
.67:1** RP lens
1.1:1** FP lens
1.45-1.8:1*
.67:1** RP lens
1.1:1** FP lens
1.45-1.8:1*
Gamma
Correction
Film 1 Correction
Film 2 Correction
B&W Film Correction
Incandescent Light Correction
Fluorescent Light Correction
Sunlight Correction
Film 1 Correction
Film 2 Correction
B&W Film Correction
Incandescent Light Correction
Fluorescent Light Correction
Sunlight Correction
Picture Quality
Multi Standard Color Management and
Calibration Control
White Field Uniformity/Correction
Multi Standard Color Management and
Calibration Control
White Field Uniformity/Correction
Communications
RS232 in and out
IR input
Wolf Sentry IP monitoring and control
RS232 in and out
IR input
Wolf Sentry IP monitoring and control
Inputs
6 HDMI 1.3 inputs (1 on front panel), 2
Component, 1 S-Video, 1 Composite
6 HDMI 1.3 inputs (1 on front panel), 2
Component, 1 S-Video, 1 Composite
Outputs
1 HDMI 1080P Video (set to native rate of
display)
1 HDMI audio loop out with delay
1 HDMI 1080P Video (set to native rate of
display)
1 HDMI audio loop out with delay
Contrast Ratio
2,500- 50,000:1 full on/off ***
2,500- 50,000:1 full on/off ***
Lumens
7250***
7250***
Lamp Life
2500 to 4000 depending on lamp power setting
2500 to 4000 depending on lamp power setting
Power
200 VAC to 240 VAC ± 10% @ 50/60 Hz,
Power consumption: 2000W maximum, Thermal
dissipation: 6825 BTU/hr, Operating current: 10A
@ 200V
200 VAC to 240 VAC ± 10% @ 50/60 Hz,
Power consumption: 2000W maximum, Thermal
dissipation: 6825 BTU/hr, Operating current: 10A
@ 200V
Dimensions
Length: 21 1/2
Width: 28 1/4
Height: 11 1/2
Length: 41 5/8
Width: 29 7/8
Height: 12 1/8
Dimensions with
VariScope 2.35
Length: 31 3/4
Width: 28 1/4
Height: 11 1/2
Length: 41 5/8
Width: 29 7/8
Height: 12 1/8
Options
VariScope 2.35
Automated 2.35 lens and motor for use with
VariScope lenses
Wolf Warp
Geometric distortion correction for more flexible
installation solutions
VariScope 2.35
Automated 2.35 lens and motor for use with
VariScope lenses
Wolf Warp
Geometric distortion correction for more flexible
installation solutions
1.86-2.58:1*
2.65-4.0:1*
4.5-6.7:1*
1.86-2.58:1*
2.65-4.0:1*
4.5-6.7:1*
** VariScope feature not available with this lens option.
** VariScope feature not available with this lens option.
*** Depending on lamp power setting, installed iris and iris setting.
5-3
Wolf Cinema Owner's Manual
Appendix A
KEYPAD REFERENCE
NOTE: The IR remote is a standard component provided with the projector. Use the extension
cable also provided to convert the IR remote to a wired remote, if desired. Refer to Section 3 for
a specific description of each key and how to use them correctly.
Quick
Setup
Quick Setup
Press and hold to toggle or press twice to toggle or press and release, followed by ▲ ON or ▼ OFF
* Toggle keys, which require you to either, press and hold, or press twice or press and use the
up/down arrow key.
A-1
Wolf Cinema Owner's Manual
Appendix B
SERIAL COMMUNICATIONS
A serial link of RS232 or RS422 enables ASCII communication with the projector so
that it can be controlled remotely from a PC or other controller. From a PC, connect
a standard nine-wire RS232 serial cable to the RS232 IN port. Or, for long-distance
(>100 ft.) links with an RS422-compatible PC or controller, connect RS422 cable to the
RS422 port.
B-1
Wolf Cinema Owner's Manual
Appendix B ► Serial Communications
Quick Start
DCX Projector Serial Communications
Protocol:
Baud Rate:
115200
Data Bits:
8
Parity:None
Stop Bits:
1
Flow Control:None
Wolf Cinema Owner's Manual
Controls:
Power
ON
OFF
Command String
(PWR 1)
(PWR 0)
Command String
(CHA1)
(CHA2)
(CHA3)
(CHA4)
(CHA5)
(CHA6)
(CHA7)
(CHA8)
(CHA9)
(CHA10)
(CHA11)
(CHA12)
(CHA13)
(CHA14)
(CHA15)
(CHA16)
(CHA17)
(CHA18)
(CHA19)
(CHA20)
----To---(CHA99)
Input Select
Channel 1
Channel 2
Channel 3
Channel 4
Channel 5
Channel 6
Channel 7
Channel 8
Channel 9
Channel 10
Channel 11
Channel 12
Channel 13
Channel 14
Channel 15
Channel 16
Channel 17
Channel 18
Channel 19
Channel 20
------To-----
Channel 99
B-2
Appendix B ► Serial Communications
1. Overview
Overview
This document describes how to use ASCII text communications to control one or more of the
following Wolf Cinema projectors from a remote location:
•
•
•
•
•
•
DCX-500i
DCX-500FD
DCX-1000i
DCX-1000FD
DCX-1500i
DCX-1500FD
CONNECTION and USE: Once you have connected your computer to either the RS232 IN or
RS422 IN port (depending on which standard is supported by your computer) or to the ETHERNET
port on a projector listed above, you can remotely access projector controls and image setups,
issue commands or queries, and receive replies. Use these bi-directional messages to:
•
•
•
•
Control multiple projectors
Obtain a projector’s status report
Monitor sequences of events
Diagnose performance problems
NOTES: 1) Refer to the User’s Manual provided with the projector for all cable requirements and
other connection details. 2) Some commands are operational only when projector is powered
up.
2. Understanding
Message Format
Understanding Message Format
All “remote control” information passes in and out of the projector as a simple text message
consisting of a three letter command code and any related data. Opening and closing round
brackets (parentheses) surround each message as shown below. Messages can be a command
to set a projector parameter at a specific level, such as changing to a certain channel. Or the
controller can request information, such as what channel is currently in use—the projector then
returns the data in a reply message. Regardless of message type or origin, all messages use
the same basic format and code as shown here.
Function
Examples
)
SET (set channel to 24)
(CHA 24)
or
(CHA24)
)
REQUEST (what's current channel?)
)
REPLY (channel is 24)
Message Format
(
From
Controller
Code
Data
(
From
Projector
(
Code
Code
!
Data
?
(CHA?)
(CHA!24)
Figure 1. . The 3 Message Formats (SHADED MESSAGE IS FROM PROJECTOR)
Where applicable, a message may expand to include additional parameters of related details.
And, if desired, you can choose to include optional information such as acknowledgements,
checksums, and network addressing.
B-3
Wolf Cinema Owner's Manual
Appendix B ► Serial Communications
2.1 Basic Message
Structure
Basic Message Structure
The following component fields comprise a standard ASCII message. Optional fields, such as
extra characters for special modes, restrictions or added functionality, are shown in shaded
areas.
START AND END OF MESSAGE: Every message begins with the left “(“character and ends
with the right “)“ character. Note that if the start character is received before an end character of
the previous message, the partial (previous) message is discarded.
PREFIX CHARACTERS (OPTIONAL): For acknowledgement that the projector has responded,
and/or to maximize message integrity, insert one or two special characters before the 3-character
function code:
$ Acknowledgment. See 2.4, Maximizing Message Integrity
& Checksum. See 2.4, Maximizing Message Integrity
FUNCTION CODE: The projector function you wish to work with, such as channel selection or
gamma, is represented by a three-character ASCII code (A-Z, upper or lower case). This function
code appears immediately after the leading “(“ that starts the message. In messages sent to the
projector, a space between the function code and the first parameter (or special character) is
optional.
REQUEST/REPLY SYMBOLS: If the controller is requesting information from the projector,
a “?” question mark appears directly after the function code. If the projector is replying, a “!”
exclamation mark appears directly after the function code. For set messages to the projector,
neither of these characters appear—the code is followed by the data itself (see next).
OTHER SPECIAL FUNCTIONS (OPTIONAL): To add functionality to the current message,
include one or more of the following special characters between the function code and first
parameter. If more than one (M SP), add in any order.
A
E
G
H
I
K
L
M
N
S
T
P
Auto Mode adjustment (rare—for video standard selection only). See 2.6, Other Special Functions
Enable Control Inquiry. See 2.6, Other Special Functions
Global Control Inquiry. See 2.6, Other Special Functions
Return the Help text for a control. See 2.6, Other Special Functions
Used as an index for controls containing many values. See 2.6, Other Special Functions
Keypad emulation. See 2.6, Other Special Functions
Return a list of options for ‘list’ controls. See2.6, Other Special Functions
Find min/max adjustments (i.e., range). See 2.6, Other Special Functions
Return the name of the control. See 2.6, Other Special Functions
Adjust a specific source setup only. See 2.6, Other Special Functions
Return the type of control (i.e. Slidebar etc.). See 2.6, Other Special Functions
Adjust image in PIP window. See 2.6, Other Special Functions
DATA: The value for a given projector state, such as “on” or “off”, appears in ASCII-decimal
format directly after the request/reply symbol. You can add an optional space after the symbol—
i.e., before the data—in a set message, but data in replies follow the “!” symbol without a space.
Other details to remember about data:
•
•
•
All values returned by the projector (reply messages) have a fixed length of either 3 or
5 characters regardless of the actual value—the value is padded with leading zeros as
necessary.
Data in set messages to the projector does not require padding with zeros.
For any given parameter, data is always the same number of characters. E.g., the shutter
value, which is either “on” (1) or “off” (0) is always 3-digits: 001 or 000.
Appendix B ► Serial Communications
•
•
•
Within each message, multiple parameters of data must be separated by one “space”
character.
Data pertaining to a source setup other than the current source setup is preceded by: the
letter “S”, the source setup number (i.e., channel), and a space. This is similar to an “extra”
parameter P0.
Text parameters such as channel names are enclosed in double quotes following the data,
as in “Name”.
TEXT PARAMETERS: Most data is simply a numerical value, however some messages also
require text. For example, a channel naming message typically includes a text-based name
after the channel number—enclose this text in double quotation marks, as in “Tilt the Wagon”.
Use all characters as desired except for the following special characters shown in the left column
below—these require a 2-character combination as shown:
Table 1. Special Characters for Text
If you want this...
2.2 Sampling Messages
and Their Meaning
Enter this...
Description
\
\\
Backslash
“
\“
Quote
(
\(
Left bracket
)
\)
Right bracket
0x01
\b
Start of binary message (control code)
0x0A
\n
New line - if the text can be displayed on more than one
line, this will set the line break.
0x1B
\x
control code (ESC)
0x0E
\e
End of binary message (control code)
0x11
\g
Xon (control code)
0x13
\s
Xoff (control code)
Sampling Messages and Their Meaning
Desired Action
Message
Get current Chan#
(CHA?)
Description
Request by controller for current channel #
Chan# reply from proj.
(CHA!24)
Reply from proj. that current channel is 24
Set Chan#
(CHA 24)
Switch to the first channel on the TPC
Get on-screen display status
On-screen display is disabled.
Set on-screen display to ON
B-5
(OSD?)
(OSD!000)
(OSD 1)
Request by controller for OSD state.
Reply from proj. that menus are not displayed
Turn the menu system on.
Wolf Cinema Owner's Manual
Appendix B ► Serial Communications
• For Single Projector
• For Broadcasting
Message Format
(
Code
(
(
!
$
Code
)
?
Code
Code
(
)
Data
&
Code
Data
Examples
SET (set contrast to 64)
(con64)
REQUEST
(Con?)
(what's current contrast?)
Data
)
REPLY (contrast is 64)
(CON!064)
Data
)
SET AND
ACKNOWLEDGE MESSAGE
($con64)
SET WITH CHECKSUM
(&CON64 240)
Function
Examples
(message processed?)
space
(
Function
)
Checksum
• For Specific Projector Within a Network
• 1 Controller Present
Message Format
(
(
Dest. Addr.
Code
Data
)
SET (turn proj.#5 on)
(5pwr1)
$
Dest. Addr.
Code
Data
)
SET AND
ACKNOWLEDGE MESSAGE
($5pwr1)
Function
Examples
REQUEST (get contrast from
(5 2con?)
SET AND
ACKNOWLEDGE MESSAGE
($5 2con?)
REPLY (from proj. #5 to
controller #2: contrast is 64)
(002 005CON!064)
(message processed?)
• For Specific Projector Within a Network
• Multiple Controllers Present
Message Format
space
(
Dest. Addr.
Src.
Code
?
)
Src.
Code
Data
)
proj. #5 to controller #2)
space
(
$
Dest. Addr.
(is message from controller #2
processed by proj. #5?)
space
(
2.3 What is Actually
Sent in a Message
$
Src.
Dest. Addr.
)
Data
Code
What is Actually Sent in a Message
Although you will send and read messages as strings of ASCII characters, the actual message
travels as a sequence of bytes. Each character in this sequence requires 1 byte. See example
below, which illustrates a “lamp limit is 2000 hours” reply from the projector.
ASCII =
HEX =
(
L
P
L
!
2
0
0
0
)
0x28
0x4c
0x50
0x28
0x21
0x32
0x30
0x30
0x30
0x29
Figure 2. ASCII as Hex
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Appendix B ► Serial Communications
2.4 Maximizing Message
Integrity
Maximizing Message Integrity
For additional reassurance and/or maximum message integrity, you can insert one or two special
characters:
ACKNOWLEDGMENTS: If you want Message from Controller
Next Message from Controller
assurance from the projector (or group
Message
( $
Code
Data )
of projectors) that a set message has ( $ Code Data ) Processed
been processed, request this simple
$
$
acknowledgment by inserting a “$”
just after the start code “(“. When the
Simple Acknowledge from Projector
projector executes the required action
(such as a source switch, for example), the projector will send a “$” (only) back. This is a
quick way to confirm success with set messages, and is particularly useful with long-distance
communication links or where the projectors and/or images are not visible from the controller.
Acknowledgements can also be a type of flow control. Note that requesting an acknowledgement
serves no purpose when included in a request message, since the acknowledgement will be
redundant to the actual reply from the projector. However, if requested, the “$” acknowledgement
from the projector will follow the reply.
CHECKSUMS: For maximum message integrity, add a checksum character “&” just after the “(“
as shown below. You must then also include the correct checksum total (0-255) just before the
“)” end code. Make sure to add a space before the calculated checksum to separate it from the
last data parameter:
(&con64 240)
The checksum is the low byte of the sum of the ASCII values of all characters between the “(“
and the beginning of the checksum. Calculate the checksum for the above “set contrast to 64”
command as follows:
CHECKSUM EXAMPLE
= & + c + o + n + 6 + 4 + ‘space’
= 26h+63h +6Fh +6Eh +36h +$34h +$20h
= 01F0h
= F0h when only the low byte is used
= 240
The projector collects all of the message bytes as defined in the first byte of the message, then
creates its own checksum value for comparison with the checksum included in the controller’s
message. If the values match, the message is considered to have been correctly received—
otherwise the message is discarded.
NOTES: 1) ‘h’ indicates a hex number. 2) If a “request” message has a checksum so will the
reply. 3) If using both “acknowledge” and “checksum”, either character can occur first.
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Appendix B ► Serial Communications
2.5 Accessing Specific
Source Setups
Accessing Specific Source Setups
For ASCII messages described in this document, it is assumed you are adjusting the current
source setup (channel) rather than a different specific one. However, for several commands
(for example, ASR, Auto Source) you can direct the message to particular source setup. To do
this, insert an “S” and a source# (such as “S5”) before the parameter value—the source setup
number can be thought of as a “P0” parameter prior to the first parameter, and can be preceded
with an optional space. For example:
(ASR S25 1) = Turn Auto-Source on for source setup #25
Use “S0” if your setting should be applied to all source setups (channels):
(ASR S0 1) = Turn Auto-Source on for all source setups
The “S” source setup function cannot be used for parameters affecting the projector as a whole
such as projector address.
Other Examples:
(ASR 1) = Turn ASR on for the current source setup
(ASR? S5) = What is the ASR status for source setup #5?
(ASR!S005 001) = ASR is on for source setup #5
(ASR? S7)
= What is the ASR status for source setup #7?
(ERR 006 "ASR: Source does not exist")
= Source setup #7 does not exist
(ASR?)
= What is the ASR status for current source setup?
(ASR!000)
= ASR is off for current source setup
2.6 Other Special
Functions
Other Special Functions
To add functionality to a message, include one or more of the following special characters directly
after the start code “(“. If you add more than one, they can be in any order.
PARAMETER LIMITS: For single-parameter projector function codes, you can find out the
current range of adjustment by adding the letter “M” to your request message. For example:
(LPL?M)
What is the minimum and maximum lamp limit?
(LPL!M000 5000)Minimum lamp limit = 0, maximum lamp limit = 5000.
Ranges cannot be determined in this manner if the function has multiple parameters. Note also
that for text-based parameters, the “M” values represent the shortest and longest text strings
possible.
“AUTO” MODE: For certain projector functions, you can add the letter “A” to your set message if
you want software to choose the appropriate setting. A reply with an “A” indicates that the choice
was auto-selected. For example:
(STD A)
Set the video standard to the most appropriate option.
(STD?)
What is the current video standard?
(STD!A4)
The video standard was automatically set to option 4 (such as PAL-M).
Note that in these projectors, auto mode is supported only for selecting a video standard.
Although other functions (such as Motion Filter) may offer an “Auto” choice in its list of options,
a reply message from the projector will not include “A” to indicate that “Auto” it is selected—auto
is simply an option chosen like any other.
ADJUSTING A PIP IMAGE: When there are two images on screen, all messages affect the
primary image—that is, the larger “background” image. To direct a message to the PIP window
instead, add the letter “P” to your set message. For example:
(CON P47)In the PIP window, set contrast to 47.
(STD? P)
What is the current video standard used in the PIP window?
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Appendix B ► Serial Communications
HELP TEXT: To have the Help Text for a specific command returned as a reply from the projector,
add the letter “H” to your request message. For example:
(CON?H)
What is the help text for the Contrast Control?
(CON! “The Contrast is crushed”)Reply from the projector.
GLOBAL INQUIRY: Add the letter “G” in your request message to find out if the control is global.
A reply of “001” is returned if the control is global. For example:
(BDR?G)Is BDR a global control?
(BDR!001)
BDR is a global control.
INDEX VALUE: When a control uses indexes for multiple values, insert an “I” into your request
message to fin out the specific value of the index parameter. For example:
(BRU? I22)
What is the value for White Field Uniformity specified by index 22?
(BRU! 123)
The value is 123 for index 22.
ACCESSING A LIST: For a control with a list of available options, add the letter “L” to your
request message to get a reply of the available options in that list control in the order they appear
in the menu. The reply message includes the following four parameters:
P1=1, item selectable
P2=1, item displayable
P3=value of item
P4=text for item
Examples:
(STD?L)
What are the list options for the STD list control?
(STD!L001 001 00008 “Auto”)
(STD!L001 001 00007 “NTSC”)
(STD!L001 001 00003 “NTSC4.43”)
(STD!L001 001 00000 “PAL”)
(STD!L001 001 00004 “PAL-M”)
(STD!L001 001 00005 “PAL-C”)
(STD!L001 001 00006 “PAL-60”)
(STD!L001 001 00002 “SECAM”)
(STD!L001 001 00009 “?”)
(STD!L111 “—END—”)
The end of the list is marked with P1=111. You can also access the text for a specific item in that
list by adding the value of that item after the L. For example:
(STD?L4)
What is the text for item for in the Video Standard list?
(STD!L001 001 00004 “PAL-M”)
CONTROL NAME: To find out the name of the control you are using, add the letter “N” to your
request message. If the control uses indexes for multiple values, insert the index number after
the “N” to read the name of the index. For example:
(CON?N)
What is the name of the CON control?
(CON! “Contrast”)
(BRU?N2)
What is the name for index parameter 2 for BRU?
(BRU! “Left Side, R”)
(BRU?N6)
What is the name for index parameter 6 for BRU?
(BRU! “Top Left Corner, R”)
CONTROL TYPE: To find out the type of control it is that you are using, add the letter “T” to
your request message. If indexes are being used for control with multiple values, insert the
index parameter after the “T” to find out the type of control that the index is. For some slide
bar or number controls, an additional parameter may be returned to specify the number of
decimal places the control uses and if the control is to be displayed as a percentage (0=min and
100=max). If the reply message does not contain the letter “T”, than this function is invalid for
that control. The parameters for control types are:
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Appendix B ► Serial Communications
0 = Special Format
1= Slide Bar
2 = Checkbox
3 = List
4 = Number
5 = Text
6 = “Reserved Control”
7 = Date
8 = Time
9 = IP (dotted quad)
Examples:
(STD?T) What type of control is STD?
(STD! T003) STD is a List.
(CON?T) What type of control is CON?
(CON! T001 %000) CON is a slidebar that is currently at 0%.
(EBB?T8) What type of control is index parameter 8 of EBB?
(EBB! T004 237) EBB is a number control and it’s current value is 237.
ENABLE INQUIRY: Add the letter “E” in your request message to find out if the control is
enabled in the current context. A reply of “001” is returned if enabled. If the control has and index
for multiple values, that index should be used to read the enable status.
(STD?E)Is STD enabled in the current context?
(STE!E001) STD is enabled.
KEYPAD EMULATION: Add the letter “K” in your set message to change to a quick “keypad
mode” within the message. The next value in the message now represents the adjustment of
the parameter.
K0
Stop the adjustment
K1
Toggle check box state
K2
Start decreasing a value, or moving the current image left/up
K3
Start increasing a value, or moving the image right/down
Examples:
(LHO K2)
(LHO K0)
(FRZ K1)
Start moving the image left
Stop moving the image horizontally
Freeze or unfreeze the image on the active window
Keypad emulation is required in APR, FCS, LHO, LVO and ZOM messages set messages.
2.7 Flow Control
Flow Control
Normally messages can be sent to the projector before processing of earlier messages is
complete—the projector will just store messages in a buffer until ready to process. However, if
a series of messages is sent it is possible that the projector may not be able to process them as
fast as they arrive and the buffer will become full. If this happens, the projector will send the 13h
(Xoff) code to instruct the controller (or any devices preparing to transmit) to cease transmission.
At this point, the controller must respond immediately and send no more than 10 extra characters
or they may be lost (i.e., the projector is able to accommodate the receipt of up to 10 more bytes
after it sends 13h [Xoff]). When the buffer is once again available, the projector will send a 11h
(Xon) command to resume transmission.
NOTE: Xon and Xoff controls apply to both directions of communication. The projector will not
send more than 3 characters after it has received a 13h (Xoff) code.
FLOW CONTROL WITH “ACKNOWLEDGE”: If the controller waits for each message to be
acknowledged before sending the next and the controller does not send a message that is longer
than 20 characters, then the projector will never send an Xoff and the controller does not have
to handle them. If the projector has not received an Xon after receiving an Xoff code, after a time
out it will assume that the Xon was lost and start transmitting again. If the controller has received
an Xoff and no Xon within a reasonable time, it can assume that the Xon was lost. These two
time outs are projector-specific and are in the range of 3s-60s.
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Appendix B ► Serial Communications
3. ASCII Codes
ASCII Codes
This section lists all ASCII message codes for controlling the projectors listed on page 3. To
fully understand how an adjustment works or what it does in the projector and/or image, always
consult the User’s Manual provided with your projector.
General Notes to Remember:
•
•
•
When a parameter for a specific source setup is accessed (see 2.5 Accessing Specific
Source Setups) an “S” is inserted between the command code (space) and P1 (no space
The smallest increment for adjusting any parameter is always 1.
For some controls (Contrast, e.g.), the value displayed on the screen is a percentage while
the actual hardware has a range of 0-255. In these cases, remember that ASCII values
are correlations to the screen values, and will not match numerically (ASCII 0 = 0%, ASCII
128=50.2%, etc.).
3.1 ACE
Auto Color Enable
ACE Auto Color Enable
Use to automatically project a specific color or colors when working with controls such as Input
Levels, Odd Pixel Adjustment, Color Temp Adjust adjustments, etc.
3.2 ADR
Projector Number
ADR Projector Number
ADR identifies or sets the projector’s assigned number (0-999) so that it can be controlled
separately within a group of linked projectors. To change the Ethernet IP address via ASCII, see
XIP.
3.3 AGC
Automatic Gain Control
AGC Automatic Gain Control
AGC automatically tracks the sync amplitude of the incoming signal.
3.4 AIL
Auto Input Levels
AIL Auto Input Levels
AIL allows the projector to continuously monitor the input signal levels and make adjustments as
necessary to prevent crushing.
3.5 APJ
Active Projector
APJ Active Projector
Use APJ to temporarily disable (0) or enable (1) the IR and wired keypad inputs to a specific
projector in a network of projectors. APJ is essentially the same as using the Proj key, and is
best understood as a way of changing a projector’s listening status even though
and Proj
still work. NOTES: 1) APJ does not affect the built-in keypad. 2) An APJ to disable the keypad
does not change the state of the Communications menu checkboxes for Front IR, Rear IR, Wired
keypad—these will remain checked (on). 3) The keypads revert to “enabled” after a power-down,
or if the projector is unplugged and plugged in again.
3.6 APR
Iris
APR Iris
Used APR to adjust the Iris size from 0-9. Raise to improve contrast, lower to improve
brightness.
(APR K2) - start increasing the aperture size (higher brightness)
(APR K3) - start decreasing the aperture size (higher contrast)
(APR K0) - stop changing the aperture size
To “nudge” the aperture size, script in a delay between (APR K3) and (APR K0). Depending on
your application, a delay of at least 20-30 milliseconds may be sufficient.
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Appendix B ► Serial Communications
3.7 APW
Auto Power Up
APW Auto Power Up
Set APW to automatically power up (1) or remain off (0) after a power failure.
3.8 ARO
Aspect Ratio Overlay
ARO Aspect Ratio Overlay
This is a function used when setting up the projector. When turned on (1), it overlays a number
of common aspect ratio boxes on top of the source image. Turning off the overlay (0), will return
to your source image.
3.9 ASR
Auto Source
ASR Auto Source
Use ASR to automatically select a particular source setup (P1= S1-50) when switching channels.
Enable (P2=1) or disable (P2=0) this function as desired. See section see 2.5 Accessing Specific
Source Setups.
NOTE: In an ASR reply, on/off state is P3 and the availability of the source setup is P2. See
below.
3.10 ASU
Auto Setup
ASU Auto Setup
Use ASU to do an Auto Setup of optimized settings based on the incoming signal detected.
3.11 BBL
Bottom Blanking
BBL Bottom Blanking
Use BBL to blank (turn to black) the bottom of the image. Range depends on the incoming
signal.
3.12 BDR or BDS
Baud Rates
Baud Rates
BDR: Set the RS232 (only) baud rate to 1200, 2400, 9600, 19200, 38400, 57600 or 115200.
Omit the “00” if desired.
BDS: Set the RS422 (only) baud rate to 1200, 2400, 9600, 19200, 38400, 57600 or 115200.
Omit the “00” if desired.
Wait at least 2s before sending the first message at the new rate. A reply returns a 7-digit value:
the complete number, plus leading zeros (see below). An invalid setting will trigger an error
message.
3.13 BGC
Gamma Curve
3.14 BKL
Backlight
3.15 BKY
Broadcast Keys
Wolf Cinema Owner's Manual
Examples:
bdr96) (bds38400) (BDR?) (BDR!0019200) (BDS!0115200) Set the RS232 baud rate to 9600
Set the RS422 baud rate to 38400
What is the current RS232 baud rate?
The current RS232 baud rate is 19200
The current RS422 baud rate is 115200
BGC Base Gamma Curve
Select the base gamma curve. “0” represents the default 2.2 curve, 1-21 are user-defined
Arbitrary Gamma Curves.
BKL Backlight
Turn the built-in keypad backlighting off (0) or on (1).
BKY Broadcast Keys
Enable (1) or disable (0) broadcasting of commands to all projectors on a network.
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Appendix B ► Serial Communications
3.16 BLB
Blue Blacklevel
3.17 BLD
Blue Drive
BLB Blue Blacklevel
Set or request the blue Blacklevel (0-511) for a specific source setup.
BLD Blue Drive
Set or request the blue Drive (0-511) for a specific source setup.
3.18 BOG
Blue Odd Gain
BOG Blue Odd Gain
Set or request the blue Odd Gain (0-255) for a specific source setup. You can set an Odd Gain
value for two separate analog input paths. The first input path is Input 1 (BNC connectors). The
second input path is one of: Input 2 (DVI-A connector), or Input 5 or Input 6 (one of the analog
option cards).
To leave one of the input values unaffected, enter a value of 0 for the input. If only one value is
specified, then both input paths will have the same value.
Examples:
(BOG 130 135) Sets the BNC analog path to 130, the DVI/option card path to 135. (BOG 0 120)
Leaves the BNC path as it was, the DVI/option card path to 120. (BOG 125) Sets both paths to
125.
3.19 BOO
Blue Odd Offset
BOO Blue Odd Offset
Set or request the blue Odd Offset (0-255) for a specific source setup. You can set an Odd Offset
value for two separate analog input paths. The first input path is Input 1 (BNC connectors). The
second input path is one of: Input 2 (DVI-A connector), or Input 5 or Input 6 (one of the analog
option cards).
To leave one of the input values unaffected, enter a value of 0 for the input. If only one value is
specified, then both input paths will have the same value.
3.20 BRT
Brightness
BRT Brightness
Set the image brightness from 0-1000. The BRT value represents a percentage, e.g. 1000=100.0
% or 0505=50.5%.
3.21 BRU
White Field Uniformity
BRU White Field Uniformity
Use BRU to adjust light output in the 8 zones around the central zone in the image, and/or to
turn BRU on/off. To find out if BRU is on, send a request with no parameters. The reply will be
“off” (0) or “on” (1).
Examples:
(BRU 2 0 65) Set right red zone to 65.
(BRU 5 G 24) Set top left green zone to 24.
(bru? 0 B) What is the overall brightness of blue?
(bru! 0 B 039) The overall brightness of blue is 39.
(BRU 1) Enable White Field Uniformity feature (if feature is available).
(bru?) What is the status of the Uniformity Enable feature/checkbox?
(bru! 1) White Field Uniformity is Enabled.
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Appendix B ► Serial Communications
Parameter
Description
P1 = Where to adjust?
or (if Wolf WARP and
no other parameters)P1
= Which type of White
Field Uniformity
0 = Overall
1 = Left
2 = Right
3 = Top
4 = Bottom
5 = Top Left
6 = Top Right
7 = Bottom Left
8 = Bottom Right
If Wolf WARP and no P2 or P3 parameters, P1=
0 = Disable
1 = Enable normal White Field Uniformity
2 – 4 = User-defined White Field Uniformity (requires s/w v1.1 or
higher)
3.22 BUS
White Field Uniformity
Select
P2 = Which color to adj.
0 or R = Red
1 or G = Green
2 or B = Blue
P3 = Setting
0 – 255 for “Overall” and 0 – 127 for all other zones
BUS White Field Uniformity Select
This enables or disables White Field Uniformity. If a WARP module is installed the control
changes to a list and allows several different uniformity maps to be selected.
Without WARP Module: 0 = disabled, 1 = enabled
With WARP Module: use the (BUS?L) request to read the list.
3.23 CCA
Comprehensive Color
Adjustment
CCA Comprehensive Color Adjustment
Use the CCA service function to change the factory-set native colors (Max Drives) in the projector,
or to define one or more custom color palettes (i.e., color gamut). CCA changes x/y coordinates
for red, green, blue and white points for a given gamut. Can be applied with CCS command.
NOTE: Remember that Max Drives represents the measured native colors of the projector, and
that all color performance depends on these native colors. A new CCA for Max Drives will change
all color performance and gamut (palettes).
Parameter
Description
P1 = Which gamut 0 = This is a duplicate of 1 (Max Drives)
(palette) to adjust. 1 = Max Drives
5 = User 1
2 = Color Temperature**
6 = User 2
3 = SD Video*
7 = User 3
4 = HD Video*
8 = User 4
* NOTE: Factory-set to industry standards. Adjustment is not
recommended as it will change this performance standard.
* Affects only the current color temperature setting. Changing Color
Temp coordinates with CCA is not recommended.
Wolf Cinema Owner's Manual
P2
Red x
P3
Red y
P4
Green x
P5
Green y
P6
Blue x
P7
Blue y
P8
White x
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Appendix B ► Serial Communications
P9
White y
P10
Magenta x
P11
Magenta y
P12
Cyan x
P13
Cyan y
P14
Yellow x
P15
Yellow y
Examples:
(CCA?) = What is the current color adjustment?
(CCA 1 661 341 332 575 144 93 320 330) = Set “Max Drives” to these x/y coordinates
3.24 CCC
Comprehensive Color
Clear
CCC Comprehensive Color Clear
The CCC command will copy the data from one of the comprehensive color setups into the
currently selected user setup (USER1-4). See CCS for a list of possible selections.
3.25 CCI
Color Temperature
CCI Color Temperature
Use CCI to implement a color temperature from 3200K-9300K. This control changes just the
white point (x/y) of the current gamut, and is applied only if you are using color temperature
(CCS) as your “Select Color Adjustment” choice.
3.26 CCS
Select Output Color
CCS Select Output Color
Use CCS to select a predefined or user-defined color palette for use with a given source.
0 = Max Drives (default) 1 = Color Temperature 2 = SD Video 3 = HD Video 4 = User 1 5 = User
2 6 = User 3 7 = User 4
3.27 CHA
Channel Select
CHA Channel Select
Use CHA to select a channel (1-99). This is the same as SRC command.
3.28 CLE
Color Enable
CLE Color Enable
Enable a specific color to be projected on the screen (1=red, 2=green, 3=blue, 4=yellow, 5=cyan,
6=magenta, 7=white, 8=black). NOTE: Colors will always revert to white (full color) upon powerup and if “Exit” at presentation level.
3.29 CLP
Clamping
CLP Clamping
Use CLP to define the blacklevel clamping location for the current signal (0 = Sync Tip, 1 = Back
Porch, 2 = Tri-level).
3.30 CLR
Color
CLR Color
Set the color intensity (1-1000) for video images. The CLR value represents a percentage, e.g.
1000=100.0 % or 0505=50.5%.
3.31 CON
Contrast
CON Contrast
Use CON to set the contrast level (0-1000). The CON value represents a percentage, e.g.
1000=100.0 % or 0505=50.5%.
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3.32 CRM
Chroma / Luma Delay
3.33 CSP
Color Space
3.34 DEF
Factory Defaults
CRM Chroma / Luma Delay
Use CRM to set the time delay (20-50) between the chroma and luminance in decoded signals.
CSP Color Space
CSP specifies which color space the input signal uses. 0=RGB, 1=YprPb, 2=YPbPr (HDTV).
DEF Factory Defaults
Use DEF to reset all parameters in the projector to factory defaults—all source setups are
deleted, all factory-defined color palettes are restored, and all user adjustments/preferences are
set to default values. DEF may also change your baud rate and projector number. NOTE: You
must include P1 = 111 in any DEF message. This requirement prevents accidental use of DEF.
Because the DEF message can take a fairly long time, it is a good idea to include the optional
Acknowledge code ($) to determine when the defaults have been completed—i.e., ($def 111).
3.35 DLS
Delete Source
3.36 DLY
Delay
DLS Delete Source
Use DLS to delete a specific locked or unlocked source setup (1-50), or to delete all unlocked
source setups (0). To delete all setups, even those that are locked, you must first unlock all
source setups using the memory lock command (MLK S0 0).
DLY Delay
Use DLY to delay a real-time event for a number of milliseconds (1-65535ms).
For example:
(RTE G 5 H “(DLY 100) (PWR 0)”) = When pin 5 goes high, Delay 100ms, then power off.
3.37 DRK
Dark Interval
DRK Dark Interval
Use DRK to control the time interval—in active output lines—between frames projected to the
screen, so that active 3D applications are well-synchronized with shutters in 3D glasses. Range
depends on source frequency. For 3D models only.
3.38 DTA
Source Data
DTA Source Data
Use DTA to read from the projector (or load into the projector) all of the settings related to a
specific source setup (1-99), or pertaining to system parameters. This essentially creates a backup. If a source setup does not exist, use DTA to define all settings for it. This essentially creates
a back-up.
Keep in mind that a DTA request triggers reply messages for each setting in a source setup.
Because of the large number of replies, requesting an acknowledgement from the projector
($) is a good idea—receiving the ($) back confirms that the projector has returned all data and
completed the full DTA reply.
READING SETTINGS (DATA) FOR A SPECIFIC SOURCE SETUP
Message
the number of the source setup to read – must have leading ‘S’:
For example, ($DTA? S5)
If P1 = source#1-99, this identifies a specific source setup to read
Reply
P1 = the number of the source setup being read (1-99)
P2 = switcher number (0=projector)
P3 = slot number
P4 = the vertical frequency (cHz)
P5 = the horizontal frequency (10’s of Hz)
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P6 = input polarity & routing
Bits 2-0 // horizontal sync source
0 = no sync
1 = horizontal on vertical input
2 = horizontal on horizontal input
3 = horizontal on green input
4 = horizontal on red input
5 = horizontal from Vid1 input
6 = horizontal from Vid2 input
Bit 3 // set if composite sync (H & V on same wire)
Bit 4 // set if horizontal sync has negative polarity
Bit 5 // set if vertical sync has negative polarity
Setting 1
= reply message for first source setup setting
Setting 2 = reply message for second source setup setting
Setting 3 = reply message for third source setup setting
Etc…
Setting n = reply message for last source setup setting
$ acknowledge of DTA message (if requested)
Example:
($DTA? S5)
(DTA! S005 000 001 05996 03150 059)
(CON! S005 045)
(BRT! S005 167)
Etc…
$
READING SETTINGS (DATA) FOR ALL SOURCE SETUP
To request all settings for all sources, use P1=0 ($DTA? S0). The reply will be a sequence of
replies for each source. If you requested an acknowledgement ($), it will arrive after the last reply
for the last source.
Example:
($DTA? S0)
(DTA! S005 000 001 05996 03150 059)setup
(CON! S005 045)
(BRT! S005 167)
Etc.…
(DTA! S034 000 001 05996 03150 059)
(CON! S034 022)
(BRT! S034 137)
Etc.…
$
DOWNLOADING SOURCE SETUP SETTINGS (DATA) TO A PROJECTOR
Send a DTA message to define a new source setup, or redefine an existing source setup, and
include the specified parameters (refer back to the “Reading Setting for a Specific Source Setup”
list of parameters shown above).
Example:
(DTA S005 000 001 05996 03150 085)
(CON S005 045)
(BRT S005 167)
Etc.…
(DTA S034 000 001 05996 03150 085)
(CON S034 022)
(BRT S034 137)
Etc.…
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READING PREFERENCE SETTINGS
Settings for projector preferences are either Transferable or Projector-specific:
 Transferable: Valid for any projector of the same model. Single DTA parameter = T.
 Projector-specific: Unique to an individual projector. Single DTA parameter = P.
Example:
($DTA? T)
= Request for all preferences that can be used in other projectors of the same model
(BDR! 09600)
(LPI! 00345)
Etc.…
$
($DTA? P)
= Request for preferences that are unique to an individual projector
(CTM! 001 002 00000 000 01187)
(CTM! 002 007 05400 012 043)
Etc.…
$
DOWNLOADING PREFERENCES TO A PROJECTOR
To download preference settings to a projector, just send the various settings as separate
commands—DTA is not used. Take special care when sending BDR (Baud Rate) and ADR
(Projector # or Address) messages, as they change the way your network operates and you
may accidentally break communication. For example, BDR should always be broadcast to all
projectors or you will be unable to talk to some projectors.
3.39 DTL Detail
DTL Detail
Use DTL to set the detail for RGB and video images.
3.40 DTT
Detail Threshold
DTT Detail Threshold
Sets the minimum change required before the detail (DTL) function is activated. This sharpens
images without increasing background noise.
3.41 EBB Edge Blending
Black Levels
EBB Edge Blending Black Levels
The EBB control is only active when Edge Blending (EBS) and Black Edge Blending (BEB)
have been enabled. The particular edges that have been blended with the Edge Blending (EBL)
command will be active for blending the black levels. For example, you cannot adjust the Edge
Blend Black level for the top edge, if there is no edge blending active for the top edge. Similar to
the EBL control, data can be specified by zones or edges, or by index.
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Parameter Value
Description
P1
1 = Center
2 = Top
3 = Bottom
4 = Left
5 = Right
6 = Top Left
7 = Top Right
8 = Bottom Left
9 = Bottom Right
10 = Left Width
11 = Right Width
12 = Top Width
13 = Bottom Width
14 = Black Red Level
15 = Black Green Level
16 = Black Blue Level
1-16
(P1: 1-9 = blend edge/zone brightness)
(P1: 10-13 = edge zone width)
(P1: 14-16 = color components of overall black level)
P2
When P1 = 1-9, P2 = 0-247
When P1 = 10-13, P2 = 0-255
When P1 = 14-16, P2 = 0-255
Brightness (0-247)
Zone Width (0-255)
Color Level (0-255)
Examples:
(BEB 2 15) Set Brightness of top edge to 15
(BEB?) Request state of Black Edge Blending
(BEB! 1) Black Edge Blending is enabled
3.42 EBE
Edge Blending Black
Levels Select
EBE Edge Blending Black Levels Select
This command enables (1) or disables (0) the Black Edge Blending feature. This feature can only
be enabled when Edge Blending has been enabled (EBS).
3.43 EBL
Edge Blending
EBL Edge Blending
Use EBL to blend together the overlapping edges of adjacent images, and/or to turn EBL on/off.
To find out if EBL is on, send a request with no parameters. The reply will be “off” (0) or “on” (1).
Note that on-screen values do not match values through ASCII messaging.
Parameter
Description
P1 = Which blend edge? or
(if Wolf WARP and no other
parameters)
P1 = Type of edge blending to
use.
0 = Left
1 = Right
2 = Top
3 = Bottom
Or, if Wolf WARP and no P2 or P3 parameters, P1=
0 = Disable
1 = Enable normal Christie Edge Blending
2 – 4 = User-defined custom blend (requires s/w v1.1 or higher)
P2 = Which blend characteristic? 0 = Width of blend 1 = Shape of blend 2 = Midpoint of
blend
P3 = Setting
Left/Right Width = 0, 5-80, Top/Bottom Width 5-60, Shape
2-30, Midpoint 2-30
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Examples:
(EBL 2 0 15) Set width of top blend to 15
(EBL?) What is the current status of Edge Blending—on or off?
(EBL! 1) Edge Blending is currently enabled
3.44 EBO
Edge Blending Overlap
EBO Edge Blending Overlap
Use EBO in conjunction with Edge Blending to simplify the aligning of edge-blended projectors.
Enabling EBO (1) sets the blend region to a uniform gain of 25% and the rest of the image to
100%. Disable EBO (0) to restore previous gain settings.
3.45 EBS
Edge Blending Select
EBS Edge Blending Select
This enables (1) or disables (0) edge blending. If a WARP module is installed the control changes
to a list and allows several different edge blends to be selected. Use the (EBS?L) request to read
the list.
3.46 EME
Error Message Enable
EME Error Message Enable
Use EME to turn all notification off, or to choose how you wish to be notified of projector errors.
0 = Off
1 = On-screen display
2 = ASCII message (i.e., via ERR messages)
3 = Both
3.47 ERR
Error Message
ERR Error Message
The projector broadcasts an ERR message when an error is detected. Each ERR message
includes the error code (P1), error type (P2), and a text explanation. Error messages also include
the address of the source projector.
NOTE: The type of error and the text explanation are enclosed together in quotation marks,
separated by a colon and a space. Below, the text explanation appears as -----.
Wolf Cinema Owner's Manual
Error Code (P1)
Type of Error (P2)
Meaning
001
“System Error: -----”
System crash.
002
“System Warning: -----”
System error.
003
“Invalid parameter:—“
Invalid parameter number.
004
“Too many parameters:”
Message requires fewer parameters
005
“Too few parameters:-----”
Message requires more parameters
006
“Source does not exist:-----”
The source setup# is wrong
007
“Could not be executed:”
Current content prevented the
command from executing.
008
“Checksum error:-----”
The checksum is incorrect.
009
“Unknown request:-----”
Message code undefined. If the
message sent as a command it is
ignored and no error is returned.
010
“Communication error:-----”
Error receiving serial data on one of the
RS-232 ports.
011
“RX Break
A serial break was received.
012
Supplementary info
Additional information about the error.
Message content depends on the
nature of the error.
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Examples:
NOTE: The 65535 signifies the port address of the controller receiving the message.
SYNC no longer responding
(65535 00030ERR 001 "System Error: SYNC no longer responding")
Attempt to delete the current source(65535 00030ERR 002 "System Warning: The current source cannot be deleted")
(BDR38900)
(65535 00030ERR 003 "BDR: Invalid parameter 1")
(BLB 25 25)
(65535 00030ERR 004 "BLB: Too many parameters")
(ASR S10)
(65535 00030ERR 005 "ASR: Too few parameters")
(ASR S10 1)
(65535 00030ERR 006 "ASR: Source does not exist")
(CON 45) with no source
(65535 00030ERR 007 "CON: Could not be executed")
(&con 64 250)
(65535 00030ERR 008 "CON: Checksum Error")
(ABC?)
(65535 00030ERR 009 "ABC: Unknown request")
3.48 FAD
Fade Time
FAD Fade Time
Use FAD to set the time for dissolving one display image into the next (0=seamless, 100=1
second). Or, if using v1.0 software, FAD sets the time for fading to black and then to the new
display image.
3.49 FCS
Focus
FCS Focus
The FCS adjusts lens focus on projectors having a motorized lens mount, and requires keypad
emulation.
Examples:
(FCS K3) (FCS K2) (FCS K0) –ve Focus direction
+ve Focus direction.
Stop focus adjustment (if not issued, lens movement will continue until it reaches the end stop).
To “nudge” the focus a minimum amount, script in a delay between (FCS K3) and (FCS K0).
Depending on your application, a delay of at least 20-30 milliseconds may be sufficient.
3.50 FIL
Input Filter
FIL Input Filter
Use FIL to force an internal filter for HDTV (1), SDTV (2), EDTV (3), Graphics/RGB (4) or to turn
the automatic filtering feature off (0). This automatic filter is for analog sources only.
3.51 FLE
Frame Lock Enable
FLE Frame Lock Enable
Use FLE to define how the projector controls the output frame timing based on the input signal.
Use the following parameters to achieve the desired output frame timing.
P1 = 0: Rate Matched – the output runs at close to the input frequency but is not locked to it so
the output will drift in phase relative to the output.
P1 = 1: Locked – if possible the output image is phase locked to the input frames
P1 = 2: Free Run – the output runs at 60Hz frame rate
For older versions of software (v1.1 and earlier) this control is a checkbox to enable a “Locked”
output. When unchecked the output is “Frame Matched”.
3.52 FMT
2/3 Pull Down Threshold
FMT 2/3 Pull Down Threshold
Use FMT to adjust the threshold (0-255) at which the projector will consider an incoming video
signal as film vs. video.
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3.53 FRD
Frame Delay
3.54 FRZ
Freeze Image
FRD Frame Delay
Use FRD to adjust the number of lines of delay between the input and output frames (range
varies with incoming signal).
FRZ Freeze Image
FRZ 1 = freeze the image. FRZ 0 = unfreeze the image.
3.55 FSE
Fan Sensor Enable
FSE Fan Sensor Enable
Use FSE if you want the projector to shut down 3 minutes after a critical cooling fan failure. FSE
1 = enabled, FSE 0 = disabled. NOTE: Definition of a which cooling fan is critical varies with
projector model.
3.56 FYI
For Your Information
FYI For Your Information
The projector broadcasts an FYI message when it detects a change in status. The FYI message
contains the relevant status code followed by its new state (P1), up to 2 additional parameters of
detail, and a brief text description. The address of the source projector precedes the FYI code.
NOTE: FYI messages are gated by the Error Message Enable (EME) control. Turning off EME
also turns off FYI.
Status Code
New State (P1)
001 Power
0 = Off 1 = On 2 = Boot 10
P1 value indicates the new “Power” state
= Cool Down 11 = Warm Up detected.
002 Proj. Address
##### (5-digit address)
003 Proj. Selected
0 = RS232 Inactive, UI
This projector has been activated or
Inactive 1 = RS232 Inactive, inactivated via the PROJ key or the APJ
UI Active 2 = RS232 Active, serial message.
UI Inactive 3 = RS232
Active, UI Active
P1 value indicates the new address of
this source projector.
004 Baud Rate
####### (7-digit baud rate)
P1 value indicates the new baud rate.
005 Standby
0 = Off 1 = On
P1 value indicates whether the system is
in standby mode
006 Signal
0 = Good Signal 1 = Signal
missing 2 = bad sync
P1 describes signal detection P2 = hor.
frequency of signal P3 = vert. frequency
of signal
007 OSD
0 = Off 1 = On
P1 value indicates whether the onscreen display is on or not.
009 Shutter
0 = Open 1 = Closed
P1 value indicates whether the shutter is
open or closed.
010 Input
0 = Open 1 = Closed
P1 describes the current channel
number P2 = Switcher# (projector is
always switcher “000”) P3 = Slot#
011 Picture Mute.
0 = Off 1 = On
P1 value indicates whether the picture is
displayed or not
012 PIP.
0 = Off 1 = On
P1 value indicates whether Picture-inPicture mode is on or not
255 General / Misc. ### (3-digit channel
number)
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Meaning and Additional Parameters
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P1 describes miscellaneous general
state detected
Appendix B ► Serial Communications
Examples: (Status code for each FYI is shown as bold)
(00030FYI 001 000 "Powered Off")
(00030FYI 002 00057 "Projector address changed from 30 to 57")
(00057FYI 003 001 "Projector UI active, RS-232 Inactive")
(00057FYI 004 38400 "Baud rate changed to 38400")
(00057FYI 006 000 01573 05994 "Good Signal")
(00057FYI 006 002 "Bad Sync: HSync is too high")
(00057FYI 007 000 "OSD Off")
(00057FYI 009 001 "Shutter Closed")
(00057FYI 010 034 000 003 "Switched to channel 34, projector input 03")
(00057FYI 010 035 000 004 "Switched to channel 35, projector input 04")
3.57 GAM
Gamma
GAM Gamma
Use GAM to set a 3-digit gamma level interpolated between a base curve (2.2 by default, or an
arbitrary gamma curve, selected via the BGM Base Gamma control), a high curve (3.0), and a
linear curve. Range is 100-280 (=1.8-2.0).
3.58 GIO
General Input Output
GIO General Input Output
Use GIO to configure and control the General Purpose Input and Output (GPIO) bits. There are
7 GIO pins available on the 9pin DIN GPIO connector, plus power and ground.
GPIO Pins
Connector Pin #
Signal
1
+12V (200mA)
2
GPIO 1
3
GPIO 2
4
GPIO 3
5
Ground
6
GPIO 4
7
GPIO 5
8
GPIO 6
9
GPIO 7
General Message format:
(GIO?) (GIO? C#) (GIO C# <Input/Output>) (GIO C# “List of configurations”) <”IOxO”> (GIO # <state>) GIO # “List of states”) (GIO # P <Duration in ms>) // Request state and configuration of all pins
// Read configuration for specific pin
// Set pin # configuration to <Input = I, Output = O>
// Set multiple pin configurations starting at pin <#> i.e.
// Set pin <#> to <state> H= High, L= Low
// Set multiple pin states, starting at pin <#> i.e. <”HLxL”>
// Pulse pin <#> for <n> milliseconds
Where C = configure
# = desired pin number or start pin number
x = no change
Notes:
1. When a command is issued to a pin configured as an input, the command triggers the
same functions as if the input pin actually changed state.
2. The GIO configuration and state take time to save to the projector. Leave your projector
running for several after your setup is complete.
3. GPIO numbers start from 1 not zero.
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3.59 GNB
Green Blacklevel
3.60 GND
Green Drive
3.61 GOG
Green Odd Gain
Examples:
(GIO?) (GIO! "HLLLLHL" "IOOOOII") (GIO "HLLLLHL" "IOOOOII") (GIO C1 O) (GIO? C1) (GIO!C1 O) // Request state and configuration of all pins
// Reply of pin state and configuration
// Set Pin state and configuration. The above commands can be used to save and restore Preference information
// Set Pin 1 as output
// Get Configuration for pin 1
// Reply for get pin configuration
(GIO C2 “OOIO”) (GIO 1 H) // Set pin 2=out, 3=out, 4=in, 5=out
// If configured as output, set to high
// If configured as input, perform task equivalent to the input going high
(GIO 1 “HLLL”) (GIO 1 P 100) // Assuming config as outputs 1=high, 2,3,4=low
// Pulse pin 1 for 100mS
GNB Green Blacklevel
Set or request the green Blacklevel (0-511) for a specific source setup
GND Green Drive
Set or request the green Drive (0-511) for a specific source setup.
GOG Green Odd Gain
Set or request the green Odd Gain (0-255) for a specific source setup. You can set an Odd Gain
value for two separate analog input paths. The first input path is Input 1 (BNC connectors). The
second input path is one of: Input 2 (DVI-A connector), or Input 5 or Input 6 (one of the analog
option cards).
To leave one of the input values unaffected, enter a value of 0 for the input. If only one value is
specified, then both input
Examples:
(GOG 130 135) Sets the BNC analog path to 130, the DVI/option card path to 135. (GOG 0 120)Leaves the BNC path as it was, the DVI/option card path to 120.
(GOG 125)
Sets both paths to 125.
3.62 GOO
Green Odd Offset
GOO Green Odd Offset
Set or request the green Odd Offset (0-255) for a specific source setup. You can set an Odd
Offset value for two separate analog input paths. The first input path is Input 1 (BNC connectors).
The second input path is one of: Input 2 (DVI-A connector), or Input 5 or Input 6 (one of the
analog option cards).
To leave one of the input values unaffected, enter a value of 0 for the input. If only one value is
specified, then both input paths will have the same value.
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Appendix B ► Serial Communications
3.63 HDC
DHDM Configuration
HDC DHDM Configuration
When the Dual SD/HD-SDI module is present, the HDC command specifies how the card is
being used. The module can be used to support a Dual Link setup or have two independent
single HD channels. By default the configuration is set to two single channels. You may select a
dual link setup where the 'A' channel on the module is the primary video channel or the selection
can be made to have the 'B' channel as the primary video in a dual link format. P1 is the Option
Slot number (1 or 2) and P2 is the value you want to set for the configuration (see table below).
Value
Configuration
0
Two Single HD Channels
1
Dual Link, Channel A Primary
2
Dual Link, Channel B Primary
Examples:
(HDC 2 2) (HDC? 2) (HDC?) 3.64 HDD
DHDM Dual Link Format
Set configuration on Option slot 2 to be: Dual Link, Channel B primary
Request configuration for slot 2 only; returns (HDC! 002 002) for above setting.
Request configuration for either slot; returns (HDC! 001 000)
(HDC! 002 002) if cards exist in both slots.
HDD DHDM Dual Link Format
When the Dual SD/HD-SDI module is present, it can be configured to accept a Dual Link 292M
serial input by combining the separate SDI inputs to allow a higher bandwidth / higher resolution
(1920 X 1080) source. The table below shows how to configure the projector to properly display
the Dual Link source. This command is only available when the module is present and is only
used for Dual Link sources. Parameter 1 is the option slot number you wish to configure (1 or 2),
and Parameter 2 the value to select the desired format.
Value
Selected Format
0
4:4:4 RGB 10bit
1
4:4:4 YCrCb 10bit
Examples:
(HDD 2 1)
Configure slot 2 to accept 4:4:4 YCrCb 10bit Dual Link Video
(HDD? 2)
Request current configuration for slot 2 only; from above this would return (HDD 001)
(HDD?) Request Dual Link format for the main video.
(HDD? p) Request Dual Link format for the pip video.
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3.65 HDL
DHDM Look Thru Setting
HDL DHDM Loop Thru Setting
When the Dual SD/HD-SDI module is present, a serial input may be routed to a serial output to
allow chaining of signal sources using the HDL command. You can specify which input is routed
to which output. Primary and Secondary sources may also be used as designated inputs to loop
to outputs. P1 defines the option card slot you wish to configure and P2 refers to what loop thru
inputs and outputs are desired. The table below lists the value options.
Value
Input
Output
0
A
C
B
D
A
D
B
C
2
Primary
C
Secondary
D
3
Primary
D
Secondary
C
1
Examples:
(HDL 2 3)
(HDL? 2) (HDL?) 3.66 HISS
Lamp History
Set loop thru on option slot 2 to be: Primary thru to D and Secondary thru to C
Request loop thru for slot 2 only; returns (HDL! 002 003) for above setting.
Request loop thru for either slot; returns (HDL! 001 001)
(HDL! 002 003) if cards exist in both slots.
HIS Lamp History
Use the read-only HIS request to obtain the projector’s lamp history. Note for dual-lamp, this
information is stored separately for each lamp (P1 identifies Lamp 1 or 2)—see examples
below.
Examples:
(HIS? 1)What is the Lamp 1 history?
(HIS! 001 001 00555 “000000014”) // Lamp 1, sn.=”000000014”, first lamp used, on for 555 hours
(HIS! 001 002 00095 “000000018”) // Lamp 1, sn.=”000000018”, second lamp used, on for 95 hours
(HIS?) What is the complete lamp history for Lamp 1 and Lamp 2?
(HIS! 001 001 00555 “000000014”) // Lamp 1, sn.=”000000014”, first lamp used, on for 555 hours
(HIS! 001 002 00095 “000000018”) // Lamp 1, sn.=”000000018”, second lamp used, on for 95 hours
(HIS! 002 001 00666 “000000022”) // Lamp 2, sn.=”000000022”, first lamp used, on for 666 hours
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3.67 HLP
Help
3.68 HOR
Horizontal Position
HLP Help
Use HLP for a list of all serial commands supported in your projector—send the (HLP?) request.
Each item in the list has 3 parameters stating if the command is disabled (and why), its 3-character
code, and the menu label or brief description:
P1 = current on/off state of the command
0 = enabled
1 = disabled because power is off
2 = disabled because the required hardware is missing
3 = disabled because the function has not been licensed
4 = disabled because the factory option has not been enabled
5 = disabled because the command is not valid in the current context
6 = disabled because the user has an insufficient security level
7 = disabled because the function has been locked in the service menu
8 = this is a read-only function
P2 = 3-letter ASCII code for the command (ASR, BRU, etc.)
P3 = menu label for the command. For those commands for which there is no equivalent
menu item, short descriptive text is returned
HOR Horizontal Position
Use HOR to adjust the horizontal position of the image.
3.69 LVS
Lens VariScope System
LVS Lens VariScope System
This enables (1) the lens settings to be saved / restored when the channel is changed. When off
(0), changing the channel does not affect the lens settings. When LVS is activated it may cause
a query to proceed with lens motor calibration (see LCB). Lens calibration is necessary for LVS
to function. Since calibration will take a couple of minutes, the user is allowed to decline and
leave LVS turned off.
3.70 INM
In Menu
INM In Menu
Use INM to specify whether a source setup is to be included in (1) or excluded from (0) the
source setup selection menu. See section See also 2.5, Accessing Specific Source Setups.
3.71 IOP
Image Optimization
IOP Image Optimization
With the IOP control, the user can choose whether raw image quality or the cleanness of image
transitions is more important.
Choosing Best Image Quality allows scaler resources to be allocated under some conditions to
improve image quality in the form of deeper pixel depth. However, when switching sources, the
screen will go blank and increase your switching time.
Choosing Smooth Switching allows for cleaner transitions and/or fading when a user selects a
new source to be displayed. The images will fade from the old image to the new image according
to the Fade Time control (FAD).
Seamless Switching overrides the Frame Lock Enable (FLE) settings and forces the output to run
at 60Hz regardless of the input signal. The image is 100% seamless when switching sources.
Parameter
Value
P1
0 = Best Image Quality
1 = Smooth Switching
2 = Seamless Switching
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3.72 ITG
Test Pattern Grey
ITG Test Pattern Grey
Use ITG to set the grey level for the flat field internal test pattern. The range of adjustment
depends on the bit depth available in your projector model.
3.73 ITP
Internal Test Pattern
Use ITP to display an internal test pattern, or to find out what test pattern is currently displayed.
The basic test pattern collection is shown listed below - your projector may vary slightly.
3.74 KEN
Keypad Enable
Pattern #
Description
0
User image - no test pattern displayed.
1
Grid + grey scale + color bars + circle + convergence marks
2
Gray Scale 16
3
White
4
Grey - slide bar selects value 0-1023
5
Black
6
Checker
7
13 point
8
Color Bars
9
RGBW Grey Scale
10
Multi Color
11
Edge Blend
12
Aspect Ratio
13
Red & Blue ramp
KEN Keypad Enable
Use KEN to set the keypad input protocols, Wired, IR Front and IR Rear, to respond to the
protocol of the desired keypad. The following table outlines how to use the command parameters
to set the desired protocols. Note: the built-in keypad cannot be disabled.
NOTE: Protocols B – G are used with the ‘Brick’ style rental staging keypad.
Parameter
Value
P1
0 = Wired
1 = IR Front
2 = IR Rear
P2
0 = Off
1 = Responds to any protocol
10 = Protocol A
11 = Protocol B
12 = Protocol C
13 = Protocol D
14 = Protocol E
15 = Protocol F
16 = Protocol G
Example:
(KEN I2 12): Sets IR Rear to Protocol C
(KEN? I1) returns (ken! I001 001): the current protocol for IR-front
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Appendix B ► Serial Communications
3.75 KEY
Key Code
KEY Key Code
To emulate use of the projector’s keypad, you can send codes representing each keypress.
NOTE: For most keys, sending a key code to depress a key also sends a code to release the
key. Key codes for arrow keys and lens keys, however, cause continual adjustment that must be
stopped with a separate code.
Quick
Setup
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3.76 KST
Keystone
KST Keystone
Use KST to correct vertical keystone (14-50) so that the sides of the image do not slope away
from each other, and the image is rectangular. The default value is 32 (no keystone).
For advanced 2D keystone using the Warp Module, see Warp Keystone Corners (WKC).
3.77 LBL
Left Blanking
LBL Left Blanking
Use LBL to blank the left edge of the image (0-1000). The amount of blanking feasible depends
on the incoming source data.
3.78 LCB
Lens Calibrate
LCB Lens Calibrate
LCB forces the projector to calibrate the lens/motors and is intended for use in conjunction with
Wolf Cinema's Lens VariScope System (LVS). Lens Calibration is not necessary if LVS is not
used.
LCB provides three types of calibrations to be performed. A Reference calibration locates a
positional reference point for repeatable motor positioning. A Motion calibration calculates
and sets motion parameters that optimize individual motors response for accurate positional
placement. A Full calibration executes both of these calibrations.
If LVS has already been enabled (refer to LVS command), a Reference calibration will be
performed when the projector is powered up. Motion calibration only needs to be done once when
LVS is initially enabled because the results are retained in memory for future use. Therefore, if
LVS is to be used, it is only necessary to perform motion calibration once.
LVS can only be enabled if both calibrations have been performed at least once. If LVS is
disabled, neither calibration is necessary.
Refer to the tables below for the parameters to control the LVS calibration process.
Command Values:
Parameter
Description
1 - Relative
Calibrate Motor Zero Reference Position
2 - Manual
Calibrate Motion Parameters for Lens Motors
3 - Calibrate
Calibrate both Reference and Motion Parameters
Query Values:
1 = calibration has been done, 0 = calibration has not been done
Parameter
Description
Reference Calibration
Motion Calibration
Examples:
(LCB 3) Stop Horizontal Movement, Lens will not stop until this command is issued or the end stop is reached.
(LCB?) Query the current status of calibration, responds with (LCB!1 0) indicates that reference is calibrated but motion parameters are not.
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3.79 LDT
Level Detector
LDT Level Detector
Enable (1) or disable (0) the LDT (Level Detector Test) mode that can aid in setting up input
levels. Use in conjunction with LDV (Level Detector Value), which defines a threshold below
which all incoming colors will be turned black, and above which all colors will turn to white. At this
point, the Level Detector will be enabled.
3.80 LDV
Level Detector Value
LDV Level Detector Value
Use an LDV setting of 1 to 1023 when the LDT (see above) will be enabled. This is a threshold
below which all incoming colors will be turned black, and above which all colors will turn to white,
and is an aid for setting up input levels.
3.81 LHO
Lens Horizontal Offset
LHO Lens Horizontal Offset
LHO adjusts horizontal offset on projectors having a motorized lens mount, and requires keypad
emulation.
Examples:
(LHO K3) (LHO K2) (LHO K0) Move the image to the right •
Move the image to the left •
Stop horizontal movement (without this, lens movement will continue until it reaches the end stop).
To “nudge” the image a minimum distance, script in a delay between (LHO K3) and (LHO K0).
Depending on your application, a delay of at least 20-30 milliseconds may be sufficient.
3.82 LTC
Lamp Tracking
Calibration
LTC Lamp Tracking Calibration
Use LTC to calibrate the current lamp and optical response.
Parameter
Description
P1 = Calibration
0 = Use default settings
1 = Run automatic calibration on current projector
or, if more parameters present,
1= Set custom gain and offset
P2 = Gain
Gain value can be from 0 to 32767
P3 = Offset
Offset value can be between -32768 to 32767
Notes: LTC calibration can take several minutes to complete and will vary the lamp output during
calibration. All lamp settings will return to their initial condition once the calibration has been
completed.
Warning: Custom settings allow the user to set LTC to any value within the specified range. The
software does not check that the specified values are functional.
3.83 LME
Lamp Message Enable
3.84 LNG
Language
LME Lamp Message Enable
Use LME to enable (1) or disable (0) display of the lamp timer message when the lamp has
reached its Lamp Limit setting.
LNG Language
Use LNG to get/set the current language used in the projector’s menu system.
1 = English
4 = German
2 = French
5 = Italian
3 = Spanish
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3.85 LPC
Lamp Changed
3.86 LPH
Lamp Hours of Use
LPC Lamp Changed
Use LPC to record a new lamp serial number (8 characters max.) in projector memory. This will
automatically reset the projector’s lamp timer so that it begins to log time for the new lamp.
LPH Lamp Hours Of Use
Use the request LPH to find out the number of hours logged on the current lamp.
3.87 LPI
Lamp Intensity
LPI Lamp Intensity
Use LPI to specify a desired light intensity setting (0-9999 for any model) for the lamp, and
automatically put the lamp into the “Intensity” mode also known as LiteLOC.
3.88 LPL
Lamp Limit
LPL Lamp Limit
Use LPL to specify the number of hours the lamp can operate within the projector before a
warning message appears telling the user that the lamp limit has expired and the lamp needs
replacement (System Warning also given: LEDs flash). The range varies with projector—do not
set beyond the expected life for the type of lamp installed.
3.89 LPM
Lamp Mode
LPM Lamp Mode
Use LPM to control how you run the lamp (0=max brightness, 1=maintain intensity setting for
models with LiteLOC, 2=maintain power setting). If you choose constant intensity or constant
brightness, you must also specify the desired level using the corresponding LPI (intensity) or
LPP (power) command. See LPI and LPP.
3.90 LPP
Lamp Power
LPP Lamp Power
Use LPP to set the desired lamp power level (in watts—range depends on the projector model),
and automatically put the lamp into the “Power” mode.
3.91 LPS
Lamp Status
LPS Lamp Status
Use the read-only request LPS to find out the status of the current lamp(s):
0 = Good lamp
1 = Lamp fan has failed (NOTE: in dual lamp models, Fan 8 cools Lamp 1, and Fan 10 cools Lamp 2)
2 = Lamp can’t ignite
3 = Lamp turned off unexpectedly
4 = Lamp interlock problem
5 = Color wheel failure (NOTE: dual lamp models only)
6 = Lamp compartment too hot (NOTE: dual lamp models only)
7 = Driver Vcc too low (NOTE: dual lamp models only)
8 = Lamp not installed (NOTE: dual lamp models only)
9 = Operation error (NOTE: dual lamp models only)
3.92 LVO
Lens Vertical Offset
LVO Lens Vertical Offset
The LVO adjusts vertical offset on projectors having a motorized lens mount, and requires keypad
emulation.
Examples:
(LVO K3) Move the image down
(LVO K2) Move the image up
(LVO K0) Stop vertical movement (without this, lens movement will continue until it reaches the end stop).
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To “nudge” the image down a minimum distance, script in a delay between (LVO K3) and (LVO
K0). Depending on your application, a delay of at least 20-30 milliseconds may be sufficient.
3.93 MFT
Menu Font
MFT Menu Font
Use MFT to choose whether menu font size is normal (0) or large (1).
3.94 MLK
Source Memory Lock
MLK Source Memory Lock
Use MLK to lock (1) or unlock (0) a specific source setup. See also 2.5, Accessing Specific
Source Setups.
3.95 MNU
Menu Status
MNU Menu Status
The MNU command has two uses. One is to get the current status of the menus and customize
the menu structure and the other is to define and activate a custom menu.
When using serial commands to operate the menu, likely don’t want the menu to appear on the
screen. To prevent the menu from appearing on the screen while using serial commands, use the
OSD command. In addition, you may want to disable the keypads using the KEN command.
Some menus automatically change particular settings to make adjustments easier. Depending
on the context, you may also need to send:
ACE x MNU 3 x to enable or disable Automatic Color Enables
to enable or disable Automatic Test Pattern selection
Parameter Value
Description
P1
0-3
0=presentation level
1=main menu
2=sub menu
3=enable or disable automatic test patterns
P2
When P1=2, #=0-9
When P1=3, #=0-1, to
enable or disable automatic
test patterns
#= the number of the submenu you wish to go to
#=0, restore normal operation
#=1, disable automatic test pattern
MNU can also be used to create a custom menu. For example, (MNU “My Menu” “BRT” “CON”
“PIP”), produces a custom menu called “My menu” consisting of the Brightness, Contrast, and
Picture in Picture Enable controls.
You can combine this with a RTE FUNC key event to make the custom menu available from a
keypad. For example, (RTE F 3 “(MNU “My Menu” “BRT” “CON” “PIP”)”), will pop up the custom
menu when the FUNC-3 key is pressed.
NOTE: this custom menu is not saved anywhere – as soon as you exit from it, the menu no
longer exists and when you want to display it again you must send the MNU command, with
all the controls, again. It is expected that this command will be used in conjunction with a RTE
FUNC key event to have the custom menu available from a keypad.
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3.96 MOT
Motion Filter
3.97 MSH
Menu Shift Horizontal
3.98 MSP
Menu Location
3.99 MSV
Menu Shift Vertical
3.100 NAM
Source / Channel Name
3.101 NRD
Noise Reduction
MOT Motion Filter
Use MOT to control how de-interlacing is managed.
0 = Auto — software determines the best option.
1 = Still — produces crisp images when there is no motion.
2 = Motion — for video not originally from film, or for moving computer-generated images
3 = Film — performs inverse telecine operation to reproduce accurately and crisply material originating from 24Hz film.
MSH Menu Shift Horizontal
Use MSH to move menus horizontally (0 = Left, up to 466 right)
MSP Menu Location
Use MSP to moves menus to a preset location:
0 = 4:3 Top/Left
1 = 4:3 Inset 1
2 = 4:3 Inset 2
3 = 16:9 Top/Left
4 = 16:9 Inset 1
5 = 16:9 Inset 2
6 = Custom (read-only)
MSV Menu Shift Vertical
Use MSV to move menus vertically (0 = Top, up to 350 Down)
NAM Source / Channel Name
Set / get a source setup name. See also 2.5, Accessing Specific Source Setups.
NRD Noise Reduction
Use NRD to set the noise reduction level.
3.102 NSI
Number Select Image
NSI Number Select Image
Use NSI to use the numeric keys 1-8 as input keys for the main image. This option is only
effective when the Menu system is not active, for example when Picture-in-Picture is enabled.
0 = Never
1 = Only when the PIP window is active
2 = Always
3.103 NTR
Network Routing
NTR Network Routing
Use NTR to specify which ports are joined in a common network. By default, only RS232 ports
(IN & OUT) are linked. If desired, add the RS422 port(s) to this network, and/or the Ethernet
port.
0 = RS232, RS422 & Ethernet communications are all separate from one another
1 = RS422 port(s) is/are connected to the RS232 network
2 = The Ethernet port is connected to the RS232 network
3 = RS232, RS422 & Ethernet are all connected to each other
3.104 OSD
On Screen Display
Wolf Cinema Owner's Manual
OSD On Screen Display
Enable (1) or disable (0) the on-screen display of the menus system.
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3.105 OTF
Output Format
OTF Output Format
Change output format for Cine-IPM 2K.
0 = Single Link on DVI-1 or DVI-2
1 = Twin Link
NOTE: DVI-1 has lower 8 bits; DVI-2 has higher 2 bits).
3.106 PAP
PIP Aspect Ratio Preset
PAP PIP Aspect Ratio Preset
Use PAP to select the preferred aspect ratio for your Picture-in-Picture window.
0 = Default
1 = Anamorphic
2 = Custom (Response only – The vertical stretch does not correspond to one of the settings.)
3.107 PBC
PIP Border Color
PBC PIP Border Color
Use PBC to select the color for the Picture-in-Picture window border.
0=Black
1=DarkRed
2=DarkGreen
3=DarkBlue
4=DarkCyan
5=DarkMagenta
6=DarkYellow
7=DarkGrey
8=LightGrey
9=Red
10=Green
11=Blue
12=Cyan
13=Magenta
14=Yellow
15=White
See also PBW.
3.108 PBW
PIP Border Width
PBW PIP Border Width
Use PBW to specify the width (0-10) of the border of the Picture-in-Picture window.
See also PBC.
3.109 PDT
Peak Detector
3.110 PHP
PIP Horizontal Position
PDT Peak Detector
Enable (1) or disable (0) the peak detector test mode as an aid in setting up input levels.
PHP PIP Horizontal Position
NOTE: Not available in v1.0.
Use PHP to set the horizontal position (0-100) of the picture-in-picture window. Range is a
percentage of the screen size.
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3.111 PHS
PIP Horizontal Size
PHS PIP Horizontal Size
NOTE: Not available in v1.0.
Use PHS to set what percentage (0-100) of the screen width to use for the width of the picturein-picture window. Height of the window will then be determined by the aspect ratio of the input
image.
3.112 PIP
Picture-in-Picture
PIP Picture-In-Picture
Use PIP to turn picture-in-picture on (1) or off (0). NOTE: Not available in software v1.0.
3.113 PJH
Projector Hours of Use
PJH Projector Hours of Use
Use PJH to determine the number of hours (0-16,777,215) the projector has been operated,
including cool-down modes.
3.114 PLK
Parameter Lockout
PLK Parameter Lockout
Use PLK to specify which menu options are to be locked from the user (note: a lockout can still
be accessed via ASCII command). In a PLK message, P1 represents the corresponding function
code (e.g., CNT, CTM, etc.) you wish to lock or unlock. Where several related options—such as
blanking controls—share a single lockout, locking or unlocking any one of the options toggles
the full lockout status.
To lock/unlock all options, omit any P1 function code from your PLK set message.
Examples:
(PLK “CON” 1)Lock the “Contrast” control
(PLK 1) Lock all possible options
(PLK “BRT” 0) Unlock the “Brightness” control
3.115 PND
Plug & Display Modes
Wolf Cinema Owner's Manual
PND Plug & Display Modes
Use PND to specify the display mode requested of the video source. Note: The source computer
may need to be rebooted before this setting will take effect.
0 = Default Timing (Native Resolution @ 60Hz)
1 = 1024 x 768 x 116Hz
2 = 720p (1280 x 720 x 60Hz)
3 = 1080p50/1080i50
4 = 1280 x 1024 x 110Hz
5 = 1400 x 1050 x 60Hz
6 = 1400 x 1050 x 102Hz
7 = DC2k (2048 x 1080 x 60Hz)
8 = 1080p60/1080i60
9 = 1080p24/1080p30Hz
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Appendix B ► Serial Communications
3.116 PNG
Ping
3.117 PPP
PIP Position Preset
PNG Ping
Use PNG to request and get basic projector information such as the type of projector & main
software version installed on the TIPM (10-bit Image Processor Module).
P1 = Wolf Cinema projector type
□ 31 = a projector listed on page 3 (always). These all include a TIPM.
□ 0 = the projector is not initialized
P2 = Major s/w version# (0-99)
P3 = Minor s/w version# (0-99)
P4 = Maintenance version# with no functional change (a-z)
P5 = Beta version#, if applicable only (1-199)
P6 = Variation, such as an OEM. Preceded with “T” (T1-T63)
Examples:
(png?) (png! 031 001 000) // TIPM version 1.0
(png?) (png! 031 002 005 b) // TIPM version 2.5b
(png?) (png! 031 003 001 T005) // TIPM version 3.1 T5 (=variation of released version v3.1)
(png?) (png! 031 001 000 c 045 T002) // TIPM version 1.0c.045 T2 (=variation of beta version
1.0c.045)
PPP PIP Position Preset
Use PPP to select the preferred position and size for the Picture-in-Picture window.
0 = Top right
1 = Top left
2 = Bottom left
3 = Bottom right
4 = Custom (Response only – The size and position do not correspond to any of the defaults.)
3.118 PPS
PIP Swap
PPS PIP Swap
Use PPS to swap the picture-in-picture window with the main window. PPS is a toggle command
with no parameters.
3.119 PSW
Alternative Service
Password
PSW Alternative Service Password
Use PSW to find out the most recently defined password for accessing the service menu, or
to define an alternative service password (range = 0-32768). Note that defining an alternative
PSW simply adds a password to projector memory so that you may use either the original
factory-defined Wolf Cinema password (which is always valid) or this new password. Because
(PSW?) will find only the most recently defined password, the factory-defined password cannot
be retrieved in this manner once you have created an alternative password. Use PWE to enable/
disable passwords as described below.
3.120 PVP
PIP Vertical Position
PVP PIP Vertical Position
Use PVP to set the vertical position (0-100) of the picture-in-picture window. Values represent
what percentage of the screen size is used for the picture-in-picture window.
3.121 PWE
Password Enable
PWE Password Enable
Enable (1) or disable (0) the service password for access to the service menu.
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3.122 PWR
Power
PWR Power
Use PWR to turn the projector power on or off, or to use special modes during a download, or to
see the current power state.
0 = Off
1 = On
2 = Boot mode (for downloading new code only) DO NOT USE
3 = No lamp (powered up, but lamp is off. For downloading only.)
11 = Warming up (read only)
3.123 PXP
Pixel Phase
PXP Pixel Phase
Use PXP to adjust the position of the sampling clock relative to the video data. Available range
depends on the incoming signal, with a higher frequency source having ½ the range of a lower
frequency source.
3.124 PXT
Pixel Tracking
PXT Pixel Tracking
Use PXT to adjust the number of pixels/lines in the image. Range depends on the horizontal
sync frequency.
3.125 RBL
Right Blanking
RBL Right Blanking
Use RBL to blank the right edge of the image (0-1000). The amount of blanking feasible depends
on the incoming source data.
3.126 RDB
Red Blacklevel
RDB Red Blacklevel
Set or request the red Blacklevel (0-511) for a specific source setup.
3.127 RDD
Red Drive
3.128 REM
Remote Commands
RDD Red Drive
Set or request the red Drive (0-511) for a specific source setup.
REM Remote Commands
Allows arbitrary serial data to be sent out a specified port and the data can also be read from that
port. It is intended to be used in conjunction with the RTE commands to allow a single event to
control other equipment connected to the projector.
Before being used, a port must be configured. After configuration, the port cannot be used for
standard Wolf Cinema protocol commands until that port is reconfigured as a Wolf Cinema port
again. See tables below for setting port configuration, reading port configuration and sending
and receiving arbitrary data from a port.
Configuring a Port
P1 = Port
P2 = Port Configuration
P3 = Baud Rate
1 = RS232 IN
2 = RS232 OUT
R = Remote equipment
C = Wolf Cinema
standard protocol
Same as for the BDR
command (i.e. 96, 1152
or 115200…)
3 = RS422 (db9)
4 = RS422 (XLR – only some models)
5 = RS422 (XLR – only some models)
Wolf Cinema Owner's Manual
Examples:
(REM 2 r 96): Configures the OUT port to send arbitrary data at 9600 baud
(REM 2 c): Returns the OUT port to normal operation
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Appendix B ► Serial Communications
Reading the Configuration of a Port
P1 = <c>‘port’ same values for ‘port’ as above
Example:
(REM? C2): Returns (REM! C002 r 0115200)
Sending Arbitrary Data Out a Port
P1 = Port Same values for ‘port’ as above
P2 = Data The data to send out the specified port
Example:
(REM 2 “A123”): The data A123 is sent out the OUT port without any other protocol characters. Some codes are not standard ASCII characters. These can be sent by using any of the escape codes defined in the section on text parameters.
(REM 2 “123\h1645): Sends the following bytes: 0x31,0x32,0x33,0x16,0x34,0x35
Reading Arbitrary Data from a Port
P1 = Port Same values for ‘port’ as above
Example:
(REM? 2): Returns (REM! 002 “1234”). “1234” is the data returned from the remote equipment.
3.129 ROG
Red Odd Gain
ROG Red Odd Gain
Set or request the red Odd Gain (0-255) for a specific source setup. You can set an Odd Gain
value for two separate analog input paths. The first input path is Input 1 (BNC connectors). The
second input path is one of: Input 2 (DVI-A connector), or Input 5 or Input 6 (one of the analog
option cards).
To leave one of the input values unaffected, enter a value of 0 for the input. If only one value is
specified, then both input paths will have the same value.
3.130 ROO
Red Off Offset
Examples:
(ROG 130 135) Sets the BNC analog path to 130, the DVI/option card path to 135. (ROG 0 120) Leaves the BNC path as it was, the DVI/option card path to 120.
(ROG 125)
Sets both paths to 125.
ROO Red Odd Offset
Set or request the blue Odd offset (0-255) for a specific source setup. You can set an Odd Offset
value for two separate analog input paths. The first input path is Input 1 (BNC connectors). The
second input path is one of: Input 2 (DVI-A connector), or Input 5 or Input 6 (one of the analog
option cards).
To leave one of the input values unaffected, enter a value of 0 for the input. If only one value is
specified, then both input paths will have the same value.
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3.131 RTE
Real Time Events
RTE Real Time Events
Use RTE to specify actions to be initiated at a certain point in time or by an external stimulus. This
action can be anything supported in the projector, as long as the action itself is not embedded
within an RTE command (such as GIO input simulation and others). There are four types of
RTEs:
T = Timed event
D = Scheduled/delayed single event
G = GPIO port change
S = System Status Change
F = FUNC key event
X = Delete event
If P1 = T or t
Description
Meaning
P1 = T or t
P2 – P7 = Date/Time
P8 = Schedule
This is a “timed” (scheduled) event
Date and time for first occurrence
Frequency of the event
P9 = ASCII message
Timed event
yyyy/MM/dd hh:mm:ss
S = Single one-time event
D = Daily
W = Weekly
Any valid ASCII command
If P1 = D or d
Description
Meaning
P1 = D or d
Delayed event
This one-time event is scheduled
to occur at a certain point in the
future.
How long to wait before starting the
event
Represents action taken during the
event
P2 – P4 = Amount of delay hh:mm:ss
Activity in the event
P5 = ASCII message
Any valid serial protocol
If P1 = G or g
Description
P1 = G or g
GPIO port change. This is a real-time I/O event.
P2 = I/O bit
1-255, depending on hardware (in the case of masking, this
represents the starting pin number).
P3 = Level
H or h = high (transition to active state)
L or l = low
“LHxxxHLx” combines multiple inputs and trigger occurs when
all conditions are met.
P4 = Which ASCII
command
Any valid serial command
If P1 = S or s
Description
Meaning
P1 = S or s
System event
This one-time event is
scheduled for a certain point in
time in the future.
Defines events internal to
the hardware that can trigger
command sequences.
P2 = Type of system event 0 = Boot
1 = Power*
2 = Error *
3 = Signal Valid
4 = Signal Bad / No Signal
5 = Signal Input Change*
6 = Signal Channel Change*
* May also include P3 info
(below)
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P3 = State/details (opt.)
P3 only applies if:
P2 = 1 (Power)
If P3 is 0 = Power Off
If P3 is 1 = Power On
P2 = 2 (Error)
P3 = error number
P2 = 5 (Signal Input)
P3 = Input number
P2 = 6 (Signal Channel)
P3 = Channel Number
This optional parameter further
defines the state. If this is
omitted, assume the event will
fire on any system event of this
type (for example, all signal
input changes rather than a
specific one)
If P1 = F or f
Description
Meaning
P1 = F or f
FUNC key event
This is a real-time event that
triggers a command when the
specified FUNC # is pressed.
P2 = Number key
1-5, 7-9
The number to trigger from.
If P1 = X or x
Description
Meaning
P1 = X or x
System event
This deletes a stored event.
P2 = Target
* = Delete all events
d = Delete all pending events
waiting because of a DLY
command.
Number = Delete the event
with the given number from
the list
This parameter determines
which events will be deleted.
Examples:
(RTE g 7 H “(GIO 22 P 100)”)
(RTE g 7 H “(GIO 22 P 100) (GIO 1 L)”)
(RTE G 7 H “(GIO 22 P 100) (GIO 1 L)”)
(RTE T 2003/07/09 12:36:45 S "(PWR 1)") = "S" Single / one time
(RTE T 2003/07/09 18:00:00 D "(PWR 0)") = "D" Daily
(RTE T 2003/07/09 05:00:00 W "(PWR 0)") = "W" Weekly
(RTE F 3 “(FRZ 1)”) // freeze image when FUNC-3 pressed
(RTE D 00:05:00 "(PWR 0)") = In 5 minutes, turn the projector off
(RTE G 5 H “(DLY 100) (PWR 0)”) = When pin 5 goes high, delay 100ms, then power off.
(RTE?)
(RTE!000 T 2003/07/09 05:00:00 S "(PWR 0)")
(RTE!001 T 2003/07/09 12:36:45 S "(PWR 1)")
(RTE!002 T 2003/07/09 18:00:00 D "(PWR 0)")
(RTE?0)
(RTE!000 T 2003/07/09 05:00:00 S "(PWR 0)")
(RTE X 1): delete entry one
(RTE X *): delete all entries
(RTE X d): delete all pending events waiting because of a (DLY) command
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Appendix B ► Serial Communications
3.132 SAV
Save Change
3.133 SBE
Slidebar Enable
3.134 SDE
Source Dialog Enable
3.135 SHU
Shutter
3.136 SIN
Select Input
3.137 SIZ
Size
3.138 SOR
Screen Orientation
SAV Save Changes
The projector normally saves any changes every few minutes and with every power-down.
Use SAV to save changes immediately, and to retain them in the event of a power failure.
The projector will save into flash memory all outstanding changes. The SAV message has no
parameters.
SBE Slidebar Enable
Use SBE to show (1) or hide (0) slidebars during use.
SDE Source Dialog Enable
Use SDE to show (1) or hide (0) the on-screen dialog box when selecting an input using
numbered keypad entry.
SHU Shutter
Use SHU to open (0) or close (1) any installed shutter mechanism.
SIN Select Input
Use SIN to switch to a specific input.
1 = BNC
2 = DVI-I
3 = Composite
4 = S-Video
5 = Option slot #1
6 = Option slot #2
7 = Option slot #1 – its secondary input if present
8 = Option slot #2 – its secondary input if present
SIZ Size
Use SIZ to control image width and height in tandem, maintaining the incoming aspect ratio
(1000 = no resizing).
SOR Screen Orientation
Use SOR to specify the orientation of the projector in relation to the screen.
0 = Front
1 = Rear
2 = Ceiling Front
3 = Ceiling Rear
3.139 SPS
Splash Select
SPS Splash Select
Use SPS to select when to display the splash screen.
0 = Off
1 = Startup only
2 = Startup and no signal (default)
3 = Always on
3.140 SRC
Select Source
SRC Select Source
Use SRC to switch to a specific source setup ## (1-50). This is the same as CHA command.
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Appendix B ► Serial Communications
3.141 System Status
SST System Status
Use SST to find out a variety of information about the current state of the projector. The single
broad-ranging request (SST?) for all information triggers the return of a series of replies as
if multiple requests had been sent. In each of these status replies, P1 explains the general
content or topic in the reply, and P2 the individual details. To obtain status regarding one topic
only, specify the desired P1parameter corresponding to that topic in your request—for example,
the request (SST?0) will trigger general projector information only. For a specific single-status
inquiry, include both P1 and P2 in the request—for example, (SST?4 2) asks whether the lamp
door is open or closed. Thus you can use the SST request command in 3 ways:
1) 2) 3) (SST?) returns all results along with descriptive text/data. The specifics within each of the five status groups will vary from model to model and be affected by options installed, software versions and other factors, thus a general SST inquiry is a good way to establish exactly what status reports are available for your projector.
(SST? X) where X = which Status Group 0-4 (P1). This request obtains all results belonging to this status group.
(SST? X Y) where X = which Status Group 0-4 (P1), and Y= which Detail 0-varies (P2). This request obtains
For all projectors listed on page 3:
P1 = Status Group
0 = General Projector Model Information – model, serial#, resolution, factory settings, etc. 1 = System Status – power on/off, lamp, hours of use, shutter, OSD, etc.
2 = Signal Information – source frequency, channel#, switching, etc.
3 = Operation Status – errors, temperatures, and interlocks
4 = Versions – h/w versions, s/w versions, h/w serial numbers, optional modules
3.142 STD
Video Standard
STD Video Standard
Use STD to select the video standard to use with the video input. If “auto” is selected (8) the
projector will automatically find the correct standard. If a request for standard is made and the
standard has been set to “auto” the return value will be preceded with an ‘A’.
0 = PAL
1 = NTSC
2 = SECAM
3 = NTSC4.43
4 = PAL-M
5 = PAL-NC
6 = PAL-60
7 = NTSC
8 = Auto-select
NOTE: The numbers associated with a standard in this list has no relation to the standard’s
menu position on screen.
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Appendix B ► Serial Communications
3.143 SZP
Size-Position Presets
3.144 TBL
Top Blanking
3.145 TMD
Time & Date
SZP Size-Position Presets
Use SZP to resize the image according to one of several preset methods. Any value other than
“1” shows Custom in the menu. Note: When set to default (0), a reading from the projector will
identify the current default setting.
0 = Default
1 = No Resizing
2 = Full Screen
3 = Full Width
4 = Full Height
5 = Anamorphic
6 = Custom resizing (read only)
TBL Top Blanking
Use TBL to blank (turn to black) the top of the image. Range depends on the source.
TMD Time & Date
TMD sets the time & date in the projector’s Real Time Clock.
P1 = Year (####, such as 2005)
P2 = Month (1= Jan., 2 = Feb., etc.)
P3 = Date (1-31)
P4 = Hour (0-23, 24-hr. clock)
P5 = Minute (0-59) P6 = Second (0-59)
Examples:
(TMD!2004/08/13 14:21:00) = August 13, 2004 at 2:21 pm
(TMD!2005/02/03 08:12:00) = February 3, 2005 at 8:12 am
3.146 TNT
Tint
TNT Tint
TNT sets the tint for video images. The TNT value represents a percentage, e.g. 1000=100.0 %
or 0505=50.5%.
3.147 USR
User Message
USR User Message
Use USR to load a user message for display in the Status menu. Use the form (USR<text>)
following the structure outlined in the following table to set the desired text to be displayed.
Parameter
Name
Description
P1
Text
The text may contain the following special characters (all characters
0-255 that are not in this list may be included in the text directly):
\n = new line
\\ = backslash
\” = quote
\( = left bracket
\) = right bracket
\b = 0x01 control code (beginning of message)
\e = 0x0E control code (end of message)
\s = 0x13 control code (Xoff)
\g = 0x11 control code (Xon)
\c = 0x1B control code (ESC)
The last entries in the table are control codes that will not appear in a
status page message -- they are listed here for completeness because
the same text format is used to save and restore source data as well
as to download code.
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Appendix B ► Serial Communications
When a request is made to retrieve the user message that has already been set, the returned
value is displayed in the same format as setting the text.
3.148 VBL
Video Black Level
3.149 VRT
Vertical Position
Examples:
(usr“hello world”) - basic user message.
(usr“hello world\nline two”)
- message with new line in the middle.
(usr“Contact \“freddy\” for help”)
- message with embedded quote.
See 2.1, Basic Message Structure for text parameters.
VBL Video Black Level
Use VBL to set black levels to 0 IRE (0) or 1 (7.5 IRE) for video signals. Most NTSC standards
include a 7.5IRE “Setup” to the video black level. By adjusting this setting the projector can be
optimized for incoming data with or without this “Setup”. If it is set wrong the image will have
elevated blacks or crushed blacks.
VRT Vertical Position
Use VRT to adjust the vertical position of the image.
3.150 VST
Vertical Stretch
VST Vertical Stretch
Use VST to electronically stretch the image vertically (200-4000) without affecting the horizontal
size. 1000 is the neutral position (no stretching).
3.151 WFH
Warp Prefilter H
WFH Warp Prefilter H
Use WFH to set or request the warp horizontal pre-filter. Requires Wolf WARP module.
3.152 WFV
Warp Prefilter V
WFV Warp Prefilter V
Use WFV to set or request the warp vertical pre-filter. Requires Wolf WARP module.
3.153 WKC
2D Keystone Corners
WKC 2D Keystone Corners
NOTE: Requires Wolf WARP module.
Use WKC to set or request the x/y coordinates for the four corners defining “2D keystone”, i.e.
a 4-sided image shape.
P1 = index of the position to set or request
P2 = value to set if it is a set command
The valid indices are as follows, each with a range that depends on the resolution of the projector
you are working with:
1 = Top Left Corner – Horizontal Position (x)
2 = Top Left Corner – Vertical Position (y)
3 = Top Right Corner – Horizontal Position (x)
4 = Top Right Corner – Vertical Position (y)
5 = Bottom Left Corner – Horizontal Position (x)
6 = Bottom Left Corner – Vertical Position (y)
7 = Bottom Right Corner – Horizontal Position (x)
8 = Bottom Right Corner – Vertical Position (y)
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Appendix B ► Serial Communications
Any coordinate value that is ½ that of the native resolution of the projector defines a “normal”
location (i.e., no warping). For example, in a projector with 1400 x 1050 resolution, any “x” value
of 700 is normal. A value over 700 moves a corner to the right; a value below 700 moves a corner
to the left. A value of 0 moves a corner as far from center as possible (which may be off the
screen). You can move a point towards center by a distance that is ¼ of the full resolution—for
example, you can move the top left point to the right by a maximum distance of 350 pixels, which
is ¼ of the total 1400 pixels available.
3.154 WPL
Warp Latency
3.155 WPS
Warp Select
3.156 WSH
Warp Sharpness
3.157 ZOM
Zoom
WPL Warp Latency
Use WPL to set or request the warp latency. Requires Wolf WARP module.
WPS Warp Select
Use WPS to select which warp map to use, or to disable warping. Requires Wolf WARP
module.
0 = Disable
1 = 2D Keystone
2-4 = User-defined maps
WSH Warp Sharpness
Set or request the warp sharpness.
ZOM Zoom
The ZOM adjusts lens zoom (image size) on projectors having a motorized lens mount, and
requires keypad emulation.
Examples:
(ZOM K3) (ZOM K2) (ZOM K0) Zoom in for a smaller image
Zoom out for a larger image
Stop zoom adjustment (if not issued, lens movement will continue until it reaches the end stop).
To “nudge” the zoom in a minimum amount, script in a delay between (ZOM K3) and (ZOM K0).
Depending on your application, a delay of at least 20-30 milliseconds may be sufficient.
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Appendix C
THROW DISTANCE
Calculating Throw Distance
It is important throw distance be precisely calculated for your installation using the
appropriate formula from the chart below. To calculate throw distance you must know
the screen size and the lens type installed in the projector. In general, the larger you
want the image to be the greater the distance you must allow between the lens and
the screen.
NOTES: 1) Throw distance is measured from the screen to the front of the projector’s
front feet (on Integrated (i) units) or internal light engine face (on Full Dress (FD) units).
2) This measurement is not necessarily parallel to the floor as the projector and screen
may be inclined. 3) Due to lens manufacturing, throw distance calculations have
a tolerance of ± 5%.
Throw Distance Calculation for DCX-i
Throw Distance measured from screen to front of Projector
1.45 - 1.8 HD Min. 1.45 x screen width + 1.79
1.86 - 2.58 HD Min. 1.86 x screen width – 3.95
2.65 - 4.0 HD Min. 2.65 x screen width +11.33
4.5 - 6.7 HD Min. 4.5 x screen width + 10.664
Divide max throw by 1.33 for VariScope min throw for 1.78 to 2.35 screen
Throw Distance Calculation for DCX-FD
Throw Distance measured from screen to front of Projector
1.45 - 1.8 HD Min. 1.45 x screen width + 12.04
1.86 - 2.58 Min. 1.86 x screen width +6.3
2.65 - 4.0 HD Min. 2.65 x screen width +21.58
4.5 - 6.7 HD Min. 4.5 x screen width + 20.9
Divide max throw by 1.33 for VariScope min throw for 1.78 to 2.35 screen
Throw Distance Calculation for DCX-i and DCX-FD VariScope 2.35
Throw Distance measured from screen to front VariScope housing
1.45 - 1.8 HD Min. 1.45 x screen width + 12.04
1.86 - 2.58 HD Min. 1.8671 x screen width +6.3
2.65 - 4.0 HD Min. 2.65 x screen width +21.58
4.5 - 6.7 HD Min. 4.5 x screen width + 20.9
Divide max throw by 1.12 for VariScope min throw for 1.78 to 2.35 or larger screen
C-1
Wolf Cinema Owner's Manual
appendix D
SYSTEM INTEGRATION
The GPIO (General Purpose Input Output) connector located on the input panel provides a
flexible method of interfacing a wide range of external I/O devices to the projector. There are
seven GIO pins available on the nine-pin D-Sub GPIO connector, which are configurable via
RS232 commands. The other two pins are reserved for ground and power – see table below for
pin identification.
GPIO Pins
GPIO
Pin #
Signal
1
+ 12V (1200mA)
2
GPIO 1
3
GPIO 2
4
GPIO 3
5
Ground
6
GPIO 4
7
GPIO 5
8
GPIO 6
9
GPIO 7
The serial cable required for connecting
the external device to the projector’s GPIO
connector, whether it’s a standard serial cable
or a custom one, must be compatible with the
external device.
Configuring the GPIO
The GPIO connector can be configured to automate any number of events using the serial
command code GIO. Each pin is defined as either an input or output depending on the
desired outcome. In general, configure the pin as an input if you want the projector to
respond to something the external device does and as an output if you want the external
device to respond to an action taken by the projector. For example, configure the pin as an
output if you want the lighting in a room to automatically dim when the projector is turned
on.
By using the GIO command, you can also set the state of each pin as high or low. By default,
the state of each pin is high. The voltage applied to pins in the high state is + 3.3V.
Example 1. Turn room lighting on when the projector is turned off. (Assumes a control/
automation unit is configured to turn the lights on when pin 2 of its input goes high.)
(GIO C2 O) Set pin #2 configuration to output
(GIO 2 H)
Set pin #2 to high (state)
(GIO?)
Request the state and configuration of all pins
(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
Query Command
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Appendix D ► System Integration
Real Time Event
Use the serial command RTE to specify an action that is initiated at a particular time or based
on an external stimulus.
For General Purpose IO “G”
Parameter
Name
Value
P1
RTE type
G (Real Time I/O Event)
P2
I/O bit
1-7
P3
Pin state
(1 Character)
(String)
H = High
L = Low
“LHXXXHL” Combine multiple inputs and trigger occurs
when all conditions are met
P4
Commands
Any valid serial protocol command for the device
Example 2. Projector powers up when a switch on the external device is turned on.
Wolf Cinema Owner's Manual
(GIO C2 I)
Set pin #2 configuration as input
(RTE G 2 H “(PWR 1)”)
Power on when pin #2 set to high
(RTE G 2 L “(PWR 0)”)
Power off when pin #2 set to low
D-2
appendix E
OPTIONAL INPUT MODULES
DVI Input Module >
This module can display digital video input signals conforming to the DVI (Digital Visual Interface)
single-channel standard.
Features
Serial Digital Input Module >
• Supports Digital Visual Interface (DVI) single-channel
• Supports VESA® Extended Display Identification Data (EDID™)
• Provides an active-loop-through using a DVI connector (conforming to the DVI
Specification)
The module accepts a serial digital 4:2:2 component video signal (YCbCr) via a single SERIAL
IN BNC connector. The signal can loop through the SERIAL OUT BNC out to another device
(such as another projector). Inputs are 75Ω terminated.
SDI Features
Dual SD/HD-SDI Module >
• Accepts serial digital 4:2:2 component video (YCbCr)
• Provides both a SERIAL IN and a SERIAL OUT BNC connector includes status LEDs for
signal and error
• SMPTE 259M compatible
The Dual SD/HD-SDI Module enables incoming serial digital (SD or HD) data to be tiled across
multiple screen displays, overlapped for extra-bright displays, or distributed to additional
projectors for multiple, same-image screens.
Dual SD/HD-SDI Features
• Accepts and decodes up to two serial digital inputs
• Outputs up to two 10-bit YCbCr 4:2:2 video signals
• Provides input(s) to output(s) loop-through capability
• Supplies interchangeable inputs as part of the Picture-in Picture display
• SMPTE 259M compatible
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Wolf Cinema Owner's Manual
Wolf Cinema . 2431 Fifth Street . Berkeley . CA 94710 . Ph: 510.843.4500 . Fax: 510.843.7120 . www.wolfcinema.com
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