Christie | DS+65 | User`s manual | Christie DS+65 User`s manual

DS+60 User’s Manual
Table of Contents
1 INTRODUCTION
1.1
1.2
1.3
Projector Overview ......................................................................................... 1-1
Components..................................................................................................... 1-3
Purchase Record and Servicing....................................................................... 1-4
2.1
2.2
2.3
2.4
2.5
2.6
Quick Setup..................................................................................................... 2-1
Installation Considerations.............................................................................. 2-3
Connecting Sources....................................................................................... 2-12
Connecting Communications ........................................................................ 2-15
System Integration – GPIO Connector.......................................................... 2-17
Power Connection ......................................................................................... 2-17
3.1
3.2
3.3
3.4
3.5
3.6
3.7
3.8
3.9
3.10
3.11
About the Projector ....................................................................................... 3-1
Using the Remote or Built-in Keypad............................................................. 3-3
Navigating the Menus ................................................................................... 3-10
Using Inputs and Channels............................................................................ 3-14
Adjusting the Image ...................................................................................... 3-19
Adjusting System Parameters and Advanced Controls................................. 3-33
The Lamp Menu............................................................................................ 3-43
Status Menu ................................................................................................. 3-47
Using Multiple Projectors ............................................................................. 3-47
Remote Control of the Projector .................................................................. 3-56
Error Conditions............................................................................................ 3-57
4 MAINTENANCE
4.1
4.2
4.3
4.4
4.5
Warnings and Safety Guidelines ..................................................................... 4-1
Cleaning and Maintenance Guide ................................................................... 4-4
Replacing Remote Batteries ............................................................................ 4-5
Lamp and Filter Replacement ......................................................................... 4-5
Replacing the Projection Lens......................................................................... 4-8
5 TROUBLESHOOTING
5.1
5.2
5.3
Displays........................................................................................................... 5-1
Lamp .............................................................................................................. 5-3
Ethernet ........................................................................................................... 5-3
6.1
Specifications .................................................................................................. 6-1
2 INSTALLATION &
SETUP
3 OPERATION
6 SPECIFICATIONS
APPENDICES
Appendix A: Glossary ............................................................................................... A-1
Appendix B: Keypad Reference .................................................................................B-1
Appendix C: Serial Communication...........................................................................C-1
Appendix D: Throw Distance.................................................................................... D-1
Appendix E: System Integration.................................................................................E-1
Appendix F: Optional Input Modules......................................................................... F-1
Appendix G: 300W P-VIP Lamps Product Safety Data Sheet.................................. G-1
013-100062 (02/05) Software v1.0
NOTE: Due to continuing research, all information in this manual is subject to change without notice.
Christie DS+60 User’s Manual
Section 1
Introduction
1.1
Projector
Overview
Christie DS+60 projectors are professional quality single-chip projectors that use
Digital Light Processing (DLP) technology from Texas Instruments to achieve
high brightness multimedia and video projection images. With a range of available
lenses, input modules and built-in
ChristieNET the DS+60 is flexible and
customizable. The brightness delivered by this
projector makes it an ideal choice in venues
where ambient lighting is typically higher,
such as boardrooms, large conference rooms
and small auditoriums.
Key features:
• 1-chip DLP technology
• Native SXGA+ 1400 x 1050 resolution
• Brightness – 6000 ANSI lumens (Dual Lamp with White Boost ON)
•
3050 ANSI lumens (Single Lamp with White Boost ON)
• Contrast – 1100:1 up to 5000:1 full field (with built-in shutter)
• Dual 300W P-VIP lamp illumination (user replaceable lamps)
• Auto-switching or user selectable lamp operation mode (Single or Dual lamp)
• 24-bit RGB display
• Display of NTSC, PAL, and SECAM video inputs and HDTV/DTV formats
• 10-bit Image Processing Module
• Memory for up to 50 custom “channels” (source setups)
• Intuitive on-screen menu system
• Status LED display for projector monitoring
• Multiple control options including ChristieNET, RS-232 and RS-422
• Remote controlled shutter
• Motorized lens mount for smooth lens control
• Field interchangeable projection lenses
See Section 6 for a complete list of product specifications.
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Section 1: Introduction
1
Powering ON
(a) Be patient when powering the projector ON or switching lamp operation
modes. As the lamps warm up, brightness will gradually increase. (No light
appears on the wall during the first 25 seconds.) On the rare occurrence a
lamp does not ignite, the projector will try again several times. (For more
information see 3.7 The Lamp Menu)
(b) Wait for the projector to complete initialization before sending keypad
commands (“On” will appear on the LED display), otherwise it will be
ignored.
(c) The projector enforces a 90 second wait from the time the projector is
powered down and powered back up again. This gives the lamps enough
time to cool down to a point where they can be turned on again.
(d) Use the windows located on the lamp doors as indicators when trying to
determine whether a lamp is on or off without accessing software menus.
2
Lamp Operation Modes – Auto Switching
(a) The projector is designed to run in Dual Lamp mode (default), unless
another mode is manually selected. If a lamp fails while in Dual Lamp
mode, the projector will try re-igniting the lamp — it will not switch to a
single lamp mode.
(b) The projector will automatically switch from one single lamp operation
mode to another to maintain light on the wall.
(c) Check the status of a lamp in the Status menu, Lamp menu or by looking at
the windows on the lamp doors.
(For more information see 3.7 The Lamp Menu)
3
Lamp Operation Modes – Manual Switching
(a) One lamp will turn off only after the other lamp has successfully been
turned on. This allows you to view content without interruption when
switching between lamp operation modes. It takes 25 seconds for a lamp
that was just turned on to warm up and reach full brightness. When the
original lamp turns off you will notice a slight dimming, which indicates the
lamp switching operation is complete. At this point, you can perform any
adjustment, such as Color Wheel Delay. (For more information see 3.7 The
Lamp Menu)
4
Flexible Light Output Control
(a) Switching from Dual to Single Lamp operation modes can reduce light
output by approximately 50%.
(b) Adjusting lamp power in the range of 300W to 250W can provide
approximately 17% dimming capability.
(c) Adjusting the Optical Aperture can significantly drive brightness down
(approximately 78%) while increasing contrast from 1100-5000:1 increase
contrast.
(d) Always check the optical aperture and lamp power levels before
troubleshooting brightness related problems.
5
White Boost
(a) White Boost automatically turns off when Edge Blending, adjusting
Brightness Uniformity or making Color Adjustments. A noticeable dimming
of the display occurs. For best results, set White Boost to 10 for data content
and 2 for video.
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Section 1: Introduction
How the projector works
' The light generated by the lamp(s) is then sequentially filtered into the RGB color
primaries by the spinning color wheel(s) and presented to the single chip DMD,
located in the light engine, in sequence. The reflected light from the DMD chip then
passes through the projection lens to the screen.
Figure 1. 1
1.2
Components
Ensure you have received all the following components before using your projector.
Wireless IR Remote (with batteries)
Wired Remote Cable (10 ft.)
Line Cord (North American and European)
Computer Cable (Dsub 15 to DVI-I)
DVI-I Cable
S-Video Cable
User’ s Manual
NOTE: For a complete list of optional components that can be used with your
projector, refer to Section 6 – Specifications. Call Christie or your dealer, if required.
Christie DS+60 User’s Manual
1-3
Section 1: Introduction
1.3
Purchase
Record and
Servicing
Whether the projector is under warranty or the warranty has expired, Christie’s highly
trained and extensive factory and dealer service network is always available to quickly
diagnose and correct projector malfunctions. Service manuals and updates are
available to service technicians for all projectors.
If you encounter any problems with the projector and require assistance, contact your
dealer or Christie Digital Systems. Fill out the information in the table below and keep
with your records for future reference.
Purchase Record
Dealer:
Dealer Phone Number:
Projector Serial Number:
Purchase Date:
Installation Date, if applicable:
NOTE: The serial number can be found on the license label located on the bottom of the projector.
You can also register your product on-line by visiting www.christiedigital.com ⇒
Service and Support ⇒ Product Registration. This will keep you in touch with all
the latest product information, such as updates, technical bulletins, downloads and
Christie newsletters.
1-4 Christie DS+60 User’s Manual
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 a Projection Lens
The projection lens is shipped separately from the projector and must be installed
prior to setting up the projector. Install the projection lens as described in 4.5
Replacing the Projection Lens.
Remove the lens plug from the 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 for additional connections.
Refer to 2.3 Connecting Sources for more details on connecting a specific source.
CCCChristie DS+60 User’s Manual
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Section 2: Installation and Setup
Step 4 ' Connect the Line Cord
North American and European rated line cords are provided with each projector.
Make sure you use the correct line cord for your area.
Connect the appropriately rated line cord (supplied with the projector) to the AC
receptacle located on the lower right side of the projector and the other end to an AC
outlet (100-240V). Do not use a line cord or AC supply not in the specified voltage
and power range. See Section 6 – Specifications for projector power requirements.
Step 5 ' Turn the Projector ON
for two seconds to turn the projector on. As the projector begins
Press
initialization, an active pattern of segments appear in the LED status display window
that is located with the built-in keypad. Do not enter a keypad command until “On”
appears on the status display, otherwise the command will be ignored.
By default, the projector powers up in dual lamp mode. Refer to Section 3 – The Lamp
Menu for more information on lamp operation modes and lamp auto-switching.
Step 6 ' 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 connected in Step 3.
Step 7 ' Perform Auto Setup on the current source
Press Auto to initiate an automated process in which the projector optimizes critical
display parameters such as size, position, pixel tracking etc. for the source selected.
Additional modifications to image settings can be done afterward, if required.
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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.
Front Screen, Floor Mount Installation
ADVANTAGES
• Easy to set up
• Can be moved or changed quickly
• Easy to access
•
CONSIDERATIONS
Shares floor space with audience
Front Screen, Inverted Mount (ceiling) Installation
•
•
•
ADVANTAGES
Does not take up audience space
Projector is unobtrusive
Projector cannot be accidentally moved
•
•
CONSIDERATIONS
Installation is more permanent
It is more difficult to access the projector
Rear Screen, Floor Mount Installation
•
•
•
ADVANTAGES
Projector is completely hidden
Projector is easily accessed
Usually good ambient light rejection
•
•
CONSIDERATIONS
Requires separate room
Installation cost is usually higher
Rear Screen, Inverted Mount (ceiling) Installation
•
•
ADVANTAGES
Projector is completely hidden
Usually good ambient light rejection
•
•
CONSIDERATIONS
Requires separate room
Installation cost is usually higher
•
•
CONSIDERATIONS
Requires separate room
Installation cost is usually higher
Rear Screen, Floor Mount with Mirror
•
•
•
ADVANTAGES
Projector is completely hidden
Usually good ambient light rejection
Requires less space behind screen than
other rear screen installations
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 most 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 1. The main advantage of the diffused screen is its
wide viewing angle, similar to that of a flat screen for front screen projection. This
type of screen is suitable when a wide viewing angle is required but there is low
ambient room lighting.
Optical screens take light from the projector and redirect it to increase the light
intensity at the front of the screen. This reduces it in other areas. A viewing cone,
similar to that of a curved front screen installation is created. This type of screen is
better suited for brightly lit rooms where the audience is situated within the viewing
cone.
Screen size
Choose a screen size, which is appropriate for your lens and application. Keep in mind
that if the projector will be used to display text information, the image size must allow
the audience to recognize all text clearly. The eye usually sees a letter clearly if eyeto-text distance is less than 150 times the height of the letter. Small text located too far
from the eye will likely be illegible at a distance no matter how sharply and clearly it
is displayed.
To fill a screen with an image, the aspect ratio of the screen should be equal to the
aspect ratio of the image (expressed as the ratio of its width to its height). Standard
video from a VCR has a 4:3 or 1.33:1 aspect ratio. For example, to display a VCR
output with a 4:3 aspect ratio onto a 10-foot (3m) high screen, the width of the screen
must be at least 13.3feet (4m).
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Section 2: Installation and Setup
Ambient Lighting ' The high brightness of this projector is well suited for locations where ambient
lighting might be considered less than ideal for projection. A typical room with ceiling
lights and windows rarely requires special attention. Contrast ratio in your images will
be noticeably reduced only if light directly strikes the screen, such as when a shaft of
light from a window or floodlight falls on the image. Images may then appear washed
out and less vibrant.
In general, avoid or eliminate light sources directed at the screen.
Other Considerations ' Other considerations and tips that can help improve your installation:
•
•
•
Projector Position and
Mounting
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.
' Throw distance
Throw distance (also known as projection distance) is the distance measured from
your projector’s front feet to the screen. This is an important calculation in any
projector installation as it determines whether or not you have enough room to install
your projector with a desired screen size and if your image will be of the right size for
your screen.
You can quickly estimate the throw distance by taking the horizontal width of the
screen and multiplying it by the lens throw ratio. The result of this calculation tells
you roughly how far back the projector should be positioned from the screen in order
to project a focused image large enough to fill the screen. For example, if you are
going to use a 0.8:1 lens, throw distance would roughly be 0.8 X screen width.
IMPORTANT: Always calculate the precise throw distance for the lens type
and screen size you’re going to use. Refer to Appendix D for actual throw
distance formulas and quick reference charts.
Christie DS+60 User’s Manual
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Section 2: Installation and Setup
Figure 2.1. Estimating Throw Distance
Vertical and horizontal position
The correct vertical and horizontal position of the projector in relation to the screen
depends on the lens type and the screen size. Ideally, the projector should be
positioned perpendicular to the screen. This way, the image will appear rectangular
instead of keystoned (trapezoidal).
The vertical position of the image can be offset – that is moved above or below the
optical axis (lens center) by adjusting the fully motorized lens mount using the
keypad. The amount of vertical offset available depends directly on the lens installed
in the projector and can be slightly limited if horizontal offset has been applied.
Vertical offset can also be expressed as the percent of half the image height OR the
number of pixels of shift from lens center. Refer to Figure 2.2 for some illustrated
examples of vertical offset.
Table 2.1 along with Figure 2.3 show the maximum vertical offset of a lens or
alternatively, how much of your projected image will appear above or below lens
center if the maximum vertical offset is applied using that lens.
Table 2.1. Lens Offsets
Lens Type
0.8:1 fixed
1.2:1 fixed
1.3-1.7:1
1.7-2.5:1
2.5-4.0:1
4.0-7.0:1
Vertical Offset
(% of half height)
%
12%
120%
120%
120%
120%
120%
Pixels
+/-63
+/-630
+/-630
+/-630
+/-630
+/-630
Maximum amount of
projected image above or
below lens center
%
56%
110%
110%
110%
110%
110%
Pixels
+/-588
+/-1155
+/-1155
+/-1155
+/-1155
+/-1155
Horizontal Offset
(% of half width)
%
7%
78%
78%
78%
78%
78%
% Offset = # pixels of offset / half panel resolution x 100.
2-6 Christie DS+60 User’s Manual
Pixels
+/-48
+/-546
+/-546
+/-546
+/-546
+/-546
Maximum amount of
projected image to one
side of lens center
%
53%
89%
89%
89%
89%
89%
Pixels
+/-748
+/-1246
+/-1246
+/-1246
+/-1246
+/-1246
Section 2: Installation and Setup
Figure 2.2. Examples of Vertical Offset
Christie DS+60 User’s Manual
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Section 2: Installation and Setup
Figure 2.3. Lens Vertical Offsets
The horizontal position of the image can be offset – that is moved to the left or right
of lens center, by adjusting the fully motorized lens mount through software. The
amount of horizontal offset available depends on the lens installed and if the image
has already been vertically offset. Horizontal offset can also be expressed as the
percent of half the image width – the number of pixels of shift to one side of lens
center. Refer to Figure 2.4 for some illustrated examples of horizontal offset.
See also Table 2.1 along with Figure 2.5 which shows the maximum horizontal offset
of a lens or alternatively, how much of your projected image will appear to one side of
lens center if the maximum horizontal offset is applied using that lens.
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Section 2: Installation and Setup
Figure 2.4. Examples of Horizontal Offset
Christie DS+60 User’s Manual
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Section 2: Installation and Setup
Figure 2.5. Lens Horizontal Offsets
Lifting and transporting the projector – The projector is light enough to lift and
transport a short distance. Use the indentations on the bottom of the projector as a
guide for hand placement, which makes carrying the projector easier.
When transporting the projector a long distance, use a stable cart or ask someone for
help.
Mounting
There are several methods for mounting the projector. Depending on your chosen
installation, one method may be more suitable than another. In typical front and rear
screen installations the projector can be mounted to a secure and level surface, such as
a table or cart. Carts are useful when moving a projector during a presentation or from
site to site. If possible, lock the wheels when it’s in position to prevent it from being
moved during a presentation.
CEILING MOUNT - The projector can also be inverted and suspended from the ceiling
using a specially designed ceiling mount fixture. This type of mounting is
recommended for fixed installations and for those that want the projector out of sight
or have a limited space for projector and audience.
Use only the CHRISTIE approved ceiling mount kit designed for
your projector. Ceiling Mount Kit # 38-804951-01
SPECIAL MOUNTING – The projector can be rotated (front-to-back) up to 360 degrees
and mounted without it affecting performance. However, the side-to-side tilt limit of
the projector must not exceed +/-20 degrees. This limit is required to ensure optimal
performance of the projector and its lamps. (Figure 2.6.)
2-10 Christie DS+60 User’s Manual
Section 2: Installation and Setup
Figure 2.6.
Adjusting projector height
You can modify the height of the
projector to remedy a slightly
unlevel mounting surface by
adjusting the three feet threaded
into the bottom chassis. Turn each
foot clock-wise or counterclockwise until the project is level
on all sides. (Figure 2.7.)
Figure 2.7.
NOTE: The front of the projector can be
raised up to 10 degrees. (Figure 2.8.)
Figure 2.8.
Folded Optics
In rear screen applications where space behind the projector is limited, a mirror may
be used to fold the optical path. See Figure 2.9. The position of the projector and
mirror must be accurately set – if considering this type of installation call your dealer
for assistance.
Figure 2.9.
Christie DS+60 User’s Manual
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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
2.10.
The upper right corner (INPUT 1) typically accepts an RGB signal from an external
analog RGB source, or it can also be used for YPbPr signals or additional video
sources. The DVI-I connector at INPUT 2 accepts digital or analog display signals from
a computer. Connect analog composite video at INPUT 3 or S-video at INPUT 4 from
devices such as VCRs, laser disk players or DVD players.
Christie offers optional input modules that can be installed into the projector at INPUT
5 to connect other sources.
Figure 2.10. Input Panel
NOTES: 1) See Section 6, Specifications for details regarding compatible inputs. 2)
Use only high quality shielded cables only for all connections.
RGB signals (5 BNCs) ' INPUT 1 consists of 5 BNCs (connectors) for linking to a variety of sources. The
typical connection would be to an RGB source such as a PC, Mac, Sun, SGI and
others. This projector supports multiple sync types with RGB signals: sync-on-green,
composite sync, and separate H & V syncs.
Connect the SYNC BNC input(s) first. Then connect the red, green and blue source
outputs to the RED, GREEN, and BLUE BNCs on the INPUT 1 panel. If the source uses
sync-on-green, only the red, green, and blue connections are required. If the source
provides a composite sync output, connect it to the SYNC input labeled HOR/COMP. If
the source provides separate horizontal and vertical sync outputs, connect horizontal
sync to the SYNC input labeled HOR/COMP and connect vertical sync to SYNC input
labeled VERT. See Figure 2.11.
NOTE: Depending on your source, you may need a custom adapter cable with BNC
connectors at the projector end and a different type of connector at the other (such as
a 15-pin "D" connector for some computer sources). Contact your dealer for details.
2-12 Christie DS+60 User’s Manual
Section 2: Installation and Setup
Figure 2.11. Connecting RGB and Sync
NOTES: 1) If for some reason the projector fails to recognize a signal as an RGB
signal, specify the Color Space option within the Image Settings menu. See 3.7,
Adjusting the Image. 2) To connect YPbPr signals–such as from DVDs or analog HDTV
sources–to INPUT 1, use the red, green and blue BNCs as described in YPbPr Signals
(below). 3) Use the computer cable provided, to connect some devices to the DVI-I
connector at Input 2.
YPbPr signals ' Connect a YPbPr signal (component video) to INPUT 1 or INPUT 2 as shown in Figure
2.12.
NOTES: 1) If, for some reason, the projector fails to recognize a YPbPr signal,
specify the Color Space option within the Image Settings menu. See 3.7, Adjusting
the Image. 2) Do not connect digital component signals (known as YCbCr) to INPUT
1. Install an appropriate optional module in INPUT 5 for this.
Figure 2.12. Connecting YPbPr sources
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Section 2: Installation and Setup
Composite and S-Video ' INPUT 3 and INPUT 4 provide simultaneous connection of both a composite video
source (INPUT 3) and an S-Video source (INPUT 4). See Figure 2.13.
Figure 2.13.Connecting Composite or S-Video sources
DVI Digital Video ' Use the DVI-I connector at INPUT 2 to connect either analog or digital video devices
to the projector. When connecting devices that transmit an analog video signal such as
VCRs, laptops, and PCs use the cable provided with the projector. Plug the DVI-I
(single link) connector end to the projector and the 15-pin VGA connector to the
device.
Use a cable with DVI-I connectors at both ends to connect devices that transmit
digital and analog video signals such as high-quality DVD players, satellite receiver
and digital cable TVs.
NOTE: 1) To ensure true digital output from devices that transmit digital signals,
connect to the DVI-I connector. 2) The DVI connector is HDCP compliant. 3) DVI
loop through is not available unless you have the optional DVI Input Module
installed at INPUT 5.
Optional Inputs ' Optional input modules allow you to increase your total number of inputs and/or
accommodate different signal types, whether analog or digital. Install in the area
labeled INPUT 5. Options include:
•
•
•
•
•
•
•
RGB 500 Input Module
RGB 400 Active Loop Thru Input Module
RGB 400 Buffered Amplifier Input Module
PC250 Analog Input Module
Serial Digital Input Module
DVI Input Module
Dual SD/HD-SDI Module (available 2005)
NOTES: 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 RCA jack labeled REMOTE on the projector’s input panel. Note that response to
a wired keypad must also be enabled in the Communications menu—see 3.6,
Adjusting System Parameters and Advanced Controls for more information.
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 9-pin DIN connectors labeled RS232 IN and RS232 OUT on the input panel
are dedicated to serial communication. Using the appropriate serial communication
cables (see Appendix C) connect the controlling source, such as a personal computer
to the RS232 IN connector. Then set the baud rate to match that of the computer.
Refer to Section 3 for details on changing the projector’s baud rate.
Figure 2.14. Connecting RS232
If you want to connect multiple projectors in a network with serial communication,
connect the controlling source to the RS232 IN connector of the first projector in the
network. Then take another serial communication cable and connect one end to the
RS232 OUT connector and the other end to the RS232 IN connector of the next
projector. Continue this pattern of connection with all projectors in the network. The
last projector in the network will only have a connection to the RS232 IN connector.
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Section 2: Installation and Setup
Figure 2.15. RS232 Network
Connecting RS-422
If you wish to control the projector with a computer and or other controlling device
with RS-422 capability, connect a RS-422 serial communication cable between the
computer and the RS-422 port on the projector. RS-422 is better suited for serial
communication over long distances then is RS-232 communication.
Use the RS-422 port only if your device had RS-422 capability – always consult
the literature provided with your equipment before connecting. Connecting to the RS422 port with incompatible equipment could damage your projector.
Figure 2.16. Connecting RS422
Ethernet Communications ' To add the projector to an existing Ethernet network with other equipment such as
controllers and other projectors, connect standard CAT5 Ethernet cable between your
Ethernet controller (or hub) and the Ethernet port on the side of the projector.
Upon connection to an Ethernet network, the projector’s factory default IP address of
0.0.0.0.0 will automatically enable the DHCP function (if available on the network) to
assign a new IP address that is valid and unique for that network. Or, if there is no
DHCP function available on the network (or if a specific static IP address for the
projector is preferred or required), you can set the address in the Ethernet Settings
menu or via an ASCII serial command.
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Section 2: Installation and Setup
Regardless of how it is assigned, once a projector has a valid and unique address it
will respond to commands sent to this address. To determine the projector’s current IP
address, consult the Status or Communications menus.
Refer to Section 3 for further information about setting up and using a projector
connected via Ethernet.
Log on to www.christiedigital.com for detailed information on ChristieNET.
2.5
System
Integration GPIO Connector
The GPIO (General Purpose Input Output) connector on the input panel can be used
to provide a method of interfacing a wide range of external I/O devices to the
projector.
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
Connection
Plug the line cord to the AC receptacle located on the right hand side of the projector
and the 3-pronged end into a grounded AC outlet (Figure 2.17). The input voltage to
the projector must be capable of 100 – 240 VAC. (See also Section 6 – Specifications
for complete details on all power requirements.)
Each projector is provided with the North American and European rated line cords.
Make sure you are using the appropriately rated line cord for your area.
Always power down the projector before unplugging the AC line cord – Once you
power down, wait 2 minutes to allow the main exhaust fan to turn off and for the
lamps to cool before unplugging the projector.
WARNINGS
Do not attempt operation if the AC supply and cord are
not within the specified voltage and power range.
Wait for the cooling fans to turn off before unplugging the
projector.
Figure 2.17.
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Section 3
Operation
This section explains how to effectively operate the projector once it has been
installed. It is recommended that you read this section and familiarize yourself with
the components and the available menu options before you begin using your projector
for the first time.
3.1
About the
Projector
1
2
3
4
5
6
7
8
Top cover
Built-in keypad
AC receptacle
Adjustable feet (3)
Projection lens
Front IR sensor
Bottom chassis
Lens release button
9
10
11
12
13
14
15
Air vents
Rear input panel
Rear IR sensor
Rear exhaust
Lamp 1 Access (Door)
Lamp 2 Access (Door)
Slot for Kensington Security Lock
Figure 3.1. Projector Basics
Exterior ' (1) & (7) The projector’s top cover and bottom chassis form the shell of the projector.
All optical, electrical, and other miscellaneous components are housed between these
two parts.
Built-in Keypad ' (2) The built-in keypad is located on the top, right side of the projector. It’s an
alternate method to using the IR remote for projector control. It has a few less direct
keys than the IR remote, but includes an LED display, which continually displays the
projector’s status.
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AC receptacle ' (3) The AC receptacle is located on the right side of the projector (opposite side of
lamp doors). Use this outlet to plug in an appropriately rated line cord. See 2.6 Power
Connection for details.
The input voltage to the projector must be capable of 100 – 240 VAC. See also
Section 6 – Specifications for complete details on all power requirements.
Adjustable Feet ' (4) Located on the bottom of the projector are 3 adjustable feet. You can raise or
lower these feet to ensure the projector is level on all sides and the image displays
rectangular without any keystone. See Projector Position and Mounting (Section 2)
for instructions on adjusting these feet.
Lens Mount &
Projection Lenses ' (5) The projector is built with a motorized lens mount that allows for easy lens control
and adjustment. This includes such functions as adjusting vertical and horizontal
offsets, zoom and focus. The lens mount can be fitted with any one of the available
optional lenses – see Section 6 - Specifications.
•
Zoom and Focus – There are two internal lens motors that allow for quick
motorized adjustment of zoom and focus. Adjust zoom to fit the displayed
image on the screen and adjust focus to improve the clarity of the image.
NOTE: You can manually override zoom and focus adjustments set with the
remote. Turn the outer ring on the projection lens to adjust focus and the
inner ring to adjust zoom.
•
Lens Offset – Vertical and horizontal offset is performed on the lens mount
through the use of DC motors.
•
Shutter – Standard on all models the shutter allows you to turn the screen
absolutely black when in the “on” state.
•
Optical Aperture –Enables adjustment of light output and contrast ratio.
NOTES: 1) The projection lens is shipped separately from the projector. 2) Use the
lens cap when transporting the projector to avoid scratching and damaging the lens,
which could affect your displayed image.
Lens Release Button '
(8) The LENS RELEASE button, located just below the projection lens, allows for a
quick “tool-free” lens changeover. For instructions on how to use this button during
lens replacement refer to Section 4 – 4.5 Replacing the Projection Lens.
Rear Input Panel ' (10) All source connections are made to the input panel located at the back of the
projector. Connect RGB or YPbPr sources to INPUT 1, analog or digital display signals
to INPUT 2, composite video to INPUT 3, and S-video to INPUT 4. INPUT 5 is where you
would install any of the available optional input modules.
There is no status display on the input panel. The only status display is part of the
built-in keypad located on top of the projector.
Cooling and Air Vents ' (9) There are numerous air vents located around the projector. It is important these
vents remain unobstructed. Allowing adequate airflow through the projector will
prevent it from overheating.
Stand clear of the rear exhaust air path during operation. In the unlikely
NOTE:
event of a lamp explosion, glass particles can be blown out of these vents.
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Section 3: Operation
Front & Rear IR Sensors ' (6) & (11) The two IR sensors located on the projector receive transmissions from the
IR remote from up to 100 feet away. It is important to keep the transmission path to
these sensors unobstructed for uninterrupted communications with the projector. The
front IR sensor is located next to the projector’s nameplate and the rear IR sensor is
located just below the input panel.
Lamp Access Doors ' (13) & (14) Located on the right hand side of the projector are two lamp doors that are
labeled as Lamp #1 or Lamp #2. Each door is fitted with an amber window that makes
it easy to identify which lamp because it will glow. NOTE: It is important to always
check the status of the lamp before opening the lamp door. Opening a lamp door
while the lamp is still on will cause power to be cut to that lamp.
Kensington Security Slot ' (15) Use the following slot to install a standard Kensington lock to keep your
projector secure in some installations.
3.2
Using the
Remote or BuiltIn Keypad
Laser radiation is emitted from the laser diode in the remote. Do not look
directly into the beam of the remote.
Keypad Commands ' The projector is typically controlled using one of the following keypads:
•
•
Built-in Keypad located on the top, right edge of the projector
IR Remote for tethered or tetherless 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: This keypad has a single IR protocol and can be converted to a wired remote
by connecting the cable provided with the projector to the mini stereo connector on
the input panel labeled as REMOTE.
Built-in Keypad ' To control the projector when
signals from a remote keypad
cannot reach the projector,
use the projector’s built-in
keypad. Two nearby status
windows provide feedback
Figure 3.2. Built-in Keypad
indicating current status and
activities of the projector.
Because the built-in keypad has fewer keys than the remote keypad, certain projector
functions are accessible only through the menu system rather than via a direct key.
Refer to the key descriptions provided for the IR remote.
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Section 3: Operation
IR Remote ' The IR remote keypad controls the projector by way of wireless communications from
a battery-powered infrared (IR) transmitter. Use the IR remote keypad the same way
you would use a remote keypad supplied with a TV or VCR. When making key
presses, direct the keypad either toward the screen or toward the front or rear of the
projector. One of the two IR sensors on the projector will detect the signals and relay
the commands for internal processing.
NOTE: Input 6 has no
function on the DS+60
*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 OSD and
Figure 3.3. Remote Keypad
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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 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 (
) to work.
Guide to Keypads ' Keep in mind the following guidelines when using the keypad:
•
Press keys one-at-a-time; there are no simultaneous key combinations required.
•
Shutter Shutter and OSD OSD —are “press-andNote that three keys— Power
hold” keys that do not function with a typical quick press-and-release key press.
Hold arrow keys down for continuous adjustment/movement in one direction. In
serial networks, pause briefly between adjustments to ensure that more distant
projectors can “keep up” with the commands.
If you press a key while the projector is still responding to the previous action,
such as during power-up, the second key press may not take effect.
•
•
Keypad Commands ' Specific keypad commands are explained below:
Power ON/OFF
for two seconds to toggle the projector on or off with a single keystroke.
Press
(on) or
Or press and release
followed immediately by
(off) to
guarantee the correct toggle (useful if you are unsure of the present state).
Alternatively, press
to toggle from the present on/off state.
NOTES: 1) After powering down, the lamp cooling fan remains on for approximately
2 minutes to cool the lamp. 2) It is a good idea to avoid turning a projector back on
until it has been off for a few minutes. Hot re-strikes of the lamp may reduce lamp life.
3) The projector enforces a 90 second wait between powering off and on again to
allow the lamp to cool down. You will notice vertical scrolling bars across the status
display during this wait period.
Test
Auto
Test
Press Test to step forward through all internal test patterns and eventually the current
and
arrow keys, you’ll
input. If you press Test and then cycle by using the
be cycling in either direction through the test patterns only, no input.
Auto
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.
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Section 3: Operation
Table 3.1. Auto Setup
What an “Auto Setup” Does
OPTIMIZES:
SETS TO DEFAULT:
Pixel Tracking
Contrast
Pixel Phase
Brightness
Size and Blanking
Auto Input Level (off)
Vertical Stretch
Detail (if video source)
Position
Filter
Input Levels
Luma Delay
NOTE: You must have an unlocked channel present to use Auto Setup.
Channel
Channel
Channel
Press
to select a specific source setup (channel) defined and stored in projector
memory. Once you enter a 2-digit channel number (or, if there is a list displayed,
), the display will automatically change and update
highlight it and press
according to the numerous setup parameters defined for that channel. Note that a new
channel is automatically created if you adjust an image from a new source.
Channel
NOTE: Channel (
) key behavior during a presentation depends on whether or not
the Display Channel List option is enabled in the Menu Preferences menu. You can
, or you may prefer to
choose to use a scrollable list of channels when you press
enter the desired channel number “blind”, i.e., without on-screen feedback. See Menu
Preferences later in this section.
Channel
Input 1
Input 2
Input 3
Input 4
Input 5
Input 1
Press Input 1 to display from the data or video input source connected to BNCs labeled
INPUT 1.
Input 2
Press Input 2 to display from the DVI source connected to INPUT 2.
Input 3
Press Input 3 to display from the composite video source connected to INPUT 3.
Input 4
Press 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 new optional Dual SD/HD-SDI Module installed at INPUT 5
you can connect two inputs – A and B. Whether you are displaying from INPUT 5 or
from another input, press Input 5 to display the input last used. Press Input 5 again to toggle
to the other input.
Input 6
Input 6
Note: This key is not available on the built-in keypad and has no function when
pressed on the remote.
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Section 3: Operation
Contrast
Contrast
Contrast
Press
to change the amount of white in your images. Use
keys until
you reach the desired level of contrast—for best results, start low and increase so that
whites remain bright but are not distorted or tinted, and that light areas do not become
white (i.e., “crushed”). Conversely, low contrast causes dim images. See 3.5,
Adjusting the Image (Image Settings subsection).
Bright
Brightness
Press Bright to increase or decrease the amount of black in the image. Use
keys until you reach the desired level of contrast—for best results, start high and
decrease so that dark areas do not become black (i.e., “crushed”). Conversely, overly
high brightness changes black to dark gray, causing washed-out images. See 3.5,
Adjusting the Image (Image Settings subsection).
Gamma
Gamma
“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 “inbetween” values utilized in grays. Unlike brightness and contrast controls, the overall
tone of an image can be lightened or darkened without changing the two extremes,
and your images will be more vibrant yet with good detail in dark areas.
The normal gamma setting of 2.2 is correct for most signals and conditions. If excess
ambient light washes out the image and it becomes difficult or impossible to see
details in dark areas, lower the gamma setting to compensate. This will improve
contrast ratio while maintaining good details for blacks.
Menu
Menu
Press
OSD
Menu
to enter or exit the projector’s menu system.
OSD (On-screen display)
Press OSD followed by
to hide the projector’s menu system during use. To see
the menus again, do one of the following:
• Press and hold OSD for a second
• Press and release OSD followed immediately by
• Press OSD OSD
Invisible menus are fully functional, enabling “hidden” access to numbered features
and image adjustments by entering the corresponding sequence of keypresses on the
keypad.
NOTES: 1) With OSD “on”, you can still hide error messages and slidebars by
disabling these options in the Menu Preferences menu.
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Section 3: Operation
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
(closed) or
immediately by
(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 the display while maintaining access to projector functions. Opening
the shutter restores the image.
NOTES: 1) By default, the shutter is open upon powering up. 2) The LED status
displays “Sh” when the shutter is closed. 3) Response time after pressing the Shutter key
is 1-2 seconds.
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.
Press Func followed by a 2digit number to enable a specific color or colors in the
display (see right). For example, Func 6 4 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, such as when accurately
overlaying one image on top of another from stacked
projectors.
IF WITHIN A PRESENTATION:
NOTE: Color enabling can also be implemented from numerous locations within the
menu system.
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, enter the 3-digit number assigned to
the projector you want to use. If you switch to a projector other than the one you are
currently using, the checkmark will disappear.
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.
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Section 3: Operation
NOTES: 1) The "Broadcast Keys" option in the Communications menu must be
selected for only one (any) projector in a serial network. The keypad in use must be
OFF (disabled) for the remaining projectors. See also 3.6, Adjusting System
Parameters and Advanced Controls.
Enter
to select a highlighted item, to toggle a checkbox, or to accept a parameter
Press
adjustment and return to the previous menu or image.
Exit
Exit
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 slidebar value) or within pull-down lists. It acts as a “cancel” in these
cases.
Arrow Keys
keys to change a slidebar value or to select a different option
Use the
within a pull-down list without having to first scroll through options. 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, Lens V
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”
•
Use the “Zoom” ”
•
Use the “Lens H” ”
or
still keeping it rectangular.
Use the “Lens V”
or
keeping it rectangular.
•
Press
Exit
or
or
keys to improve image clarity as desired.
keys to achieve a desired image size.
keys to position the image horizontally while
keys to position the image vertically while still
to return to presentation level.
Lens
NOTE: Use the Shift key (built-in keypad) with the general
keys to get the
same effect as if using the arrow keys related to “Lens V” or “Lens H” on the IR
remote.
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Section 3: Operation
Laser
Press
to activate the laser pointer on the remote. This feature is useful when
making presentations - just point the remote at the screen to highlight an area of your
key depressed while
presentation. Keep the
you are pointing. Release it to turn it off. The
CAUTION
closer you are to the screen the brighter the laser
beam appears. The laser pointer works best in
LASER RADIATION
DO NOT STARE INTO BEAM
an environment where ambient lighting can be
controlled.
LASER DIODE
NOTE: The batteries must be in the wired
key to work.
remote keypad for the
3.3
Navigating the
Menus
Wavelength 670nm
Max Output 1mW
CLASS II LASER PRODUCT
Most of the controls for the projector are
accessed from within the projector’s menu
system. There are several groups of related
functions, with each group selectable from the
Main menu as shown at right. Press M enu at
any time to display this Main menu.
On the remote keypad, either enter the number
corresponding to the function menu you wish
Figure 3.4. Entering the Menu
to access, such as 2 for the Image Settings
System
menu, or use the
keys on any
. The corresponding function
keypad to highlight the desired option, then press
menu or pull-down list of further options will then appear.
With a function menu displayed, navigate in a similar manner—enter a menu option
number for any numbered option or use the
keys to highlight the desired
(Enter). Extra long menus have a scroll bar on the right—use
option, then press
the arrow keys to access the remainder of the menu. Locked items or items that do not
pertain to the current action or condition appear dimmed and cannot be selected.
NOTES: 1) If there is no signal present, all source-dependent adjustments are
disabled. 2) After 15 minutes of inactivity, the projector leaves the menu system and
returns to the presentation. 3) The Status menu is read-only.
When finished with a function menu, do one of the following:
•
Press
Exit
•
Press
Menu
to return to the previous screen
to leave the menu system and return to the presentation
On-line Help ' 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.
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Section 3: Operation
Figure 3.5. Context-sensitive Help
From presentation level, press Help to access general Help Topics. Scroll as necessary
within a topic. Press Help or Exit to return to your presentation.
Figure 3.6. Accessing General Help Topics
Time-outs ' If a slidebar, menu or message is displayed you have limited time in which to make a
keypad entry before the projector returns to presentation level and the graphic
disappears. These time-outs may vary depending on what is displayed.
The Global Icon ' Menu options that include this icon apply universally to any incoming signal.
Using Slidebars and ' Most of the function menus allow you to change settings by using slidebars,
Other Controls
checkboxes, and pull-down lists. To select a slidebar, toggle a checkbox status or view
a pull-down list, do one of the following within the function menu:
•
•
•
•
•
Enter the menu option number corresponding to the setting you wish to change
3
to select Vertical Stretch in the Size & Position
(for example, press 1
menu).
(Enter).
Or move the highlight to the option desired and press
to adjust
Or move the highlight to the option desired and press
immediately.
Or bypass the menus entirely and use a single key to immediately access an
adjustment during your presentation (NOTE: applies only to options having
their own key, such as Contrast, Brightness, Gamma, etc.).
For “blind” access, hide the entire menu system (see OSD key, above) and/or
direct slidebars activated by their own key (such as Contrast, Brightness, etc.).
Control by using the proper keypress or numerical sequence of key presses.
Once selected, change the setting as desired (see below) and press
return to the current function menu.
to save and
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Section 3: Operation
Slidebars in menus – The current value for a given parameter,
such as size or vertical stretch, appears to the left of its slidebar
icon (adjustment window). This number often expresses a percentage, or it may have
units associated with it (such as pixels, degrees Kelvin, etc.), depending on the
to gradually adjust the setting up or down—both the
specific option. Press
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,
to save (or press Exit to cancel).
then press
“Direct” slidebars - For quick access, you can access Gamma, Brightness, and
Contrast slidebars without traveling the menu system. For example, simply press Cont
to immediately display the same contrast slidebar accessed with the Contrast option in
the Image Settings menu.
and enter a specific
Use the arrow keys to adjust a direct slidebar, or press
or
number from the keypad , then
or
to save (or Exit to cancel). When
Exit
to save and return to your presentation.
you are done, press
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:
•
•
(Enter)
Highlight it and press
Or enter the menu option number.
or
Use
keys to navigate up and down within the list (the current choice is
to choose an option from the list, if desired.
noted with a small '). Press
Figure 3.7. Example of Pull-Down List
If you prefer to quickly scroll through a list without first pulling it down, highlight the
when the desired choice appears.
. Press
option and use
3-12 Christie DS+60 User’s Manual
Section 3: Operation
or
NOTES: 1) Press
to jump between pages in an extra long pull-down list.
2) Press Exit while in a pull-down list to cancel any change.
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
to move the cursor forward or
to move the cursor backwards as desired.
EDIT A CHARACTER: To edit
Figure 3.8. Entering Text
a highlighted
and
to scroll
character, use
through the alphabet, numbers, spaces and
punctuation available. When the character
you need appears, press
to select it—
the cursor will move to the next character of
current text, if present. Note that you can
also enter a number directly from the
keypad—it will be accepted and the cursor
will move on.
ADD OR DELETE A CHARACTER OR SPACE: To
press
insert a space at the cursor location,
. To delete a highlighted character (or space), press
.
(ENTER) WHEN FINISHED: To accept edits
PRESS
press
and leave the edit window,
(Enter).
NOTE: Press
Exit
at any time to cancel changes and return to the previously-defined text.
Editing Numerical Values ' 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 non-numbered key, the number entered up to that point is accepted and
updated as the new value. 3) Press Exit to cancel editing of numerical values.
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Section 3: Operation
3.4
Using Inputs and NOTE: See Section 2, Installation and Setup, for details on connecting sources to the
projector.
Channels
The projector stores and automatically recalls up to 50 different channels (source
setups) for a variety of inputs. This memory feature allows you to define and
conveniently use a wide variety of customized setups rather than having to repeatedly
re-configure the projector for different presentations. Depending on what you have
defined, each physical source connection (i.e., input at the projector) can have several
different channels associated with it.
Do I Select an Input ' INPUT – An input is a source physically connected at the projector.
Or a Channel?
source signal according to which input slot it is connected.
Input
describes the
SWITCHING INPUTS – Press the
appropriate “direct” key — Input 1 , Input 2 , Input 3 , Input 4 ,
Input 5
to quickly display from one of the five inputs connected. The image will be
displayed according to the following:
If it is the first time you have used the source/input (or if you used the input but
did not define a channel by adjusting anything), the projector will recognize the
new input signal based on its frequencies and polarities, and will automatically
display an image according to default settings for such a signal. In general, the
image from the new source will be as large as possible without losing its aspect
ratio. This and other default image settings depend on the incoming source.
If you used the source once before and changed a display parameter such as
contrast, V-Position, etc., then a channel was automatically created and still exists
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.
A channel is a collection of measurements, locations and settings that
tailor the display of a signal to your specific needs. Since source types and
applications can vary greatly, you will likely want to adjust and define a wide variety
of parameters, such as brightness, contrast, size, etc., in order to customize and
optimize the display from or for a particular source. For example, the display settings
you choose for a VCR source may be very different from those you choose for a high
resolution computer source, or one signal may simply vary from another signal used
previously through the same input location. Once you have adjusted a display
parameter, such as pixel tracking or contrast, all current settings are collectively stored
in the projector's memory as a unique 2-digit channel, such as 0 9 . You can have
numerous distinct channels available for the same input, any of which can be selected
key on the keypad followed by the 2-digit channel number.
by using the
CHANNEL -
Channel
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Section 3: Operation
Shown at right is a sample channel list as would
be available from
. This is typically called
the channel list.
Channel
NOTE: The
key may display a channel list
or not, depending on what you have defined for
“Display Channel List” (see Menu Preferences
later in this section).
Channel
In order to access channels by using on the
keypad, you must first create the channels. See
below.
Channel List
Creating a New ' To use a new source with the projector, a new channel must be added to projector
Channel
memory so that the projector will respond properly to an input signal from that source
– AUTOMATIC –
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 ), 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
(see right). If you want to
prevent a channel from
appearing in this list, you
must edit the channel as
described in Channel Edit
later in this section.
Channel
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 ' All available channels are listed in the Channel Setup menu, which describes how
Are Defined So Far?
each channel can be accessed and which serves as the gateway for editing, copying
and deleting channels.
From the presentation
level press Menu to display
the Main menu. To
display the Channel Setup
menu, press 3 , or
move the highlight to the
Channel Setup option and
. The Channel
press
Setup menu will appear
(see sample at right), with
the active channel highlighted.
Figure 3.9. All Channels Appear in the
Channel Setup Menu
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.
and
NOTE: If you have more than a handful of channels, use
remaining channels not visible in the initial display of channels.
to see the
Either channel list, whether the
key list or the Channel Setup
menu, identifies signal types in a shortened form as defined below. These descriptors
indicate what signal information the 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.
Channel
SIGNAL TYPE —
Table 3.2. Abbreviations for Signal Type
Abbrev.
4WH
4WV
SG
5W
5WR
SVid
CVid
Dig
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Signal Type
Composite (4 wire) on HC input
Composite (4 wire) on V input
Sync-on-green
Separate H,V
Separate H,V swapped
S-Vid
Composite Video
Digital
Section 3: Operation
FUNCTIONS WITHIN THE CHANNEL SETUP MENU —To copy,
delete or edit a channel,
highlight the desired channel in the Channel Setup menu and do one of two things:
•
Press Func if you want to copy the selected channel or delete this or
other channels. See Copying or Deleting a Channel below.
•
if you want to edit channel setups (i.e., non-image related
Press
parameters) for the selected channel. See Editing a Channel Setup,
below.
Copying or ' TO COPY A CHANNEL, highlight the desired channel in the Channel Setup menu, then
Deleting Channels
press Func to go to the Channel Copy/Delete submenu. Select “Copy” and press
—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 presentations 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
—a confirmation window will appear to make sure that you really want to
press
delete this channel.
Figure 3.11. Deleting a Channel
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Section 3: Operation
TO DELETE MULTIPLE CHANNELS, highlight
any channel in the Channel Setup menu
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 From the presentation level press Menu 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 in Figure 3.12.
Figure 3.12. Channel Edit Menu (SAMPLE)
CHANNEL EDIT — STEP 3 If desired, review and/or edit the following channel setups in the Channel Edit menu:
•
CHANNEL NAME: An alpha-numeric label can be defined and/or changed here.
Channel names can be up to 12 characters in length.
•
CHANNEL NUMBER: A
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: 1-5, corresponding to where on the projector’s input panel the source is
connected.
•
If checked (default, except for automatically defined channels with
unchanged parameters), this defined channel will then appear in the list
key is pressed. If unchecked, the channel must be
available when
accessed via
on the keypad or via the “Auto Source” function. NOTE:
On-screen display of the channel list is an option that must be set in the Menu
Preferences menu.
IN MENU:
Channel
Channel
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Section 3: Operation
•
AUTO SOURCE: If checked, (default), the projector can automatically locate
this channel when an incoming input signal matches. If not checked, the
projector can locate the selected channel only when it is directly selected via
on the keypad—and a change in input signal will not result in a channel
change.
Channel
•
LOCKED: If
•
PREVIOUS CHANNEL:
•
3.5
Adjusting the
Image
checked, all of the image settings for this channel are disabled. If
unchecked (default), all available image settings can be adjusted as desired.
You cannot use Auto Setup with a locked channel.
Select this option to see or change Channel Edit settings
for the previous channel in the Channel Setup list.
NEXT CHANNEL: Select this option to see or change Channel Edit settings for
the next channel in the Channel Setup list.
The most commonly used options for image adjustments are accessed through two
menus: Size and Position ( Menu 1 ) and Image Settings ( Menu 2 ), both of which
appear in the Main menu. From either of these two menus, you can change settings
affecting the image from the current channel by working with the appropriate
slidebars, checkboxes and pull-down lists. Exit will return to the previous menu (or to
the presentation, if from the Main menu) and accept any changes you may have
entered. Settings are saved with the current channel.
From your presentation, you can access any of the individual options in these menus
by pressing Menu followed by the appropriate two-digit number representing their
location in the menu system. For example, press Menu 2 3 to quickly access the
“Gamma” option in the Image Settings menu.
Note that for certain options, you may prefer to use a “direct key” from presentation
level to go directly to a particular option without traveling through the menu system
to
(note: available for certain display parameters only). For example, press
Exit
access the “contrast” slidebar immediately. Press
to return to your presentation.
Contrast
NOTES: 1) To hide these “direct” slidebars, disable the” Display Slidebars”
checkbox in the Menu Preferences menu. 2) To hide the entire menu system from
keys.
view, toggle the on-screen display by pressing the 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
Size and Position Menu ' In the Size and Position menu,
you can increase or decrease
the size of your image, change
its proportion (aspect ratio),
move the image to a specific
area of the screen, and refine
other related parameters. Use
Size and Position controls to
match the image precisely to
the screen used at the site.
Refer to "Using Slidebars and
Other Controls" (earlier in
this section) if you need help
using any of the options and controls. Changes made in the Size and Position menu
are applied immediately and are saved when you exit the menu (press Exit or Menu ).
Resize Presets
Select a Resize Presets option
to quickly display an image in
its native resolution or to
automatically resize an image
to closely fill the projector’s
native resolution of 1400 x
1050 or to optimize the width
or height of your display. Size,
Position and Blanking
parameters will automatically
adjust accordingly or, if Blanking is set first, which defines an Active Input Area,
Resize Preset scaling will occur in this region of interest only. Resizing options are
explained in detail below.
WHAT IS THE RESIZING DEFAULT? By default
when displaying a new source, your
image will utilize as much of the projector’s display area (1400 x 1050) as possible for
the type of incoming source data, but with minimal or no changes to aspect ratio. See
Select “Default” below.
WHEN “CUSTOM” APPEARS: The “Custom” re-size descriptor automatically appears in
the Size and Position menu when any of the values for Size, Vertical Stretch, HPosition, V-Position or Blanking do not correspond to those for a preset. This option
is not offered in the Resize Presets pull-down list.
• Select “DEFAULT” for most sources (factory default). The image will be centered
and displayed as large as possible depending on the type of source, as described
below:
TA 5:4 graphic image will enlarge to fill the screen height, and be centered
between narrow black side bars.
TA video image or 4:3 graphic image will enlarge to fill the screen.
TAn anamorphic (16:9) image will fill the width and be centered between
black bars on top and bottom.
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Section 3: Operation
• Select “NO RESIZING” to display the image in its native resolution, which may or
may not match the projector’s 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
“letterboxed”).
• Select “FULL HEIGHT” to
fill the display from topto-bottom. Depending on
the source, this may
create borders.
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Section 3: Operation
• Select “ANAMORPHIC” to display an anamorphic image
in its native 16:9 aspect ratio. The image will fill the
screen from side-to-side and be centered between black
bars at top and bottom.
Size
“Size” controls both the image width and height in tandem, maintaining the current
aspect ratio (proportion) of the displayed signal data.
Vertical Stretch
“Vertical Stretch” adjusts the height of the image while keeping the width constant.
Use “Vertical Stretch” to change the aspect ratio of the display.
Pixel Track
Steady flickering or several soft vertical stripes or bands across the entire image
indicates poor pixel tracking. Proper pixel tracking helps ensure that the image quality
is consistent across the screen, that aspect ratio is maintained, and that pixel phase can
be optimized (described below). Tracking determines the frequency of the pixel
sampling clock, indicated by the number of incoming pixels per line, so that all pixels
generated by a particular source are sampled.
NOTE: By default, the projector samples at the correct frequency for most sources.
For best results, use a good test pattern such as a smooth gray consisting of a clear
pattern of black and white pixels, or a similar “half on, half off” graphic image, such
as the Windows shutdown screen. Adjust the slidebar until the vertical stripes broaden
to the point where one large stripe fills the image. If the image still exhibits some
shimmer or noise, adjust Pixel Phase (below).
Pixel Phase
NOTE: Adjust “Pixel Phase” after “Pixel Tracking”.
Adjust pixel phase when the image (usually from an RGB source) still shows shimmer
or “noise” after pixel tracking is optimized. Pixel phase adjusts the phase of the pixel
sampling clock relative to the incoming signal.
For best results, use a good test pattern such as a smooth gray consisting of a clear
pattern of black and white pixels, or a similar “half on, half off” graphic image, such
as the Windows shutdown screen. Adjust the slidebar until the image stabilizes and
each pixel is clearly defined. You may notice that you can stabilize the image at more
than one point—i.e., you may find that the image appearance at "11" is identical to the
image appearance at "38", thus you can use either setting.
If some shimmer from a video or HDTV source persists, use the “Filter” control to
remove high-frequency noise from the signal.
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Section 3: Operation
H-Position
This option moves the image right or left within the area of available pixels.
NOTE: The value shown represents where the approximate center of the image lies in
relation to the total number of pixels available horizontally. This varies widely
according to the signal—watch the image while adjusting.
V-Position
This option moves the image up or down within the area of available pixels.
NOTE: The value shown represents where the approximate center of the image lies in
relation to the total number of pixels available vertically. This varies widely
according to the signal—watch the image while adjusting.
Swap PIP Images
Toggle the current picture-in-picture relationship so that the primary image becomes
secondary, and the secondary image becomes primary. Swapping is available only
when PIP is enabled. Note: Not available in v1.0 software. Shown as “Reserved”.
PIP Enable
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 in the display. Note: Not
available in v1.0 software. Shown as “Reserved”.
Advanced Size and Position — SUBMENU
This submenu consists of the
following options:
ACTIVE INPUT WINDOW: This readonly 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.
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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.
PLUG & DISPLAY (EDID): By default,
a Plug & Play
(EDID) source outputs a signal according to the EDID
information provided by the projector. To override this
information and display in a different format (for example,
if your Plug & Play [EDID] device does not support the
projector’s resolution and/or frequency), select the desired
Plug & Play (EDID) resolution from the list.
Any daisy-chained projectors will also display according
to the chosen Plug & Play (EDID) format.
EDID = Extended Display Identification Data standard.
Image Settings Menu ' Use options in the Image
Settings menu to alter your
image without affecting its
size or position. Changes
made to the Image Settings
menu are applied immediately
and are saved when you exit
the menu (press Exit or Menu ).
Options not available for the
projector model or source are
disabled and appear dim
(gray).
Contrast
(SHORT CUT: Press
Contrast
and adjust the slidebar.)
“Contrast” increases or decreases the perceived difference between light and dark
areas of your image (0-100). For best results, keep close to 50. If contrast is set too
high, the light parts of the image lose detail and clarity. If set too low, the light areas
will not be as bright as they could be and the overall image will be dim. For best
results, start with a low value and increase so that whites remain bright but are not
distorted or tinted, and that light areas do not become white (i.e., are “crushed”).
NOTE: If the environment lighting changes, an adjustment of Gamma is
recommended (see below).
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Section 3: Operation
Brightness
(SHORT CUT: Press
Bright
and adjust the slidebar.)
“Brightness” increases or decreases the amount of black in the image (0-100). For best
results, keep close to 50. Start with a high value and decrease so that dark areas do not
become black (i.e., are “crushed”). Conversely, high brightness changes black to dark
gray, causing washed-out images.
Gamma
(SHORT CUT: Press
Gamma
and adjust the slidebar.)
“Gamma” is a global setting that determines how 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. 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 when using the Gamma control.
The normal gamma setting of 2.2 is correct for virtually all signals and conditions. If
excess ambient light washes out the image and it becomes difficult or impossible to
see details in dark areas, lower the gamma setting to compensate. This will improve
contrast while maintaining good details for blacks. Conversely, if the image is washed
out and unnatural, with excessive detail in black areas, increase the setting. Again,
good gamma improves contrast while maintaining good details for blacks and whites
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.
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Section 3: Operation
Color Space
“Color Space” determines how the color components of an analog
input signal are decoded for accurate color in the display.
Selecting a color space option is useful only for analog signals
connected to INPUT 1, INPUT 2, or INPUT 5. Although color space
for these analog signals is automatically determined by the
projector, in some circumstances you may wish to override this and manually set a
specific color space. NOTE: For digital signals or for signals connected to INPUT 3 or
INPUT 4, the color space function is entirely automatic and the pull-down list disabled.
The current color space appears in the Image Settings menu. Press
to select a
different option:
• Select RGB unless you are using component video at INPUT 1, 2, or 5.
• Select YPbPr (Video) with a standard definition televised signal
(SDTV)
• Select YPbPr (HDTV) with a high definition televised signal (HDTV).
NOTE: When certain RGB signals are first connected, the projector may not initially
recognize them as RGB and will incorrectly decode their color information as YPbPr
(video). These signals appear magenta and can include:
•
•
•
RGB signals in NTSC, PAL, SECAM frequency ranges
Scan-doubled sync-on-green
Scan-quadrupled sync-on-green
For these signals, change the Color Space to RGB.
Video Options — SUBMENU
This submenu is used with video
sources only (INPUTS 3 or 4).
Automatic
Gain Control (AGC) affects decoded
video images only. Enter a checkmark
(default) in most instances—this
activates the decoder’s AGC circuit to
ensure properly bright images. Delete
the checkmark if a decoded video image exhibits strange color artifacts such as stripes
in highly saturated colors, indicating an incompatibility between this source and the
AGC.
ENABLE DECODER AGC:
VIDEO STANDARD: For all
but the more unusual video standards
available in the world, the projector automatically detects the
incoming horizontal and vertical frequencies and sets the projector’s
processing of this signal to the corresponding standard. The current
video standard name appears in the Video Options submenu, and
to view or
includes an “A” if it has been auto-detected. Press
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.
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Section 3: Operation
Table 3.3. Regions and Video Standards: Summary
Standard
NTSC
NTSC 4.43
PAL
PAL-M
PAL-NC
PAL 60
SECAM
Where Used (SUBJECT-TO-CHANGE)
N. America and Japan
A tape-only standard for partially-translated hybrid signals
Most of Europe, China, Australia, some of S. America, some of Africa
Brazil
Argentina, Chile, other Latin American countries
France, Eastern Europe, most of Africa
NOTE: Generally, use “Auto” for all instances EXCEPT: 1) a poor quality input
signal or 2) a black-and-white video signal. In order to detect and display such
signals, select the relevant standard from the list.
INPUT VIDEO BLACK — This control
compensates for incoming elevated black
levels present in certain video signals, and
ensures that blacks in the display are
neither crushed (i.e., where dark grays appear black) nor excessively elevated (i.e.,
where blacks appear dark gray). By default, the projector automatically determines the
best setting according to the type of incoming video signal:
•
•
0 IRE –
Used for DVD output with “enhanced black”, SECAM, most
PAL standards, and Japanese NTSC.
7.5 IRE – Used for most NTSC video signals.
For some types of video, you can override the setting. The control is disabled for other
types of video (and all graphics sources). Generally, if black appears crushed when
brightness = 50, choose “0 IRE”. If black appears excessively elevated, use “7.5 IRE”.
COLOR — This slidebar adjusts the color saturation level, i.e. the amount of color in a
video image. Lower settings produce less saturated colors — for example a setting of
“0” produces a black and white image. If the color level is too high, colors will be
overpowering and unrealistic.
This slidebar adjusts the red/green color hue for true color reproduction of
video signals connected to Input 3 or 4. For best results, adjust tint while displaying an
external color bars test pattern—otherwise, it is recommended that tint remain at its
default setting.
TINT —
DECODER LUMA DELAY – This control affects any incoming composite or S-video
signal, delaying the luma signal (intensity) in relation to the chroma (color). In the
image, increasing the luma delay will move luma (seen as a shadow where colors
overlap) to the right slightly, with colors remaining in place. Decreasing this delay
will move the shadow slightly to the left. If necessary for your current source, adjust
so that no shadows occur with adjacent colors.
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Section 3: Operation
Input Levels — SUBMENU
NOTES: 1) Because the projector automatically optimizes input levels for all but the
most unusual of sources, it is recommended that only experienced users use the Input
Levels submenu. 2) Before beginning, check that overall contrast and brightness
settings are near 50 and that color temperature is properly set up on an internal
grayscale test pattern. 3) There must be at least 2 consecutive white pixels present in
the image for proper “Auto Input Level” function. Leave this control off after use.
Good RGB or input levels—
that is, the drives and
blacklevels for each of the
three colors: red, green and
blue—ensure that images
from analog sources other
than decoded video have
maximum contrast without
crushing black or white. By
default (and in an “Auto
Setup”), the projector
automatically determines the
best input levels by
monitoring image content and adjusting the controls appropriately—further
adjustment is typically not required to obtain proper blacks or whites. NOTE: This
automatic adjustment requires at least 2 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.
AUTO INPUT LEVEL – Keep off for virtually all sources (default). Temporarily enter a
checkmark only if you are an experienced user and you have an unusual source that
you feel needs further color temperature and/or input level adjustment. After entering
a checkmark, wait for the six slidebar values to stabilize, then delete the checkmark
and exit. This compensates for incoming out-of-range drives (white) and blacklevels
(black) that would cause “crushing” of light and dark colors in the image.
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Section 3: Operation
BLACKLEVELS 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.
•
2.
3.
4.
5.
6.
Contrast
= 50 (approx.)
Bright
= 50 (approx.)
•
Check the color temperature setup using an internal grayscale test pattern,
making sure to obtain a neutral grayscale. NOTE: Not required for “Auto”
adjustment.
Confirm that you are using an analog source not connected to INPUT 3 or
INPUT 4, as Input Levels are not applicable for digital sources or sources
going through the decoder. A grayscale is recommended.
If the blacks and/or whites appear OK, input levels do not need adjustment. If
black levels are too high (and/or whites are too low, which is rare), you likely
have a noisy source that is producing skewed input levels. Continue with Step
5.
Temporarily enable “Auto” in the Input Levels submenu. Wait for all 6 values
to stabilize. Alternatively, do not use “Auto”—reduce blacklevels manually
instead. Judge by eye and change one or more of the six levels as necessary to
obtain proper blacks and whites. You may want to see only a certain color
while adjusting—use the “Color Enable” option (described below).
Delete the “Auto” checkmark and leave the Input Levels menu.
AUTO COLOR ENABLE – When a checkmark is present, selecting a specific blacklevel
or drive to adjust will automatically enable the corresponding color in the display.
Delete the checkmark to see all colors.
This option (formerly known as sync tip
clamping) can brighten the image produced from certain highresolution high-frequency graphic sources. For almost all sources,
the best clamp location is automatically selected by the projector.
Use the normal Back Porch location if the image is either sufficiently bright or overly
bright. Select Sync Tip if the image appears unusually dim, if there are horizontal streaks
across the image, or if there is significant color drift. This moves the clamping pulse
from the normal back porch location (which is likely too short) to the tip of the
horizontal sync pulse. Tri Level is typically recommended for an HDTV source where
the back porch is also short.
CLAMP LOCATION –
NOTE: Clamp Location is not used for video sources or any RGB source with sync
information included on the video (e.g., sync-on-green). Use Tri Level instead.
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.
NOTES: 1) Input levels apply for the current source only, but for any color
temperature used. 2) Assuming that color temperature has been set up based on the
internal test patterns, you can then set up input levels for a given source so that it
matches the color temperature of the internal test patterns.
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Section 3: Operation
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 midlevel gray. When used with a smooth grayscale pattern in which black and white are
known to be at opposite edges of the image, you can watch these isolated areas while
adjusting individual blacklevels and input drives until both black and white edges are
just visible and distinguished from neighboring pixels. Images from this source will
then display correct blacks and whites without crushing.
See Figure 3.13. Adjusting Input Levels Using the Peak Detector:
1. Display a 16 level grayscale test pattern from the desired external source, and
enter a checkmark in the Peak Detector checkbox. NOTE: The “Peak
Detector” will initially render the grayscale as a uniform gray field before
adjustment.
2. Display one primary color (use Color Enable to select).
3. For the current color, adjust its corresponding “Blacklevel” slidebar just until
a single band of black appears at one edge of the screen. This band represents
the first band of the grayscale pattern, which should be 100% black. Do not
adjust too far.
4. With the same color still active, adjust its corresponding “Input Drive”
slidebar just until a single band of color appears at the opposite edge of the
screen. This band represents the last band of the grayscale pattern, which
should be 100% white (or the current color, if a certain color is enabled). Do
not adjust too far.
5. Go back and check the black band—adjust the blacklevel slidebar if
necessary. Blacklevel and Input Drive adjustments are related, so you may
have to go back and forth until both bands are just optimized.
6. Repeat Steps 2-5 with the other two remaining primary colors. When each
primary color shows one optimized black band and white (or colored) band,
the input levels for this source are correctly set. Upon exiting the Input Levels
menu, the Peak Detector checkbox will clear.
Figure 3.13. Adjusting Input Levels Using the Peak Detector
(RED EXAMPLE SHOWN)
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Section 3: Operation
Advanced Image Settings —
SUBMENU
GAMMA TABLE: This control selects and
applies the normal 2.2 gamma setting.
Adjust this setting as desired in the main
Image Settings menu.
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
Saturation 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 Saturation submenu located in the Configuration menu under Geometry
and Color.
NOTES: 1) “Color Temperature” defaults to 6500K until changed. All four “User”
options default to SD Video unless they have been redefined by the user. 2) White
Boost automatically turns off when a setting other than Max Drives is selected – you
will notice an immediate dimming of the display. 3) Factory-measured color
primaries, which ensure consistent color gamut from projector-to-projector, can be
altered in the Service menu only. If you suspect alteration, the factory settings can be
recovered with selection of Factory Defaults in the Service menu (passwordprotected).
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 slidebar is enabled only if you have a source connected and have
selected “Color Temperature” in the adjacent “Select Color Adjustment” pull-down
list in the Advanced Image Settings menu.
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Section 3: Operation
OPTICAL APERTURE — Use this control to adjust true contrast of an image. This is an
optical adjustment where the two apertures in the projector are simultaneously
adjusted; one aperture is located in the illumination system and the other in the
projection lens. Adjust
to close the apertures, which minimizes contrast and
to maximize true contrast and
maximizes brightness. Alternatively, adjust
minimize brightness. By default, the apertures are closed.
NOTES: 1) Powering down the projector does not reset the apertures to their default
key is an electronic adjustment, not an
position. 2) Adjusting contrast using the
optical one.
Contrast
WHITE BOOST — White boost is a source dependent setting that enables you to
recapture some of the lost light from the transition between color wheel segments and
the white segment as it’s spinning. For NTSC, HDTV, PAL and SECAM signals the
white boost defaults to “2” and for graphic signals it’s “10”. When set to zero, white
boost is off. As you increase the white boost setting you will notice that the image
becomes increasingly brighter and a little less saturated.
NOTES: 1) White Boost is automatically disabled (grayed out in menu) when you
enable Brightness Uniformity, Edge Blending or select a color adjustment (Select
Color Adjustment) other than “Max Drives”. 2) White Boost can also be adjusted
specifically for internal test patterns. However, once you switch back to a source, the
White Boost settings will reset to the value set for that source.
FRAME DELAY — Set the interval of delay desired between the input signal and its
appearance on screen. 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
frame delay setting of two (or multiple of two) may be more useful. Delay may vary
between sources.
NOTE: If frame delay is set too low it can cause frame tears.
MOTION FILTER — This
control is most useful for smoothing out moving images from
interlaced sources. In most cases the proper Motion Filter setting is automatically
determined according to the type of incoming source signal. However, if your source
is jittery and/or tearing you may wish to “force” a setting to ensure stable processing
for this source—if desired, override the default “Auto” setting by selecting the
appropriate motion filter:
1. AUTO: The projector will automatically use the correct motion filter according
to the incoming signal.
2. STILL: For static images with no motion, such as graphics from a CD.
3. MOTION: For video images that did not originate from film, or for moving
computer-generated images.
4. FILM: For video images that originated from film. This will optimize image
quality and stability.
FILM MODE THRESHOLD — This setting determines how sensitively the projector can
detect if an incoming video signal originated from film or not.
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Section 3: Operation
DETAIL THRESHOLD — Use “Detail Threshold” to
define at what frequency level the
“Detail” control will begin to magnify high frequencies, which adds details back into
the image. Raise the threshold to ignore more of these high frequencies, and lower the
threshold to magnify more of these frequencies. A setting of “0”, for example, means
no noise will be ignored and all will be magnified. An ideal detail threshold is one in
which high frequencies that are causing objectionable noise are not magnified when
using “Detail”, but frequencies which can help sharpen an overly-soft image are
magnified when using “Detail”.
3.6
Adjusting
System
Parameters and
Advanced
Controls
Use the Configuration menu to
define general operating
parameters and
communications with other
projectors and equipment, and
to access other advanced
processing and image
adjustments affecting overall
performance. In addition, the
Configuration menu provides
access to diagnostics-andcalibration tools and the
Service submenu (password-protected).
Keep in mind that settings in the Configuration menu (and its submenus) are typically
“global” settings applied regardless of the type of source your are using. This
characteristic is identified with the (globe) icon alongside the option.
NOTE: The Configuration menu is recommended for experienced users/technicians
only.
System Configuration ' The first six options in the Configuration menu are explained below:
— GENERAL —
Language
Choose from available languages to use in the projector’s menus. The change will
take effect immediately.
Image Orientation
Set the orientation of the image according to the orientation of your projector. If the
setting is incorrect, projected images will be reversed and/or upside down.
Fade Time
Set how long (in seconds) it takes to gradually dissolve one image into another for a
source switch.
Auto Power-up
Enter a checkmark to enable the projector to automatically power up after losing
power due to a power failure or due to unplugging the projector during operation.
Note that unsaved display adjustments may be lost.
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Section 3: Operation
Set Date & Time
Enter/read the current year-month-day and hour-minute-second. Changes here reset
the projector’s real-time clock.
Menu Preferences — SUBMENU
Use the options in this submenu to
adjust the appearance, content
and/or location of on-screen
menus and messages.
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
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 Input key. If you prefer to hide the
channel list and input dialog box while switching channels and sources during a
presentation, clear the checkbox.
Channel
NOTE: The Channel List and input dialog box cannot be hidden during use of the
menus.
Enter a checkmark to superimpose a small slidebar over the
current image whenever an adjustable parameter is selected directly with a key such as
or Bright . If “Display Slidebars” is unchecked, these slidebars can still be accessed,
but will be hidden during adjustment. This option does not affect slidebars in menus.
DISPLAY SLIDEBARS —
Contrast
Choose in what way you want to be notified of errors
detected in either the incoming signal or projector. Select “Screen” or “All” to see a
brief on-screen message or select “RS232” to receive messages via RS232 (or RS422)
serial communication only. Select “Off” to hide error message displays.
DISPLAY ERROR MESSAGES —
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Section 3: Operation
System Configuration ' Settings in the Communications
— COMMUNICATIONS —
submenu define and control how
single or multiple projectors are
can link with each other and with a
controlling device.
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 either standard is 115200. Set
Figure 3.14. Communications
the baud rate to match that of your
controlling device, such as your PC. If you are unsure about what baud rate to choose,
refer to the documentation for the controlling device. In an existing network of
projectors, if you discover that a projector has a different baud rate, make sure to use
the pull-down list and select the correct baud rate using the
key—do not just
scroll this control with
or
keys. Serial communication is always 8 data bits,
no parity.
Projector
Enter a three-digit number (such as "001”) to assign or change a number to the
projector currently in use. If the current projector already has a number assigned, that
number will appear here (for example, “004” in Figure 3.14, 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.
Network Routing
NOTES: 1) Not applicable for stand-alone projectors or simple serial networks with
only one type of controller and linking.
SEPARATE: Select
“Separate” (factory default) to keep RS232, RS422 and Ethernet
messages on their respective paths instead of being broadcast to the other types of
ports. In Figure 3.15A, RS422 controls only the projector to which it is connected. In
Figure 3.15B, either RS232 or RS422 will control the network.
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Section 3: Operation
Figure 3.15. Using the “Network Routing” Option
RS232 AND RS422 JOINED: Messages
originating from an RS232 or RS422 controller
will be relayed to all RS232 ports. Any Ethernet communication, however, will not.
RS232 AND ETHERNET JOINED: Messages to
and from the RS232 ports will also be
relayed to the Ethernet port, and vice versa. Any RS422 communications will be
isolated.
ALL JOINED: All
messages reach all ports, regardless of type.
Ethernet Settings (SUBMENU)
NOTES: 1) Recommended for network administrators only.
DHCP: Enable
this checkbox if you want a DHCP server to automatically change the
projector’s default IP address (0.0.0.0) to one that is valid and unique for use on the
current Ethernet network. On networks without a DHCP server, or to simply override
the automatic DHCP server function, delete the checkmark and enter the new “IP
Address” settings desired. Remember that only a 0.0.0.0 address will trigger the
DHCP addressing service, and only when the DHCP checkbox is enabled.
IP ADDRESS: Enter a valid and unique IP address for use on the network to which the
projector is currently connected. This address will overwrite any previous IP address
such as the projector’s factory-defined default (0.0.0.0), or one that has been assigned
by a DHCP server or other user. An IP address entered here remains in effect until it is
changed again.
PORT: On
some Ethernet networks, firewall restrictions may require that the port
number of the projector be changed from its default of 3002. If so, enter a new valid
port number here.
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Section 3: Operation
Broadcast Key
Enter a checkmark if you want keypad commands sent to any one projector to be
relayed to all projectors in a serial network. Note that the Proj key will temporarily
“override” the effect of a broadcast setting and allow you to control a specific
projector when necessary. Make sure to remove the Broadcast Key checkmark when
operating redundant networks.
Backlight
Toggle the built-in keypad lighting on/off.
Front IR / Back IR
As needed for your application, set to “on” so that the front and/or rear IR sensor
locations on the projector responds 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
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.
OFF
Wired Keypad
Select “On” to enable use of a wired remote keypad connected to the rear of the
projector. The projector will then respond to incoming commands from either port. To
disable the wired keypad, you must use a different keypad—the built-in or an IR
remote keypad—to select “off”. This safeguard prevents you from accidentally
disabling the wired keypad during use.
System Configuration ' In the Configuration menu, select
the Geometry and Color submenu
when you need to modify overall
color performance and/or image
geometry for all sources.
— GEOMETRY & COLOR —
Test Pattern
Choose the desired internal test pattern or select OFF to turn off a test pattern.
Alternatively, use the Test key for cycling through test patterns.
Vertical Keystone
Use to correct a keystoned image shape in which both sides of your image are inclined
toward the top or bottom edge. Keystone is typically caused by tilting the projector in
relation to the screen, so that the lens surface and screen are no longer parallel to each
other. (Figure 3.16.)
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Section 3: Operation
Figure 3.16. Keystone Adjustment
Brightness Uniformity — SUBMENU
Brightness Uniformity provides further refinement of displays already matched for
their primary colors and overall light output. Use Brightness Uniformity to create an
exceptionally smooth image in which no area appears brighter and/or more red, green
or blue than another. In the Brightness Uniformity menu, enable the “Uniformity
Enable” checkbox to access a multitude of adjustments for critical color light output
control in specific areas throughout the image. Your settings apply as long as the
“Uniformity Enable” checkbox is enabled and you are using a “User” color
temperature defined by the Brightness Uniformity controls. Remove the checkmark
from the “Uniformity Enable” checkbox to disable the Brightness Uniformity
function.
NOTE: See also 3.10, Using Multiple Projectors for the complete step-by-step
procedure for achieving uniform brightness in adjacent displays.
Edge Blending — SUBMENU
The Edge Blending submenu provides a range of controls for smoothing together the
overlapping bright edges of multiple adjacent projected images to create a single
larger “seamless” image.
NOTE: See also 3.10, Using Multiple Projectors for instructions on adjustment.
Color Adjustments by X/Y, and Color Saturation — SUBMENUS
NOTES: 1) For defining or changing a User 1, 2, 3, or 4 color performance or
“gamut”. Sometimes known as Comprehensive Color Adjustment™. 2) Factorymeasured primary color levels, which ensure a specific color performance from
projector-to-projector, can be altered in the Service menu only. If you suspect
alteration of these defaults, the factory settings can be recovered with selection of
“Factory Defaults” in the Color Primary Settings submenu accessed via the Service
menu (password-protected).
From the factory, the projector can utilize
any of the 3 pre-defined color performance
settings identified at right (default=Max
Drives), or colors can be driven on the
basis of color temperature. For most
applications, one of these options 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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Figure 3.17. Color Performance
Choices
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 either the Color Adjustments by X,Y or Color Saturation submenu to define the
precise hue of each primary color component (red, green, blue, and white) used to
generate the millions of colors produced in displays. You can create up to four custom
color gamuts (User 1, 2, 3, or 4) defined by these adjustments.
Note that the two menus differ only in their user interface, so use whichever menu
best suits your needs and application.
•
•
Color Adjustments by X,Y — Enter known x/y coordinates from the
chromaticity graph. For best results, use with a color meter.
Color Saturation — Adjust color slidebars and judge image color by eye. A
color meter can also be used.
A user-defined color “adjustment” can be applied by selecting it in the Advanced
Image Settings menu (“Select Color Adjustment”).
NOTE: Defining a “User” color gamut when a test pattern is displayed does not get
saved in the current channel. Display the source first then select a color gamut (User)
from Select Color Adjustment. Changes here are then saved for that source in channel
memory.
COLOR ADJUSTMENT BY X,Y: Use
this submenu if you want to alter,
add or copy a color gamut (i.e.,
“color adjustment”). Controls in this
menu define the precise hue of each
primary color component (red,
green, blue, and white) used to
generate the millions of colors
produced in displays. The x/y
coordinates for each color define its
location on the standard CIE
chromaticity graph (see Figure
3.19)—changing either or both of
these numbers will change the hue of
the color, and relocate the “triangle”
for possible colors. For example,
Figure 3.18. Customize Color Hue
changing the x/y coordinates for red
will either move the color closer to
orange or closer to violet, which will in turn affect all displayed colors having a red
component. Adjust the slidebars or enter new specific coordinates as desired to define
or change up to four “User” color gamuts needed for your environment and
applications. Apply the new User gamut at any time in the Advanced Image Settings
menu.
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Section 3: Operation
Figure 3.19. CIE 1931 Chromaticity Diagram
NOTE: Keep new x,y coordinates within the original color gamut triangle shown
here.
PROCEDURE FOR X,Y ADJUSTMENTS:
See 3.10, Using Multiple Projectors.
COLOR SATURATION: Use this
submenu if you do not have
specific color coordinates in mind
and will simply judge color
performance by eye.
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.
PROCEDURE FOR USING COLOR
SATURATION: See 3.10, Using
Multiple Projectors.
Figure 3.20. Customize Color
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Section 3: Operation
System Configuration ' Test Pattern
Choose the desired internal test
pattern to display or select OFF to
turn off a test pattern.
Alternatively, use the Test key for
cycling through test patterns.
DIAGNOSTICS / CALIBRATION
Test Pattern Gray Level
Set the desired level of gray for
displaying in the full gray field test
pattern.
Freeze Image
Enter a check mark to freeze (stop) an image on a single frame. This diagnostic tool is
useful if you need to examine in detail a still version of an incoming image that cannot
be “frozen” at the source. For example, in moving images it is sometimes difficult to
observe artifacts such as external deinterlacing/resizing and signal noise. Remove the
checkmark to return back to normal.
Color Enable
Select which color or colors you want to see. This is useful while working with color
temperature, input levels or other special setup parameters. Colors can also be
enabled/disabled by entering the corresponding function code listed on the back of the
standard remote keypad.
Odd Pixel Adjustment
NOTES: 1) Factory-set and rarely required by user. 2) Source must be >110 MHz.
When using certain RGB sources, you may need to adjust the normal gain or offset of
odd pixels in relation to even pixels. This will smooth out very narrow (1-pixel wide)
“checks” or vertical stripes that indicate adjacent “on” and “off” pixels. Although
offset and gain slidebars can be adjusted individually and manually, using the Level
Detector simplifies this process (see Figure 3.21):
1. Use an external analog native-sized continuous grayscale test pattern with at
least 256-levels.
2. Turn “Level Detector” on.
3. Set “Level Value” to ~200. The image should now be black-and-white (or
black-and-one color, if you use “Color Enable” function).
4. Adjust offset. Half of the pixels will move, the other half will not.
5. Adjust until the two transition regions overlap. The stripe of noise will be
minimized, defined by the value in the slidebar.
6. Set “Level Value” to ~800. The image should now be black-and-white.
7. Repeat Steps 4 and 5, but adjusting gain.
8. Repeat Steps 3-7 for all remaining colors. Your RGB source should now be
OK.
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Section 3: Operation
Figure 3.21. Using “Odd Pixel Adjustment”
NOTES: 1) Adjust offset before gain, since offset affects gain. 2) A value of 128
represents no change in normal odd pixel offset or gain. 3) Odd Pixel Adjustment
eliminates “1 pixel on, 1 pixel off” patterns only, not any type of larger patterns.
Color Wheel Calibration — SUBMENU
The Color Wheel Calibration submenu allows you to set the timing of the two color
wheels in the projector. It is important the color wheels are correctly calibrated for the
colors and shades in the displayed image
to appear the same. Incorrectly calibrated,
the colors will appear in various
unmatched shades throughout the image.
This adjustment is typically only required
when a color wheel is replaced.
1. Select the single lamp operation mode that corresponds to the color wheel you
want to calibrate. For example, select “Single Lamp 1” when calibrating color
wheel 1 and “Single Lamp 2” when calibrating color wheel 2.
2. Enter the Color Wheel Calibration submenu – the Color Ramp test pattern will
automatically display and the “Color Enable” option will automatically switch to
White.
3. Adjust “Color Wheel 1 (or 2) Delay” so the transitions across each color bar
appears smooth.
4. Repeat Step 1 – Step 3 for the other color wheel. NOTE: Wait for 35 seconds
when requesting a change in single lamp operation modes to allow for one lamp
to warm up and the other to turn off.
5. Verify adjustments by choosing different colors in “Color Enable”.
NOTES: 1) Upon entering the Color Wheel Calibration submenu, the “Color Enable”
option automatically switches to white and the color ramp test pattern displays.
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Section 3: Operation
Peak Detector
The “Peak Detector” is fast method of defining individual input levels, and can
improve the accuracy of input levels set by the Auto Input Level function. Enabling
the “Peak Detector” activates a special operating mode for detecting only pixels that
are considered black or white—all other levels are displayed as a mid-level gray.
When used with a 16-step grayscale pattern in which the two black and white bands
are known to be at opposite edges of the image, you can watch these isolated areas
while adjusting individual blacklevels and input drives until both bands are just
visible. Images from this source will then display correct blacks and whites without
crushing or washing out.
Level Detector
The “Level Detector” checkbox enables a specific thresholds for blacks and whites—
input levels that fall below a specified Level Value (see below) are displayed as black,
and all others are displayed as white. It aids in Odd Pixel Adjustment. To use:
1.
2.
3.
4.
5.
Enable “Level Detector” and display a continuous grayscale.
Set “Level Value” to near black (such as 200).
Adjust Offsets to minimize area of black stripe.
Set “Level Value” to near white (such as 800).
Adjust Gains to minimize area of white stripe.
Level Value
The “Level Value” defines the value to be used by the Level Detector in recognizing
blacks and whites. See Level Detector, above.
3.7
The Lamp Menu
The dual lamp illumination system used in this projector gives you the flexibility to
choose an operation mode (single lamp or dual lamp) to suit the specific needs of your
installation. The unique lamp auto-switching feature also provides the potential to
operate the projector for extended periods without interruptions related to lamps or
lamp replacement.
A complete understanding of how the projector works is critical in effectively
maintaining its continuous operation. The Lamp Menu and the options provided, such
as selecting a lamp operation or power mode and monitoring lamp status can help in
achieving bright, uninterrupted projection.
About lamp operation, modes and auto-switching
The projector by default is set to power on in Dual lamp mode. No light appears on
the wall during the first 25 seconds of power up, as this is the time it takes to ignite
the lamps. Brightness gradually increases as the lamps warm up to their full potential.
Before sending a keypad command, wait for the projector to complete its initialization
(“ON” appears in the status LED display), otherwise the request will be ignored. After
this time, you can switch to a single lamp operation mode or make any other requests
through software.
On rare occasions, a lamp may not ignite on the first attempt.
•
In dual lamp mode, only the light from the lamp that ignited successfully is
seen on the wall. The projector will then continue to strike the second lamp
(waiting 90 seconds in between each attempt) indefinitely – the lamp operation
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Section 3: Operation
mode will not automatically switch to the single lamp mode. It is strongly
recommended if after 5 minutes the second lamp does not ignite, you manually
switch to a single lamp operation mode and replace the lamp that won’t strike.
•
In single lamp mode, the projector will try to strike the lamp again in 90
seconds (considered re-strike #1). Only after the third attempt (re-strike #2)
will the projector declare the lamp as “Failed to Strike” (in Lamp submenu)
and automatically switch to the single lamp operation mode for the lamp that
was not ignited. All lamp specific menu options will then change to reflect the
true lamp operation mode of the projector.
NOTE: P-VIP lamps, by nature, do not successfully ignite when “hot” and
therefore the 90 second wait period is taken by the projector before each strike
attempt and between powering the projector down and up again.
Lamp operation modes will also automatically change if there is a failure of one of the
lamp related components, such as the lamp driver, color wheel or fan. An error code
or failure message will be displayed in the status LED or through the RS-232 serial
communications log that indicates which component has failed. The lamp status will
also show one of several messages that points to the failed component. The lamp in
this instance is typically still okay and does not require replacement.
MANUALLY SWITCHING FROM DUAL TO SINGLE LAMP MODE – Switching from dual
to single lamp operation mode occurs immediately. The result is an instant dimming
of the displayed image. At this time, you can modify the lamp power or adjust other
settings to increase desired brightness.
– When you manually
switch from a single lamp mode to the dual lamp mode, the projector immediately
tries to ignite the second lamp. If the first attempt to ignite the lamp fails it will wait
90 seconds and try again. This process will continue indefinitely. It is recommended
you switch the lamp operation mode back to single lamp mode if the second lamp
does not ignite after 5 minutes.
MANUALLY SWITCHING FROM SINGLE TO DUAL LAMP MODE
– When manually switching
between single lamp modes, there is a 35 second overlap when both lamps are on.
This overlap allows the “new” lamp to warm up before the other lamp is turned off.
The new lamp operation mode displays immediately in the menus. Only after the third
attempt (re-strike #2), will an error message display to indicate the type of error that
was detected. If no specific error is detected, then the error will be “Failed to Strike”.
If this occurs, the first lamp will not turn off and the projector will continue to operate
in the original lamp operation mode. In summary, it could potentially take the
projector up to 4.5 minutes to successfully switch lamp modes. The projector will
attempt to maintain light on the wall during this time. NOTE: If a problem is fixed
before the last strike attempt the lamp could turn on.
MANUALLY SWITCHING BETWEEN SINGLE LAMP MODES
If a lamp fails during operation, the projector will immediately attempt igniting the
other lamp if it’s not already on. Only in this case, will there be a brief interruption in
the display.
NOTE: A lamp will naturally decrease in brightness as it ages. Lamp life can also be
decreased further by a frequent change in lamp operation modes (number of times its
ignited).
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Figure 3.22. The Lamp Menu
LAMP MESSAGE - Enter a checkmark to enable a warning message that will appear
upon power-up when the lamp has reached the specified lamp limit and should be
replaced. Delete the checkmark to prevent display of this message—instead, when
your lamp expires, only the status 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) If
a lamp warning message appears during power-up, press Exit to temporarily cancel
the message. The message will continue to appear upon power-up until you install a
new lamp.
- Set the lamp limit to the number of hours you expect to log on the
current lamp before replacing it. The limit by default is 1500 hours.
LAMP LIMIT
LAMP MODE - Select
a lamp mode to control the light output of your projector —
select “Max Brightness” to run the lamp as brightly as possible or “Power” (default)
to continually run the lamp at the specific wattage set by adjusting the POWER
slidebar.
when LAMP MODE is set to “Power”, to indicate the
number of watts (250-300) applied to the lamp. In general, a lower power level
generates a dimmer image. Specifying a maximum power level is the same as
operating in “Max Brightness” mode.
POWER – Adjust the slidebar
LAMP OPERATION – One of the key features of the projector is that it can be operated
with one or two lamps on. From the pull down list, select the lamp operation mode
you want to operate the projector in. “Dual Lamp” is the default.
•
DUAL LAMP –
Select “Dual Lamp” to operate the projector with both lamps
on. In this mode, you can achieve maximum brightness output by the
projector. If one lamp fails in this mode, an immediate dimming of the display
occurs and the projector will continuously attempt to turn the second lamp
back on – it will not switch to a single lamp operation mode. If the projector
fails to turn the lamp back on after 5 minutes it is recommended you manually
switch lamp operation to single lamp for the lamp that is working. If both
lamps fail at the same time, an error is reported and the projector
automatically powers down.
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Section 3: Operation
•
SINGLE, LAMP #1 OR SINGLE, LAMP #2 –
Select “Single, Lamp 1” or “Single,
Lamp 2” to specify which lamp to operate the projector with. The other lamp
remains in “reserve” and will only turn on if the current lamp “fails” for some
reason or if the mode is manually selected.
NOTES: 1) The projector will automatically shutdown if it detects both lamps
have “failed” (this includes lamps not installed). 2) The lamp operation mode
will not automatically switch to a previous mode once a “failed” lamp is
replaced. It must manually be selected. 3) It takes approximately 25 seconds
for a cold lamp to reach full brightness when it is first turned on. 4) Power is
cut to a lamp only when the lamp operation mode is switched to the other
lamp. IMPORTANT - the original lamp stays on for 35 seconds to allow the
new lamp to warm up before power is cut and lamp operation modes change.
MORE LAMP 1 (MORE LAMP 2) - There
are two separate lamp submenus that can be
accessed from the Lamp menu. Each submenu is dedicated to one lamp – you can
view specific lamp information, such as lamp hours, lamp history and the current
status of the lamp. You can also change lamp operation modes.
LAMP HOURS - This read-only information shows the current number of hours
logged on the current lamp. Whenever a new lamp serial number is detected it begins
to log time for the new lamp. This information also appears in the Status menu.
LAMP S/N - This read-only information displays the serial number for the current
lamp. NOTE:When a lamp is installed, the projector automatically detects the serial
number and displays it here. The serial number is not manually entered.
– This read-only information displays the current status of a
lamp and can be viewed any time during operation. Refer to the list below for the
possible lamp status messages and their meaning:
LAMP 1 (OR 2) STATUS
•
•
•
•
•
•
•
•
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“Good”
– displays continually during operation until there is a failure with the
lamp.
“Failed to Strike” – displays when the projector cannot turn a lamp on. This may
or may not be lamp related.
“Lamp Not Installed” – displays when a lamp isn’t installed. If a lamp is present
check that the lamp is fully connected to the terminal block.
“Turned Off Unexpectedly” – displays when a lamp or lamp related component
fails – may be caused by a hot lamp, failed lamp or a lamp driver problem.
Check for error code on LED status display.
“Interlock Tripped”- displays when the lamp door is opened for a lamp that is
still on. The lamp is automatically turned off.
“Cooling Fan #8 (or #10) Failed” – displays when a lamp fan fails (Cooling fan
#8 associated with Lamp #1 and Cooling fan #10 with Lamp #2).
“Color Wheel Stopped” – displays when a color wheel stops operating.
“Driver Vcc too Low” – displays when a lamp driver fails.
Section 3: Operation
LAMP HISTORY - This read-only option lists the lamp serial
number and corresponding lamp hours of the lamp most recently
installed. Lamp History is automatically updated when a new
lamp is installed.
3.8
Status Menu
The read-only Status menu lists a variety of details about the standard and optional
components currently detected in the projector. Refer to the Status menu for versions
of hardware and software installed, the type (size) of lamp defined in projector
memory, its current, voltage and hours logged in total and for a specific period (such
as a rental period), and for your projector model name and serial number. In addition,
the Status menu identifies the current channel, its location, its frequencies and other
details.
Scroll the full Status menu using
3.9
Using Multiple
Projectors
. Use
for page up/down.
When an installation requires multiple projectors, you can use the RS232 serial ports
to daisy-chain the units together and control the group with a single keypad or a
computer/controller connected to the first projector. In such a network, you can
choose to broadcast commands to the entire group, or use the Proj key as desired to
limit responses to an individual projector.
Alternatively, you may want to add projectors to a hub on an Ethernet network.
NOTE: Refer back to 3.6, Adjusting System Parameters and Advanced Controls for
complete information about communicating with multiple projectors.
Matching Colors ' In a multiple-projector wall, you will likely want to precisely match color and intensity
In Multiple Screens
from image-to-image so that the full wall is as uniform as possible. This matching is
typically done in conjunction with brightness uniformity and edge blending.
Preliminary Calibration
As a final part of the manufacturing process, all primary colors in the projector are
precisely set to pre-established values to ensure that overall color performance is
optimized and is as accurate as possible (refer back to Figure 3.19). Upon installation
at a site, however, lighting and other environmental factors may slightly change how
these colors appear on your screen. While the change is negligible in most cases, you
may prefer to recover the originally intended color performance before trying to
match colors from several projectors. Or you may be renting a projector in which the
colors were changed for use at its previous site, but are not ideal for yours.
The recommended first step in achieving such consistency is to use a color meter to
measure the native primary colors—red, green, blue, and white—as they appear at the
screen and record these as Color Primary Settings in the Service menu (passwordprotected) for each projector. On the basis of these new values, which are stored in
memory, each projector will then automatically calculate any necessary corrections to
reproduce the original factory colors under the current environmental conditions. This
essentially calibrates a projector to its surroundings, compensating for factors such as
screen type, lamp and/or ambient lighting that can alter the final color characteristics
on-screen, and will improve color accuracy and consistency in a group of projectors. It
ensures a good starting point for further customizing and matching.
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To return to the factory-set color primaries, such as when a projector is moved to a
different site, you must access the Service menu (password-protected). Select the
Reset to Factory Defaults? option in the Color Primaries submenu. Then repeat the
calibration process describe above, if desired, and continue with matching of colors.
Color Adjustment Procedure
Once the Color Primary Settings are calibrated for the site (see above), use the Color
Adjustments by X,Y or Color Saturation menu to further refine each projector’s
fundamental colors so that the hue and intensity of each color appears the same from
one display to another. Once matched, you will have created a single new shared
range of colors or “color gamut” that all of your projectors can produce. This
palette—named User 1, 2, 3 or 4—can be applied or disabled for a source at any time
throughout a bank of adjacent displays, simplifying both the setup and maintenance of
a “seamless” wall.
1. Set up and optimize all projector settings. You can ignore color temperature, since
you will be redefining color performance in this procedure, but do optimize each
projector in every other aspect. Closely align all screen edges.
2. Assign projector numbers to make communications easier. Use a wired keypad.
3. Use the same lamp mode for all projectors, and do the following:
Set Select Color Adjustment to “Max Drives”
Display a full white test pattern
Adjust lamp power and Optical Aperture until adjacent white fields appear the
same brightness.
4. Display the Color Adjustments by X,Y menus for all projectors. Each menu shows
the x/y coordinates defining the “Max Drives” color gamut for this projector. Jot
down the values shown in one (any) of the displays. See Figure 3.23. Or use the
“Copy From” function to copy them into a “User” gamut in one projector.
Figure 3.23. Jot Down a Set of ”Max Drives” X/Y Values
5. In each projector, select a “User” color adjustment (1-4) to enable Color
Adjustments by X,Y changes. Then enter your recorded x/y values into each menu
(Figure 3.24).
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Figure 3.24. Copy X/Y Values into All Projectors
6. In each projector, judge by eye and adjust x/y coordinates slightly in the following
manner:
To match reds, decrease “
Red X” until full field red
screens match.
To match greens, decrease
“Green Y” until full field
green screens match.
To match blues, increase both
“Blue X” and “Blue Y” until
full field blue screens match.
NOTE: For speed, enable the
“Auto Color Enable” checkbox.
Each color coordinate you select
will then automatically trigger a
full field display of the
corresponding color.
These coordinate adjustments move the
three color points closer together (see
right) to establish a “shared” gamut
attainable by all projectors in your group.
Adjust only as necessary to ensure that the
resulting color palette is as large as
possible. When done, you may need to
adjust lamp power slightly.
7. All screens should now be color-matched. Apply this new “User” gamut to a
source at any time by selecting it in the “Select Color Adjustment” list accessed in
the Advanced Image Settings menu.
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Section 3: Operation
Using the Color Saturation Menu for Color Matching
You may prefer to use the
Color Saturation menu to
match colors across
multiple screens. In the
three Color Adjustment
submenus (Red, Green,
Blue—see right), set all
main values to 100 and
the secondary values to 0.
Then judge by eye and
adjust the slidebars as
needed. Note that
adjustments here define
new x/y coordinates in the
Color Adjustments by X,Y
menu.
Figure 3.25. Color Matching Using
Color Saturation Menu
Achieving Brightness ' WHAT IS BRIGHTNESS UNIFORMITY? When used to refine screens already matched for
Uniformity
their primary colors (see Matching Colors in Multiple Screens, above) and overall
light output, proper adjustment of Brightness Uniformity can create an exceptionally
smooth screen in which:
• no area of the screen appears more red, green or blue than another
• no area of the screen appears brighter than another
• color and light output from one screen closely matches adjacent screens
Although the Brightness Uniformity control can be used for a stand-alone projector, it
is particularly useful for setting up and maintaining tiled images that form a cohesive
display wall in which the color “cast” and light output appear uniform throughout
each image as well as throughout the entire wall. The procedure provided here
assumes a multiple-screen application.
Before You Begin
Read through the entire procedure before attempting to adjust Brightness Uniformity
controls, and keep in mind the following checklist of prerequisites and guidelines:
ADJUST COLORS FIRST—Always adjust the primary colors as described in the
“Matching Colors in Multiple Screens” procedure (above) before attempting to
work with Brightness Uniformity. This ensures that primary colors, color
temperature, and maximized light output are all well-matched from one screen
to another. These matches are needed before you can achieve good Brightness
Uniformity results.
RUN LAMP FOR 100 HOURS—Light output and Brightness Uniformity can vary
significantly during the first 100 hours of lamp use. For best results with new
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Section 3: Operation
lamps, either set up Brightness Uniformity after this period, or do an initial
setup and re-check at 100 hours.
SET LAMP POWER—Make sure each “Lamp Power” setting is as high as
possible for your application while still maintaining a good overall match of
light output from screen-to-screen. By nature, achieving a uniform brightness
will require a slightly reduced overall brightness—this reduction will help
ensure that you have enough range of adjustment when examining brightness
variables more closely from screen-to-screen, and will help prevent premature
“maxing out” when trying to match to a certain color, zone or projector.
USE A “USER” COLOR TEMPERATURE—Always adjust Brightness Uniformity
for a User color temperature defined when you matched primary colors, and
continue to use it for all sources displayed on the wall. Your other color
temperatures will not necessarily be matched from screen-to-screen.
WHITE UNIFORMITY SLIDEBARS—White Uniformity slidebar values may not
reduce to “0”. Each slidebar adjusts overall light output in a specific screen
zone, but the value shown represents the current setting for green in this zone.
When other “hidden” values (red or blue) are lower than green, during
adjustment in the White Uniformity menu their values will reach “0” first,
causing the slidebar to stop earlier than expected.
JUDGE BY EYE OR USE A METER—Good brightness uniformity can be achieved
with either.
Step 1: General Setup
1a) Adjust primary colors (see Matching Colors in Multiple Screens) to ensure
matched overall color temperatures and light output between screens.
IMPORTANT
Double-check that all WHITES and LIGHT OUTPUT are well-matched.
1b)
Enable the Brightness
Uniformity checkbox.
This will enable access
to the uniformity
controls and will apply
the settings to your
image.
1c)
Select the 13 Point test pattern for display. This pattern provides 9 screen
“zones” with 13 targets.
FOR BEST RESULTS: Rather than
examining the CENTER of each zone when
assessing Brightness Uniformity adjustments,
focus on extreme EDGES as indicated in the
illustration at right.
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Section 3: Operation
1d)
In either Color Adjustment menu, select a “User” color. Then:
•
•
If you have adjusted “User 1” Color Adjustment to create a well-matched
wall (recommended), select “User 1” and then choose a color. Continue
with Step 1e.
If you prefer maximum brightness rather than a particular color
temperature, select “Max Drives”.
IMPORTANT
Do not change User 1 Color Adjustments
in color-matched applications!
1e)
In the White Uniformity
menu, set “Overall” to 50.0
and set all others to 0. This
decreases the light output
from each color just
enough throughout the
screen so that any color
level can then be increased
later as necessary for
matching light output from
zone-to-zone. Do not
exceed 50.0 for
“Overall”—a higher level
will likely interfere with achieving brightness uniformity and is not
recommended.
Ensure that overall light output remains well-matched from one screen center
to the next. Where necessary, increase or decrease Lamp Power slightly to
recover center matches.
Step 2: Adjust Color (level of red/green/blue) in 8 Zones
NOTES: 1) At this point, ignore the brightness of individual zones. 2) Always ignore
menu colors.
2a)
On each screen, compare the color temperatures in the 8 target zones (4 edges
and 4 corners) to that of the color temperature of the center. Compare using a
white field only, and take note of any areas that do not match the center. Also
decide if any screen exhibits a more obvious color shift than other screens—
begin with this screen in Step 2b.
2b)
Return to the Brightness Uniformity menu. Beginning with the screen that exhibits
the most obvious color shift(s), for each edge that exhibits a noticeably different
color temperature from the center, select the corresponding Uniformity adjustment
menu—Left, Right, Top or Bottom. For example, if any part of the left side is too
blue, too red or too green, go to the Left Uniformity menu and adjust the colors
(i.e., change their light output) until all portions of the left side closely match the
center color temperature. Adjust an edge first (focusing on its center), then adjust
its corners. See Figure 3.26.
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Section 3: Operation
Figure 3.26. Match Zones to Center Color Temperature
Repeat the color adjustment of sides and corners for each edge of the screen that does
not yet match the center (note that each corner is adjustable in either of its two
adjacent “side” menus). When done, all areas of a given screen should match. Repeat
Steps 2a & 2b for all remaining screens.
Step 3: Adjust Light Output in 8 Zones
3a) For each screen, compare the light output of each edge and corner to that of the
center. If any of the areas differ, use the White Uniformity menu to match edges
and corners to the center as described below (see Figure 3.27). Begin with the
screen exhibiting the most obvious variations in light output.
•
•
•
Adjust edge White Uniformity first—note that each edge adjustment also
affects the rest of the screen slightly. Keep all edges just slightly lower than
the center light output rather than matching light output precisely.
Otherwise, it may not be possible to brighten the corners (typically the
dimmest areas of the screen) enough. I.e., the best uniformity is a
compromise between the brightest and darkest areas of the screen.
Adjust corner White Uniformity last—each corner adjustment affects only
this quadrant.
Repeat for each screen.
Figure 3.27. Match Zones to Center Light Output
Step 4: Readjust Color Temperature (level of red/green/blue) in 8 Zones
4a) Return to Steps 2a & 2b and, if necessary, fine-tune the zones so that they all
still exhibit a single color temperature.
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Canceling Brightness Uniformity
If you do not want to use or apply Brightness Uniformity settings, delete the
checkmark from the “Uniformity Enable” checkbox at the top of the Brightness
Uniformity menu.
Edge Blending ' Christie Edge Blending is an innovative set of software functions that can quickly and
easily blend whitelevels 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 3.28. Edge Blending Concept
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 2-page Edge Blending submenu—
access via Configuration menu, then go to the Geometry and Color menu and select
Edge Blending. The More option opens the second page of the Edge Blending
submenu.
Main Functions
Use edge blending controls to set the precise width, shape and midpoint you need to
blend overlapping edges together smoothly.
Blend Width determines
how much area is used for blending along an
overlapping edge. Slidebar values represent the number of 8-pixel steps used
for the blend. For example, a setting of “3” creates a blended edge 24 pixels
wide. A setting of “0” signifies no blending. For best results in most
applications, use a blend width of 16-48 steps (128-384 pixels).
Ranges: 0-80 horizontal, 0-60 vertical.
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Blend Shape determines the rate of
roll-off across the blend width, i.e.
how quickly the white levels
across the blend change from light
and dark. Increasing the Blend
Shape setting accelerates the rate
of change at both extremes so that
less of the region appears midgray (see Figure 3.29.) 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 3.29. “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%
Figure 3.30. “Midpoint” Examples
black—for best results in most
applications, keep fairly close to this default.
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 Brightness Uniformity.
IMPORTANT
For a shared edge, all Blend procedures and settings
should be identical on BOTH projectors.
1. Start with 2 projectors. Display full white field test pattern from both.
2. In the Edge Blending submenu, enable 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.
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Figure 3.31. Set Starting Points for Each Projector
4. SET BLEND WIDTH: On one projector, increase the Blend Width for an overlapping
edge (for example, if the projector’s image is on left, its right edge overlaps the
adjacent image—adjust Right Blend Width). Use the same setting on the second
projector for this shared edge.
5. Re-adjust width (both projectors) until the overly bright band at the midpoint of the
overlapping blends disappears or just changes to very light gray. For the shared
edge, use the same Blend Width setting on each projector. If the “best blend”
appears to be between two settings, choose the wider setting for both projectors.
6. CHECK BLEND: If the blended region appears too dark or light in relation to the rest
of the image:
Increase Blend Midpoint in both projectors to “lighten” the overall blend,
decrease to “darken” the overall blend.
Adjust Blend Shape in both projectors to fine-tune change the amount of midgray 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):
If side overlap is 15%, set Blend Width to 24
If side overlap is 20%, set Blend Width to 32
If side overlap is 25%, set Blend Width to 40
If side overlap is 30%, set Blend Width to 48
3.10
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 simple bi-directional ASCII
messaging on an Ethernet or serial communication link
WHAT SETUP IS NEEDED? To control
these projector functions remotely via Ethernet
and your own controller, either open an Ethernet socket between your controller and
the valid projector address, or connect a serial link between your controller and any of
the RS422 ports or the RS232 In port. Connect all ports, if desired.
For complete information, including a list of valid ASCII messages and how to
structure them for use, obtain the current Christie Serial Communications document.
3-56 Christie DS+60 User’s Manual
Section 3: Operation
3.11
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” option
To be notified via a serial communication only, select the “RS232” option.
To receive both types of notifications, select “All”.
To disable error messages (except for “invalid user key entry”, which can’t be
hidden), select “Off”.
The 2-digit error code that corresponds to the message appears in the LED status
display window located next to the built-in keypad (Figure 3.32.). NOTE: During
normal operation the status code “0n” appears.
Figure 3.32. LED Status Display on Built-In
User Errors ' Invalid User Entry
A keypad entry not recognized by the projector triggers a short on-screen error
message identifying the problem. For example, if you specify a channel number that is
not available, the message “Invalid Channel will appear. Or if you try to enter the
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 the wrong frequency. Correct the
signal or select another input.
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Section 3: Operation
Other Signal Error Messages
In addition to the common "Bad Sync" and “No Signal” errors, you may encounter a
signal error message indicating that HSYNC and/or VSYNC are either too fast or too
slow. When such a message appears, check the frequencies shown in the Status menu.
If they are correct, then the signal is not recognized by the projector. On some PCs
you may be able to change the settings to generate a compatible signal. If the
frequencies shown in the Status menu are incorrect, check the cabling to see where the
problem might originate.
System Warnings / Errors ' When the projector encounters a system malfunction, either a System Warning
message or a System Error message may appear. Both types of messages are
accompanied by a numerical error code on the LED status display window next to the
built-in keypad. A system malfunction can be cleared with Exit 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
should be reported to the manufacturer. You can press Exit 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 reported to the manufacturer as soon as possible (see Status LED Codes,
below). The projector will no longer operate and must be reset—power the projector
down and up again with the
(power) key.
The Status LED Codes
If the status code display on the back of the projector shows one of the following
values, you have encountered a likely system error requiring the attention of a
qualified service technician (see System Warnings and System Errors, above).
Acknowledge and clear the error with Exit Exit from presentation level, or try
resetting the projector by powering it off and on again, cooling when necessary.
Consult and contact your dealer if the problem persists.
The specific code number identifies the source of the error detected, and is
particularly useful in cases where the projector is too far away to read the
accompanying text message in the LCD status display window. For example, the code
“27” means “Lamp 1 could not be turned on”. Error codes for this projector are listed
in the table below.
3-58 Christie DS+60 User’s Manual
Section 3: Operation
Error Codes '
Code
Description
GENERAL
12
13
14
15
16
18
Software bug. Contact dealer/factory.
Flash memory corrupted. Download new software.
Engineering-only programming is complete. Call Christie, replace TIPM.
Attempting to download code without being in boot mode
Invalid interrupt. Power off/on. If it persists, contact dealer/factory.
Attempting to program boot mode without jumper
LAMP FAILURES
21
25
26
27
28
29
2A
2C
30
31
32
33
34
35
36
Lamp compartment too hot
Lamp 1 not installed
Lamp 1 Interlock: door open, lamp not installed
Unable to turn lamp 1 ON
Lamp 1 shut off unexpectedly
Lamp 1 driver overheated
Lamp 1 driver operation error (e.g. too hot can’t start)
Lamp 1 driver UART communications failure
Lamp 2 not installed
Lamp 2 door open
Unable to turn lamp 2 ON (unknown reason)
Lamp 2 shut off unexpectedly
Lamp 2 driver too hot
Lamp 2 driver reports operation error (e.g. too hot can’t start)
Lamp 2 driver UART communications failure
POWER AND COOLING
40
41
42
43
44
45
4C
51
53
56
57
58
59
5A
Lamp 1 shutdown due to corresponding fan failure
Lamp 1 driver Vcc to low
Color wheel 1 stopped for at lease one second
Lamp 2 shutdown due to corresponding fan failure
Lamp driver Vcc too low
Color wheel 2 stopped for at least one second
Projector shutdown due to critical error
TIPM fan failed
Main blower failed
Engine fan failed
Lamp 1 driver fan failed
Lamp 1 fan failed
Lamp 2 driver fan failed
Lamp 2 fan failed
TIPM (image processor)
60
61
62
63
64
65
66
67
68
Boot code CRC failed
Unable to program the DigMux PLD
Unable to program the Control PLD
Unable to program the BUBKS PLD
Unrecognized ROM type
Write to flash ROM failed
General image processor failure
Downloaded code will not fit in the ROMs
Communication problem with scaler on image processor
BUILT-IN or EEPROM
70
71
72
73
Unable to access the EEPROM on the built-in keypad
EEPROM memory re-initialization (built-in keypad)
Unable to access the EEPROM on the lamp module
Unable to access the EEPROM on the Back End Board
BACK END BOARD
80
Unable to detect Back End Board
81
Unable to program a device on the programming bus
82
TI flash download failure – not started
83
TI flash download failure – partial write
84
TI flash download failure – checksum read
85
TI – I2C write failure
86
Communications failure
BACKPLANE or OPTIONAL INTERFACE MODULE
A0
Unable to program the Option Card
A1
Unable to power the Option Card
A2
Unable to program the Backplane module
A3
Unable to program the Warp Module
Exit . If you encounter a system error, try resetting the projector by powering it off and on
Clear system errors with Exit
again (wait at least 90 seconds and allow for proper cooling). For detailed information, monitor the RS232 IN port. Contact
dealer/factory if error persists and if a code appears that is not listed.
Christie DS+60 User’s Manual
3-59
Section 4
Maintenance
4.1
Warnings and
Safety
Guidelines
The projector is an international regulatory agency approved product designed for safe
and reliable operation. It is important to acknowledge the following precautions while
operating the projector to assure complete safety at all times.
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.
Installation should be performed by qualified
personnel.
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 ' Read all operating instructions prior to using the projector.
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4-1
Section 4: Maintenance
Projector Location ' Operate the projector in an environment, which meets the operating range as 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.
If the projector is to be ceiling mounted, use only the Christie-approved ceiling
mount fixture.
Lamps ' The two 300W P-VIP lamps in the projector require replacement when they have
reached their end of life (approximately 1500 hours), if they have failed during
operation, or have a drastic change in brightness (typical of aging lamps). To
effectively maintain operation of the projector it is best to be aware of any changes
that occur in brightness and the number of hours each lamp is in use. Refer to 4.4.
Lamp Replacement for more details on lamp replacement.
NOTE: These are mercury-containing lamps. Handle appropriately. Refer to
Appendix G for the lamp product safety data sheet.
Follow all safety and warning precautions regarding lamp replacement and handling.
WARNING
Wait approximately 5 minutes to allow the lamp to cool
before removing.
Do not stick hands into the lamp compartment during
lamp replacement.
The lamp is under great pressure when hot and may
explode causing physical injury and/or property
damage. Allow a lamp to cool before handling and/or
powering down and unplugging the projector.
Use only the lamps supplied by CHRISTIE, in the Lamp
Replacement Kit.
Power Cord ' Use only the attachments and/or accessories recommended by CHRISTIE. Use of
and Attachments
others may result in the risk of fire, shock or personal injury.
WARNING
Use only the AC power cord supplied. Do not attempt
operation if the AC supply is not within the specified
voltage and power range. See Section 6.
◊
◊
4-2 Christie DS+60 User’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.
Section 4: Maintenance
◊
The projector is equipped with a three-wire plug having a third grounding pin.
This is a safety feature – if you are unable to insert the plug into an outlet contact
an electrician to have the outlet replaced. Do not defeat the safety purpose of this
grounding-type plug.
Ventilation ' 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 “poke” objects into the ventilation openings of the projector. They may
touch dangerous voltages or short-out components resulting in a fire or shock
hazard. Do not spill liquids of any kind into the projector. Should an accidental
spill occur, immediately unplug the projector and have it serviced by a qualified
service technician.
Servicing ' If any of the following conditions exist, immediately unplug the projector from the
power outlet and ask a qualified service technician to look at it.
◊
◊
◊
◊
◊
◊
The power cord has been damaged.
The internal cooling fans do not turn on when the projector is first powered up.
Liquid has been spilled into the projector.
The projector has been exposed to excessive moisture.
The projector is not operating normally or its performance has significantly
deteriorated in a short period of time.
The projector has been dropped or the shipping case (if applicable) has been badly
damaged.
WARNING
Do not attempt to service the projector yourself. All
servicing must be performed by CHRISTIE accredited
service technicians.
Use replacement parts that are manufacturer-approved
only. Use of any other part other than the ones specified
by the manufacturer can result in fire, electric shock or
risk of personal injury and irreparable equipment
damage.
WARNING
Never service the projector while it is still plugged in.
There are exposed voltages that could cause severe
physical injuries and possibly death. Always unplug the
projector and wait 2 minutes to allow the capacitors on
the power supply to discharge before removing the
projector’s covers.
Christie DS+60 User’s Manual
4-3
Section 4: Maintenance
4.2
WARNING
Cleaning and
Maintenance
Guide
Always power down and unplug the projector before
cleaning or servicing.
Table 4.1. Maintenance Guide
Part Description
Lens
Frequency
How to clean
As required
CLEAN: Clean if absolutely necessary. A
small amount of dust on the lens has very
little affect on picture quality.
To clean: Apply a solvent such as acetone,
alcohol or vinegar sparingly to clean, lintfree lens tissue. Wipe across the surface of
the lens. Do not scrub or rub tissue in
circular motion, this will scratch the lens. Do
not reuse tissue. Do not use cleaning tools
treated with Ether. If particles still appear on
the lens, try using compressed air to remove.
Lamp Module (300
W P-VIP)
As required
Covers
4-4 Christie DS+60 User’s Manual
1500 hours or
sooner if required
As required
CLEAN (front glass only): Clean if absolutely
necessary. Never touch the glass surface of
the lamp. Any oil (left by fingerprints) will
seriously degrade lamp performance or cause
“hotspots” which can lead to an
accumulation of intense heat in the touched
area and cause the lamp to shatter.
To clean, wait until lamp is cool. Moisten a
clean, lint-free cotton cloth with isopropyl
alcohol and gently rub the surface of the
glass in a circular motion until clean.
REPLACE: Refer to 4.4 Lamp Replacement
for instructions.
CLEAN: Clean dust from external covers
using a clean, lint free cotton cloth as
required. NOTE: Before cleaning the
modules, it is recommended that you install
the lens cap. This will keep dust particles
from settling on the glass surface of the lens.
Section 4: Maintenance
4.3
Replacing
Remote
Batteries
The optional IR remote uses two AA size, 1.5V alkaline batteries. To replace the
batteries simply turn the remote over and push out the cover using the finger groove,
as shown in (1) Figure 4.1.
Remove and properly discard the old batteries. Insert new batteries in the proper
positive/negative orientation as shown etched in the bottom of the compartment (2).
Replace the cover by inserting the tabbed end into the opening and snapping the
opposite end into place.
Figure 4.1. Replacing remote batteries
4.4
Lamp
Replacement
The projector uses two 300W P-VIP lamps and can be operated with both lamps ON
(Dual Lamp Operation mode) or with one lamp ON (Single Lamp Operation mode).
The projector has the ability to automatically switch modes to maintain continuous
operation.
When do I replace a lamp? Lamps that have shown a drastic reduction in
brightness or have reached their end of life (approx 1500 hours) should be replaced
immediately. You can check the number of hours each lamp has been in use by
looking up the number of LAMP HOURS in individual lamp submenus or in the Status
menu. From the Lamp menu, you can also set a LAMP LIMIT and enable the projector
to send a warning message when it’s powered on to indicate the lamps have reached
their set limit.
At anytime during operation, you can check the status of a lamp by checking the lamp
status in individual lamp submenus – More, Lamp 1 or More, Lamp 2. You will see
one of six states: “Good”, “Cooling Fan #8 Failed”, “Cooling Fan #10 Failed,
“Interlock Tripped”, “Failed to Strike”, “Turned Off Unexpectedly”, “Color Wheel
Stopped”, “Driver Vcc too Low” or “Lamp Not Installed”. A status of “Failed to
Strike” or “Turned Off Unexpectedly” indicates a failure that requires further
investigation and may or may not be directly related to the lamp.
If you have ruled out the cause being an aged lamp or another component in the
projector, it may indicate that your lamp has prematurely burned out or failed for
some other reason (check status LEDs and/or error codes through RS-232, if
possible). Burned out lamps or lamps that have failed due to some characteristic flaw
should be replaced, as soon as possible.
In general, monitor the performance of your projector and replace lamps as needed.
Christie DS+60 User’s Manual
4-5
Section 4: Maintenance
To replace a lamp:
1. Press
to power down the projector and allow the lamp to cool for
approximately 5 minutes after the fans have turned off before continuing with
Step 2. If required, you can switch lamp modes and cut power to the lamp you
want to replace without having to power down the projector and interrupt a
presentation. Check the Lamp menu to ensure the lamp operation mode has been
switched to the other lamp. Allow the lamp to cool sufficiently before continuing
with Step 2.
NOTE: Opening a lamp door with a “live” lamp will cause the projector to
automatically cut power to that lamp.
WARNING
Wait at least 5 minutes after powering down or switching
lamp operation modes to allow the lamp to cool
sufficiently before removing.
Figure 4.2.
2. Remove the single screw from the
lamp door you want to open.
NOTE: The amber window on the
door (Figure 4.2.) should be dim. If
it “glows” then the lamp in this
compartment is still on. Manually
switch to the other single lamp
operation mode to cut power to the
lamp before replacing. (Figure 4.3)
3. Swing the lamp door open. (Figure
4.3.)
Figure 4.3.
4. Using a screwdriver or fingers, turn the three lock screws on the lamp module
counter-clockwise a quarter turn each to “unlock” it. (Figure 4.4.)
5. Using the two finger guides molded into the lamp housing, pull the lamp straight
out of the projector. (Figure 4.4) The lamp module disconnects from the terminal
block located at the back of the lamp compartment.
4-6 Christie DS+60 User’s Manual
Section 4: Maintenance
Figure 4.4.
6. Discard the lamp using approved disposal methods for your area. NOTE: Lamps
containing mercury must be treated as hazardous waste if discarded in large
volumes.
WARNING
Do not stick hands into an empty lamp compartment,
especially if the other lamp is still on. The lamp
compartment can become quite hot and cause physical
injury.
7. On the new lamp module, turn the
three lock screws to the “unlock”
position before inserting it into the
lamp compartment. Align the lamp
with the three pins located at the
back of the compartment. Insert the
lamp all the way in until it is fully
seated. (Figure 4.5)
8. Turn the three lock screws on the
new lamp module clockwise a
quarter turn to “lock” it in place.
(See Figure 4.4 for lock screw
position.)
9. Close the lamp door and tighten the
screw to secure it in place.
Figure 4.5.
NOTE: The projector automatically detects a new lamp and records the serial number
in software the next time it’s powered up. Manual entry of the serial number is not
required.
Christie DS+60 User’s Manual
4-7
Section 4: Maintenance
4.5
Replacing the
Projection Lens
Use the following instructions when replacing a projection lens:
NOTE for first time use: The projection lens is shipped separately from the
projector. Before you install a lens it is important to remove the lens plug from the
lens opening in the projector and the protective end cap from the lens.
1. Power down the projector and wait 5 minutes to allow the lamps to cool before
continuing with Step 2.
2. Place the lens cap on the projection lens to protect it from being damaged during
the installation or removal process.
3. When removing the projection lens - Press and hold the LENS RELEASE button
located in the bottom right corner of the projector’s front panel. Grasp the lens
barrel with your free hand and turn it in a counter-clockwise direction until it can
be removed from the projector. Release the LENS RELEASE button.
OR
When installing a projection lens, make sure Steps 1 and 2 are complete. Press
the LENS RELEASE button with one hand and with the other hand slide the new
lens into the lens opening in the projector – make sure you align the notch in the
lens with the location of the alignment pin in the lens compartment. Turn the lens
in a clockwise direction until it is fully installed. NOTES: 1) There is a small
alignment pin that is raised and lowered by the LENS RELEASE button. If this
button is not fully depressed you will be unable to install or remove the lens. 2)
Remove the protective end cap from any new lens before installing.
Figure 4.6.
4-8 Christie DS+60 User’s Manual
Section 5
Troubleshooting
If the projector does not appear to be operating properly, note the symptoms present and use the following guide to
assist you. If you cannot resolve the problems yourself, contact your dealer for assistance.
NOTE: A qualified service technician is required when opening the projector to diagnose any “probable cause”.
5.1
Displays
Symptom ' The projector is on but there’s no display...
CAUSE / REMEDY:
1. Was a lens cover accidentally left on? Remove lens cover.
2. Make sure the shutter is OPEN.
3. Is the lamp ignited? It could take up to 3 attempts to strike a lamp. With a 90
second wait period in between each attempt it could take a total of 4.5 minutes to
turn the lamp on. Check LAMP STATUS.
4. Is the correct input selected?
5. Is the source connected properly? Check the cable connections and make sure the
correct source is selected.
6. Can you access test patterns? Make sure there is not a full black test pattern
selected for display—press Menu
to access test patterns, then cycle patterns
with
keys.
Symptom ' Severe motion artifacts…
CAUSE / REMEDY:
1. Most likely there is a synchronization problem with reversed 3/2 pull-down in
60Hz-to-24Hz film-to-digital conversion in your source. Correct at the source.
Symptom ' Image appears “squeezed” or vertically stretched into center of screen
CAUSE / REMEDY:
1. Check your Resizing selection.
Symptom ' The display is jittery or unstable…
CAUSE / REMEDY:
1. If the display is jittery or blinking erratically, ensure that the source is properly
connected and of adequate quality for detection. With a poor quality or
improperly connected source, the projector will repeatedly attempt to display an
image, however briefly.
2. The horizontal or vertical scan frequency of the input signal may be out of range
for the projector. Refer to Section 6, Specifications for scan frequency ranges.
3. The sync signal may be inadequate. Correct the source problem.
Christie DS+60 User’s Manual
5-1
Section 5: Troubleshooting
Symptom ' The display is faint…
CAUSE / REMEDY:
1. Brightness and/or contrast may be set very low.
2. The source may be double terminated. Ensure the source is terminated only once.
3. The source (if non-video) may need a different sync tip clamp location.
Symptom ' The upper portion of the display is waving, tearing or jittering…
1. This can sometimes occur with video or VCR sources. Check your source.
CAUSE / REMEDY:
Symptom ' Portions of the display are cut off or wrap to the opposite edge…
1. Resizing and/or blanking may need adjustment.
CAUSE / REMEDY:
Symptom ' The display appears compressed (vertically stretched)…
1. The frequency of the pixel sampling clock is incorrect for the current source.
2. Resizing, vertical stretch and positioning options may be improperly adjusted for
the incoming source signal.
CAUSE / REMEDY:
Symptom ' Data is cropped from edges
1. Check settings for Blanking.
2. If incoming data is still missing from the image, reduce the image size to within
the display area available in the projector.
CAUSE / REMEDY:
Symptom ' Display quality appears to drift from good to bad, bad to good…
1. The source input signal may be of low quality.
2. The H or V frequency of the input may have changed at the source end.
CAUSE / REMEDY:
Symptom ' The display has suddenly frozen…
CAUSE / REMEDY:
1. If the screen blacks out inexplicably, it is possible that excessive voltage noise on
the AC or ground input has interrupted the projector’s ability to lock on to a
signal. Power down the projector and disconnect from AC. Then plug in again and
power up as usual.
Symptom ' Colors in the display are inaccurate…
CAUSE / REMEDY:
1. The color, tint, color space, color temperature and/or other settings may require
adjustment.
2. Make sure you are using the proper channel for this source.
3. Check Color Wheel Calibration.
Symptom ' The display is not rectangular…
CAUSE / REMEDY:
1. Check leveling of the projector. Make sure that the lens surface and screen are
as parallel to each other as possible.
2. Is the vertical offset correct? Adjust as necessary using the vertical offset knob.
3. Check if Keystone is incorrectly set.
Symptom ' The display is “noisy”…
CAUSE / REMEDY:
1. Display adjustment at your input source may be required. Adjust pixel tracking,
phase and filter. Noise is particularly common on YPbPr signals from a DVD
player. (If using a PC source, adjust using a high-frequency test pattern with one
pixel on/off throughout.)
5-2
Christie DS+60 User’s Manual
Section 5: Troubleshooting
2. The video input may not be terminated. Make sure the video input is terminated
(75 Ω). If it is the last connection in a loop-through chain, the video input should
be terminated at the last source input only.
3. The input signal and/or signal cables carrying the input signal may be of poor
quality.
4. If the distance between the input source device and the projector is greater than 25
feet, signal amplification/conditioning may be required.
5. If the source is a VCR or off-air broadcast, detail may be set too high.
5.2
Lamps
For more information on lamp operation modes and auto-switching, refer to Section 3
– 3.7 The Lamp Menu.
Projector Delayed on ' 1. The projector enforces a 90 second delay between powering down and up again,
Power Up
because a hot lamp is more difficult to ignite. NOTE: It can potentially take 2
minutes to cool a lamp sufficiently enough before re-striking it.
Powered Up, But No ' 1. It takes 25 seconds for the projector to power up and strike a lamp. One of the
Light On The Wall
inherent properties of the lamp is that it may not strike with the first attempt. The
projector will wait 90 seconds before trying to strike the lamp again. It will try a
total of three times (4.5 minutes total) before it declares the lamp as “Failed to
Strike” – check LAMP STATUS.
2. Make sure the shutter is OPEN.
Lamp Operation Mode ' 1. Did you request a lamp operation mode change during power up? The projector
Didn’t Change
will ignore any commands sent during initialization. Wait for “ON” to appear in
the LED status display window before entering a command.
2. The projector will not automatically switch to a single lamp operation mode if a
lamp fails while in Dual Lamp mode. It will try to turn the lamp back on. It is
recommended you switch to the single lamp mode for the lamp that is working if
the projector fails to turn the second lamp on.
3. Check the status of the lamp. The lamp operation mode will not change if there is
a lamp with an associated failure or lamp is not installed.
4. Make sure you have allowed enough time for the projector to turn a lamp on. This
can take up to 4.5 minutes, as the projector will strike a lamp up to 3 times
waiting 90 seconds in between each attempt. Only after a lamp is successfully
turned on will the lamp operation mode change.
5.3
Ethernet
1. Make sure the Ethernet settings are valid for your site—all network devices
should have the same subnet mask and unique IP addresses.
2. Make sure to save any address change, and re-boot to implement.
3. If you still have trouble establishing communications with a projector added to an
existing Ethernet network, the projector’s IP address is likely in conflict with
another address already in use. Contact your network administrator.
Christie DS+60 User’s Manual
5-3
Section 6
Specifications
NOTES: 1) Due to continuing research, specifications are subject to change without notice. 2)
Specifications apply to all models unless otherwise noted.
Display ' Resolution
SXGA+ (1400 x 1050)
Brightness (typical)
Dual Lamp (White Boost ON)
Dual Lamp (White Boost OFF)
Single Lamp (White Boost ON)
Single Lamp (White Boost OFF)
6000 ANSI lumens
3500 ANSI lumens
3050 ANSI lumens
1800 ANSI lumens
Contrast Ratio
DS+60 (38-DSP006-xx)
1100:1 – 5000:1 full field when using
light shutter
Brightness Uniformity
>90% across the screen
Colors and Gray Scale
Resolution
Displayable Colors
8 bits
64 million
Color Wheel
Type
RGW80B
Color Temperature
Default
6300K±500K with White Boost = 10
6000K±500K with White Boost = 0
3200K – 9600K
Range of Adjustment
Lenses
(optional)
'
Lens Type
0.8:1 fixed
1.2:1 fixed
1.3-1.7:1 zoom
1.7-2.5:1 zoom
2.5-4.0:1 zoom
4.0-7.0:1 zoom
Part No.
38-809082-01
38-809083-01
38-809084-01
38-809085-01
38-809086-01
38-809087-01
Vertical Offset
(% of half height)
%
12%
120%
120%
120%
120%
120%
Pixels
+/-63
+/-630
+/-630
+/-630
+/-630
+/-630
Maximum amount of
projected image above or
below lens center
%
56%
110%
110%
110%
110%
110%
Pixels
+/-588
+/-1155
+/-1155
+/-1155
+/-1155
+/-1155
Horizontal Offset
(% of half width)
%
7%
78%
78%
78%
78%
78%
Pixels
+/-48
+/-546
+/-546
+/-546
+/-546
+/-546
Maximum amount of
projected image to one
side of lens center
%
53%
89%
89%
89%
89%
89%
Pixels
+/-748
+/-1246
+/-1246
+/-1246
+/-1246
+/-1246
* 0% offset is equal to half the image above and below lens center (525 pixels) OR half the image to the left or
right of lens center (700 pixels).
Christie DS+60 User’s Manual
6-1
Section 6: Specifications
Inputs ' Analog RGB or YPrPb (Interlaced or Progressive Scan Format)
Horizontal Frequency Range
15 – 120 kHz
Vertical Frequency Range (See Note 1)
23.97 – 150 Hz
Pixel Clock Rate
13-210 MHz max
Signal Format
Input Levels
R, G, B, - with sync:
1.0Vp-p ±2dB
R, G, B, - without sync: 0.7Vp-p ±2dB
Pb, Pr
0.7p-p ±2dB
DC Offset
±2V
Nominal Impedance
75 ohms
Note 1: Value specifies frame rate of non-interlaced sources and field rate for
interlaced sources. Frame/field rates higher than the maximum refresh rate of the
panels will be displayed at a lower rate.
Sync (Interlaced or Progressive Scan Format)
Horizontal Frequency Range
Vertical Frequency Range (See Note 1)
Sync Type
Polarity (See Note 2)
Input Levels (See Note 2)
DC Offset (See Note 2)
Nominal Impedance (See Note 2)
Horizontal Sync Duty Cycle
15 – 120 kHz
23.97 – 120 Hz
Separate H and V
Composite (bi-level, tri-level, XOR)
Sync-On-Green/luma (bi-level, tri-level)
MarcoVision compatible
Positive or Negative
0.5Vpp – 4.0Vpp
±3V
75 ohms
3% min, 20% max
Note 2: Does not apply to sync-on-green/luma.
Composite Video and S-Video
Signal Formats
Video Standards
Input Levels
DC Offset
Nominal Impedance
Return Loss (VSWR)
DVI-I – Analog
Input Characteristics
Formats
Sync Types
6-2
Christie DS+60 User’s Manual
Composite-video:
S-video luma (Y):
S-video chroma (C):
Composite-video (CVBS), S-video Y/C)
NTSC, NTSC 4.43, PAL, PAL M,
PAL N, PAL60, SECAM
1.0Vp-p ±3db (including sync tip)
1.0Vp-p ±3dB (including sync tip)
630mV nominal (burst)
±2V
75 ohms
20dB min (1.2:1 max.) @ 6 MHz
Same as Analog RGB except as
noted below.
RGB or YPbPr – video signal cannot
be routed to the decoder.
Separate H and V (direct or swapped)
Bi-level – TTL levels only
Composite (XOR, OR)
Sync-on-green
Serrations and/or Equalization pulses
MacroVision (standard & progressive)
Section 6: Specifications
DVI-I – Digital
Input Characteristics
DVI Cable Length
EDID
HDCP (High Speed Digital Content Protection)
RS-232 Serial Input
Connector Type
1 male DB9 (RS-232 out)
1 female DB9 (RS-232 in)
RS-422 Serial Input
Connector Type
1 female DB9 connector
Network Control
Ethernet
Max. Baud Rate
1 RJ45 connector
115200
Remote Control
Type
Range
Laser Pointer
Battery Type (2 required)
IR with wired ability
30 meters
Included
AA, 1.5V Alkaline
Wired Control
Connector Type
Input Levels
Power Requirements '
meets DVI spec
5m
Supported
Supported
General
Voltage Range
Line Frequency
Max. Inrush Current
Current Rating
Power Consumption
Lamps ' Type
Power
Operating Position
Warm up to full brightness
Lamp Life (typical)
High:
Low:
Power:
3.5mm plug
2.2V min.
0.9V max.
500mA @ 5V
100 – 240 VAC nominal
50 Hz – 60 Hz nominal
68 A
Both lamps on - 8.4A @ 100V (typical),
3.5A @ 240V (typical)
One lamp on - 4.8A @ 100V (typical),
2.0A @ 240V (typical)
Both lamps on - 840W nominal
One lamp on - 480W nominal
OSRAM 300W P-VIP
300 Watts
± 20 deg. tilt from horizontal plane
5 minutes
1500 hours per lamp
Christie DS+60 User’s Manual
6-3
Section 6: Specifications
Size and Weight ' Dimensions (L x W x H)
Weight
374mm x 510mm x 256mm
14.7” x 20.1” x 10.1”
36 lbs
Safety ' CAN/CSA C22.2 No. 60950-00
ANSI/UL 60950 3rd Edition
EN60950, 2000 European Norm, Safety of Information Technology Equipment
China Compulsory Certificate (CCC)
FDA
EMI ' Emissions
FCC Code of Federal Regulations, Title 47, Part 15, Conducted and Radiated
Emissions, Class A
EN55022 (CISPR 22) for Information Technology Equipment, Conducted and
Radiated, Class A
EN61000-3-2 Induced Harmonic Distortion
EN61000-3-3 Induced Voltage Fluctuations (Flicker)
Immunity
EN55024, specific to Information Technology Equipment (all parts), under which are:
EN61000-4-2 ESD,
EN61000-4-3 Radiated Immunity,
EN61000-4-4 Fast Transient/Burst Immunity
EN61000-4-5 Surge Immunity,
EN61000-4-6 Immunity to Conducted Disturbances,
EN61000-4-8 Magnetic Field Immunity,
EN61000-4-11 Voltage Dips, Short Interruptions and Voltage Variations Immunity
Operating Environment ' Temperature
Humidity
Altitude
Non-Operating ' Temperature
Environment
Humidity
Altitude
6-4
Christie DS+60 User’s Manual
10°C to 35°C
20% to 90%
0m to 3050m
-20°C to 70°C
5% to 95%
0m to 9144 m
Section 6: Specifications
Standard Components ' IR remote keypad (with batteries)
Wired remote control cable
Line Cords (North American and European)
Computer cable (Dsub15 to DVI-I)
DVI-I cable
S-video cable
User’s Manual
Optional Accessories ' Kore 10-bit Librarian for downloading new software
Ceiling Mount
Stacking Kit
Shipping Case
Service manual
Lenses (SXGA+)
0.8:1 fixed (38-809082-01)
1.2:1 fixed (38-809083-01)
1.3-1.7:1 zoom (38-809084-01)
1.7-2.5:1 zoom (38-809085-01)
2.5-4.0:1 zoom (38-809086-01)
4.0-7.0:1 zoom (38-809087-01)
Optional Input Modules
RGB500 Input Module
RGB400 Active Loop-Through Input Module
RGB400 Buffered Amplifier Input Module
PC250 Analog Input Module
Serial Digital Input Module
DVI/DFP Input Module
Dual SD/HD-SDI Module
Christie DS+60 User’s Manual
6-5
Appendix A
Glossary
This appendix defines the specific terms used in this manual as they apply to this projector. Also included are other
general terms commonly used in the projection industry.
Active Line Time ' The time, inside one horizontal scan line, during which video is generated.
Ambient Light Rejection ' The ability of a screen to reflect ambient light in a direction away from the "line of
best viewing". Curved screens usually have good ambient light rejection. Flat screens
usually have less ambient light rejection.
Analog Video ' The video output of most computers and videotape machines. Analog video can
generate a large number of colors.
Anamorphic ' Having or requiring a linear distortion, generally in the horizontal direction.
Anamorphic lenses can restore a ‘scope’ (CinemaScope) or ‘flat’ format film frame to
the correct wide-screen appearance by increasing its horizontal proportion.
ANSI ' The American National Standards Institute is the organization that denotes the
measurement standard for lamp brightness.
Aspect Ratio ' The ratio of the width of an image to its height, such as the 4:3 aspect ratio common in
video output. Can also be expressed as a decimal number, such as 1.77, 1.85 or 2.39.
The larger the ratio or decimal, the wider and “less square” the image.
Auto Source ' The ability of the projector to automatically recognize and synchronize to the
horizontal and vertical scan frequencies of an input signal for proper display.
Bandwidth ' The frequency range of the projector's video amplifier.
Baud Rate ' The speed (bits-per-second) at which serial communications travel from their origin.
Blanking Time ' The time inside one scan line during which video is not generated. The blanking time
of the input signal must be equal to or greater than the retrace time of the projector.
Brightness ' In projection, brightness usually describes the amount of light emitted from a surface
such as a screen. It is measured in foot-lamberts or candelas per square meter.
Candela or Candle ' Unit of measure for measuring intensity of light.
Channel ' A collection of measurements stored by the projector for a given input source,
including frequencies, pulse width, polarity, syncs, channel number and location, useradjustable display settings, etc. Use channels to switch between a variety of setups
quickly, automatically recalling previously defined display parameters.
Channel List ' A list/menu of previously-defined channels available in projector memory.
Christie DS+60 User’s Manual
A-1
Appendix A: Glossary
Channel Number ' A number that uniquely identifies a specific channel retained in projector memory.
The projector can retain up to 99 channels.
Checkbox ' A menu item that indicates whether an option is currently in effect (checked) or not
(unchecked).
Chrominance ' The signal representing the color information (hue and saturation) when the image is
represented as separate chrominance and luminance. Same as “chroma”.
Color Gamut ' The range of colors allowed in a specific system, as defined within a triangular area
located on the CIE color locus diagram whose corners are the three primaries defined
in the system. Also known as color space.
Color Shift ' A change in the tint of a white field across an image.
Color Temperature ' The coloration (reddish, white, bluish, greenish, etc.) of white in an image, measured
using the Kelvin (degrees K) temperature scale. Higher temperatures output more
light.
Color Wheel ' An optical component, the color wheel is made up of red, green and blue and
sometimes white segments. The light generated by the lamp is sequentially filtered by
the color wheel (as it’s spinning) into R, G, B color primaries and passed to the DMD
which then creates an image for each color.
Component Video ' See YCbCr or YPbPr.
Composite Video ' The output of video tape players and some computers, characterized by
synchronization, luminance and color signals combined on one output cable.
Contrast (ratio) ' The degree of difference between the lightest and darkest areas of the image.
Convergence ' The alignment of the red, green, and blue elements of a projected image so that they
appear as a single element.
Curved Screen ' A projection screen which is slightly concave for improved screen gain. Curved
screens usually have screen gains, which are greater than 1 but viewing angles much
less than 180°. Curved screens are not recommended for use with this projector.
DDC ' The Display Data Channel VESA standard enables communication between PCs and
monitors, and is based on E-EDID protocol.
DDI ' A “direct digital interface” signal can be supplied to the projector via an optional
digital input module installed in INPUT 5. For example, you can input an SMPTE259M signal using a Serial Digital Input Module or input an SMPTE-272M signal
from a Digital HDTV Serial Input Module.
DMD ' Digital Micromirror Devices used in this projector for processing red, green, and
blue color data.
Decoder ' Located at INPUT 3 and INPUT 4, this device converts NTSC 3.58, NTSC 4.4, PAL,
PAL-N, PAL-M, or SECAM to RGB video.
Detail ' The sharpness of a display from a video source.
A-2
Christie DS+60 User’s Manual
Appendix A: Glossary
Diffused Screen ' A type of rear-projection screen which spreads the light striking it. Screen gain is less
than 1 but audience viewing angles are increased.
Display Setting ' An adjustment that affects the display of an image. Such display settings include
contrast, brightness, tint, blanking, size, offsets, and others.
Dot Clock ' The maximum frequency of the pixel clock. Also known as pixel clock rate.
E-EDID ' The Enhanced Extended Display Identification Data standard, established by VESA,
enables properties (such as resolution) of a display device to be detected by the
display card in a controlling device such as a PC. The PC, in turn, can then output in a
matching format to fill the display. Some sources used with the projector are VESA EEDID reported.
Flicker ' A very rapid variation in image brightness caused by a frame rate that is too slow.
(See Interlace) See also Lamp Flicker.
Foot-candle ' The intensity of visible light per square foot.
Foot-lambert ' The luminance (brightness) which results from one foot-candle of illumination falling
on a perfectly diffuse surface.
Frame Rate ' The frequency at which complete images are generated. For non-interlaced signals,
the frame rate is identical to the vertical frequency. For interlaced signals, the frame
rate (also known as field rate) is one half of vertical frequency.
Gain or Screen Gain ' The ability of a screen to direct incident light to an audience. A flat matte white wall
has a gain of approximately 1. Screens with gain less than 1 attenuate incident light;
screens with gain more than 1 direct more incident light to the audience but have a
narrow viewing angle. For example: An image reflecting off a 10 gain screen appears
10 times brighter than it would if reflected off a matte white wall. Curved screens
usually have larger gain than flat screens.
GPIO ' General Purpose Input Output, used for remote control of a limited number of
programmable functions by direct signal or dry-contact connection.
HDTV ' High-definition Television (1035, 1080 and 1125 lines interlace, and 720 and 1080
line progressive formats with a 16:9 (i.e. 1.77) aspect ratio.
Help Text ' A display of help information regarding the current task or presentation.
Horizontal Frequency ' The frequency at which scan lines are generated, which varies amongst sources. Also
called horizontal scan rate or line rate.
Horizontal Offset ' The difference between the center of the projected image and the center of the
projector lens. For clarity, offset is often expressed as the maximum amount of the
image that can be projected to one side of the lens center without degrading the image
quality. Horizontal offset ranges can be affected by the type of lens in use, and
whether or not the image is offset vertically at the same time.
Hot Spot ' A circular area of a screen where the image appears brighter than elsewhere on the
screen. A hot spot appears along the line of sight and "moves" with the line of sight.
High gain screens and rear screens designed for slide or movie projection usually have
a hot spot.
Christie DS+60 User’s Manual A-3
Appendix A: Glossary
Input ' A physical connection route for a source signal, described by a 2-digit number
representing 1) its switcher/projector location and 2) its slot in the switcher/projector.
Input Signal ' Signal sent from a source device to the projector.
Interface ' A device, such as the Serial Digital Input Module, that accepts an input signal for
display by the projector.
Interlace ' A method used by video tape players and some computers to double the vertical
resolution without increasing the horizontal line rate. If the resulting frame/field rate is
too low, the image may flicker depending on the image content.
Keypad ' A small push-button device for controlling most projector settings and operation. For
more information, refer to 3.3, Using the Keypad.
Keystone ' A distortion of the image which occurs when the top and bottom borders of the image
are unequal in length. Side borders both slant in or out, producing a “keyhole” shaped
image. It is caused when the screen and lens surface are not parallel, or (in “X”
models) by poor Keystone adjustment.
Linearity ' The reproduction of the horizontal and vertical size of characters and/or shapes over
the entire screen.
Line of Best Viewing ' When light from a projector is incident on a screen, the light reflects from the screen
such that the angle of reflection equals the angle of incidence. The Line of Best
Viewing is along the line of reflection.
Loopthrough ' The method of feeding a series of high impedance inputs from a single video source
(Loopthru)
with a coaxial transmission line in such a manner that the line is terminated with its
characteristic impedance at the last input on the line.
Lumen ' The unit of measure for the amount of visible light emitted by a light source.
Luminance ' The signal representing the measurable intensity (comparable to brightness) of an
electronic image when the image is represented as separate chrominance and
luminance. Luminance also expresses the light intensity of a diffuse source as a
function of its area; measured in lumens or candles per square foot (1 lumen per
square foot = 1 footlambert). SMPTE RP 98 calls for a luminance of 12 to 22
footlamberts for theatre screens. See: Foot-lambert.
Lux ' The amount of visible light per square meter incident on a surface.
1 lux = 1 lumen/square meter = 0.093 foot-candles
Menu ' A list of selectable options displayed on the screen.
NTSC Video ' A video output format of some video tape and disk players. There are two types of
NTSC (National Television Standards Committee) video: NTSC 3.58 and NTSC 4.43.
NTSC 3.58 is used primarily in North America and Japan. NTSC 4.43 is less
commonly used.
Optical Aperture ' Commonly called an iris, the optical aperture when adjusted affects true contrast.
Optical Screen ' A type of rear-projection screen which re-directs light through the screen to increase
image brightness in front of the screen. Screen gain is usually greater than 1 but
audience viewing angles are reduced.
A-4
Christie DS+60 User’s Manual
Appendix A: Glossary
PAL Video ' PAL (Phase Alternating Line) video is a 50 Hz standard with 768 x 576 resolution. It
is found on some video tape and disk players (used primarily in Europe, China and
some South American and African countries).
Pixel ' The smallest discernible element of data from a computer-generated image.
Pixel Phase ' The phase of the pixel sampling clock relative to incoming data.
Pixel Tracking ' The frequency of the pixel sampling clock, indicated by the number of pixels per line.
Presentation Level ' The projector is at presentation level when an image from a source is displayed
without the presence of a slidebar, menu, pull-down list, or error message.
Projector-to-Screen ' The distance between the projector's front feet centers and the screen. Also called
Distance
"Throw Distance”.
Protocol ' The type of code format called “A” or “B” utilized by the remote keypad(s). The
default protocol set at manufacture is Protocol “A”. By using two different keypad
protocols, adjacent projectors can be controlled independently with their remote IR
keypads.
Pull-down List ' A selectable menu item that unfolds into a list of options pertaining to it.
QuVis ' A manufacturer of a digital video recorder/player/server, QuBit, frequently used for
providing digital cinema data. QuVis image compression uses a proprietary
technology called Quality Priority Encoding, based on wavelets, in which the user
selects a quality level based on signal-to-noise ratio. The data rate varies to efficiently
maintain that quality level. Frames are coded individually.
Rear Screen ' A translucent panel for screen projection. Incident light travels through the incident
surface of a rear screen and forms an image on the other surface.
Resizing ' The ability to manipulate through software commands the physical size, placement
and/or aspect ratio of an image.
Resolution (lens) ' The maximum number of alternate white and black horizontal lines that can be
distinguished on a screen when a photographic target is placed between the lens and a
light source and illuminated by that source.
Resolution (projector) ' The maximum number of pixels that the projector can display horizontally and
vertically across an image, such as 1024 x 768 (called XGA).
Rise Time ' The time required by the video amplifier of the projector to increase its output from
10% to 90% of the maximum value.
RGB Video ' The video output (analog or digital) of most computers. Analog RGB video can have
3, 4, or 5 wires — one each for red, green, and blue, and either none, one or two for
sync. For three-wire RGB, the green wire usually provides sync. (See TTL Video).
RS-232 ' A common asynchronous data transmission standard recommended by the Electronics
Industries Association (EIA). Also called serial communication.
RS-422 ' A less common asynchronous data transmission standard in which balanced
differential voltage is specified. RS-422 is especially suited to long distances.
Christie DS+60 User’s Manual A-5
Appendix A: Glossary
S-Video ' The output from certain video tape players and video equipment. S-Video separates
sync and luminance from color information, typically producing a higher quality
display than composite video.
Scan Frequency ' The horizontal or vertical frequency at which images are generated. Also known as
scan rate or refresh rate.
Scan Line ' One horizontal line on the display.
Scan Rate ' The horizontal or vertical frequency at which images are generated.
SECAM ' A video output format of some video tape and disk players (used primarily in France).
SECAM (Sequential Couleur á Mémoire) signals are similar in resolution and
frequency to PAL signals. The primary difference between the two standards is in the
way color information is encoded.
Slidebar ' A slidebar is a graphical display of an adjustable setting. The numerical setting often
represents a percentage but can be a specific unit such as degrees Kelvin.
Source ' The device, such as a computer or VCR, connected to the projector for display. A
source may have numerous corresponding channels defined and recognized by the
projector. See Input.
Source Setup ' See Channel.
Switcher ' A signal selector that can be connected to a projector for the purpose of adding more
sources.
Sync ' This term refers to the part of the video signal that is used to stabilize the picture.
Sync can occur in three forms:
1) "Composite sync": the horizontal and vertical components are together on one
cable.
2) "Sync-on-green": the sync is part of the green video.
3) "Separate sync" or "H.SYNC and V.SYNC": the horizontal and vertical
components of the sync are on two separate cables.
Sync Width ' The duration of each sync pulse generated by a computer. The sync width is part of
the blanking time.
TTL Video ' A type of RGB video with digital characteristics.
Terminated ' A wire connecting a single video source to a display device, such as a projector, must
be terminated by a resistance (usually 75Ω for video).
Throw Distance ' The distance between the front feet of the projector and the screen. Also called
"Projector-to-Screen Distance”. Always use the correct Christie throw distance
formula to calculate the proper throw distance (±5%) required for your lens.
Throw Ratio ' Throw ratio = throw distance / screen width. Typically used to differentiate lenses.
Tint ' Balance of red-to-green necessary for realistic representation of NTSC signals.
Variable Scan ' The ability of a projector to synchronize to inputs with frequencies within a specified
range.
A-6
Christie DS+60 User’s Manual
Appendix A: Glossary
Vertical Frequency ' The frequency at which images are generated. Vertical frequencies vary amongst
sources. Also called vertical scan rate.
Vertical Offset ' The difference between the center of the projected image and the center of the
projector lens. For clarity, offset is often expressed as the maximum amount of the
image that can be projected above or below the lens center without degrading the
image quality. Vertical offset ranges depend on the type of lens in use, and whether or
not the image is offset horizontally at the same time.
Video ' The signal that is used by display devices (such as projectors) to generate an image.
This term also refers to the output of video tape/disk players and computers.
Video Decoder ' An optional device that converts NTSC 3.58, NTSC 4.4, PAL, PAL-N, PAL-M or
SECAM to RGB video.
Video Standard ' A specific type of video signal, such as NTSC, PAL, SECAM. This projector can
automatically recognize and interpret the incoming standard and display accordingly.
Viewing Angle ' Screens do not reflect equally in all directions. Most light is reflected in a conical
volume centered around the "line of best viewing". Maximum brightness is perceived
if you are within the viewing cone defined by the horizontal and vertical viewing
angles.
White Balance ' The color temperature of white used by the projector.
White Boost ' White Boost is an option that enables the recapture of some of the lost light from the
transition between each segment in the color wheel.
White Field ' The area of an image that is white only. For example, a full white field is an image
that is white everywhere. A 10% white field is a white area (usually rectangular) that
occupies 10% of the image; the remaining 90% is black.
YCbCr ' A high-end digital component video signal.
YPbPr ' A high-end analog component video signal. Sometimes called YUV, Component, or
Y, R-Y, B-Y, the YPbPr signal by-passes the video decoder in this projector.
YUV ' See YPbPr.
Zoom ' The adjustment of image size by means of a zoom lens.
Christie DS+60 User’s Manual A-7
Appendix B
Keypad Reference
NOTE: The IR remote is a standard component provided with the projector. Use the
extension cable also provided to convert the IR remote to a wired remote, if desired.
Refer to Section 3 for a specific description of each key and how to use them correctly.
Input 6 – No function in
DS+60
* These are toggle keys which require you to press and hold or press twice or use with the
up/down arrow keys. Refer to the description of these keys and others in Section 3. NOTE:
.
To turn the OSD off you must press OSD and
Christie DS+60 User’s Manual
B-1
Appendix C
Serial Communication
Cables
A serial link of RS232 or RS422 enables ASCII communication with the projector so
that it can be controlled remotely from a PC or other controller. From a PC, connect a
standard 9-wire RS232 serial cable to the RS232 IN port. Or, for long-distance (>100
ft.) links with an RS422-compatible PC or controller, connect RS422 cable to the
RS422 port.
Christie DS+60 User’s Manual C-1
Appendix C: Serial Communication Cables
C-2
Christie DS+60 User’s Manual
Appendix D
Throw Distance
Calculating Throw Distance
It is important throw distance be
precisely calculated for your
installation using the appropriate
formula from the chart below. To
calculate throw distance you must
know the screen size and the lens type
installed in the projector. In general,
the larger you want the image to be
the greater the distance you must
allow between the lens and the screen.
NOTES: 1) Throw distance is the perpendicular distance from the screen to the place
of the projector’s front feet. 2) This measurement is not necessarily parallel to the
floor as the projector and screen may be inclined. 3) Due to lens manufacturing,
throw distance calculations have a tolerance of ± 5%.
Table D-1 Throw Distance Formulas
Lens Throw Ratio
0.8 (fixed)
1.2 (fixed)
1.3-1.7 (zoom)
1.7-2.5 (zoom)
2.5-4.0 (zoom)
4.0-7.0 (zoom)
Throw Distance Formula (+/-5%)
(cm)
.84*W+1.53
1.24*W+3.53
Min. 1.34*W-1.20
Max. 1.75*W-1.07
Min. 1.73*W-3.21
Max. 2.49*W-0.40
TBD
TBD
Screen Widths **(cm)
Min.
Max.
51
79
69
289
1208
1114
110
862
73
95
1150
973
** data preliminary
Where:
TD = projector distance from the screen to the center of the projector’s front feet.
W = screen (image) width (cm)
NOTE: Quick reference throw distance charts are provided on the following pages.
Christie DS+60 User’s Manual
D-1
Appendix D: Throw Distance
D-2
Christie DS+60 User’s Manual
Appendix D: Throw Distance
Christie DS+60 User’s Manual
D-3
Appendix D: Throw Distance
D-4
Christie DS+60 User’s Manual
Appendix D: Throw Distance
Christie DS+60 User’s Manual
D-5
Appendix D: Throw Distance
D-6
Christie DS+60 User’s Manual
Appendix D: Throw Distance
Christie DS+60 User’s Manual
D-7
Appendix E
System Integration
The GPIO connector located on the input panel provides a flexible method of interfacing a wide range
of external I/O devices to the projector. There are 7 GIO pins available on the 9pin D-Sub GPIO
connector, which are configurable via RS232 commands. The other two pins are reserved for ground
and power – see table below for pin identification.
GPIO
1
2
6
3
7
4
8
5
GPIO Pins
Pin #
9
1
2
3
4
5
6
7
8
9
Signal
+ 12V (200mA)
GPIO 1
GPIO 2
GPIO 3
Ground
GPIO 4
GPIO 5
GPIO 6
GPIO 7
The serial cable required for connecting the external device to the projector’s GPIO connector,
whether it’s a standard serial cable or a custom one, must be compatible with the external device.
Configuring the GPIO
The GPIO connector can be configured to automate any number of events using the serial
command code GIO. Each pin is defined as either an input or output depending on the
desired outcome. In general, configure the pin as an input if you want the projector to respond
to something the device does and as an output if you want the external device to respond to an
action taken by the projector. For example, configure the pin as an output if you want the
lighting in a room to automatically dim when the projector is turned on.
By using the GIO command, you can also set the state of each pin as high or low. By default,
the state of each pin is high. The voltage applied to pins in the high state is + 3.3V.
Example 1. Turn room lighting on when the projector is turned off. (Assumes a
control/automation unit is configured to turn the lights on when pin 2 of it’s input goes high.)
(GIO C2 O)
Set pin #2 configuration to output
(GIO 2 H)
Set pin #2 to high (state)
Christie DS+60 User’s Manual
E-1
Appendix E: System Integration
Query Command
(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
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
P1
P2
P3
Name
RTE type
I/O bit
Pin state
(1 Character)
(String)
P4
Commands
Value
G (Real Time I/O Event)
1-7
H = High
L = Low
“LHXXXHL” Combine multiple inputs and
trigger occurs when all conditions are met
Any valid serial protocol command for the device
Example 2. Projector powers up when a switch on the external device is turned on.
E-2
(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
Christie DS+60 User’s Manual
Appendix F
Optional Input Modules
There are many optional input modules and accessories currently available for this
projector. Contact your dealer for a complete and up-to-date listing.
NOTE: Always unplug the projector or switcher before installing or removing any optional
input module.
RGB500 Input Module ' The RGB500 Input Module may be installed in this projector, a Marquee Signal
38-804606-xx
Switcher, or a Marquee Case/Power Supply. The module receives analog RGB input
signals from computers or other RGB source devices.
RGB500 Features
◊ accepts 3, 4, or 5 wire RGB video (sync-on-green, composite sync, or
separate horizontal and vertical sync), up to 500 MHz bandwidth
◊ BNC connectors for RGB signal inputs
NOTE: The audio connectors are not functional.
RGB400BA Input Module ' The RGB400 Buffered Amplifier Input Module may be installed in this projector, in a
38-804610-xx
Marquee Signal Switcher or in a Marquee Case/Power Supply. Connect three-, four-, or
five-wire RGB video signals of up to 400 MHz bandwidth, signals typically produced by
high-resolution computer or workstations. The buffering capability of the module enables
the incoming signal to be sent to a remote destination. Inputs are 75Ω terminated.
RGB400BA Features
◊ accepts 3, 4, or 5 wire RGB video (sync-on-green, composite sync, or
separate horizontal and vertical sync)
◊ BNC connectors for RGB signal inputs
◊ Buffered signals to a remote destination
NOTE: The audio connectors are not functional.
Christie DS+60 User’s Manual
F-1
Appendix F: Optional Input Modules
RGB400 Active Loop-Thru ' The RGB400 ALT Input Module may be installed in this projector, a Marquee Signal
Input Module
Switcher, or a Marquee Case/Power Supply. The module receives analog RGB input
38-804607-xx
signals from computers or other RGB source devices. Video inputs are
75Ω terminated. Video outputs provide buffered loop-through to another display
device.
RGB400ALT Features
◊ accepts 3, 4, or 5 wire RGB video (sync-on-green, composite sync, or
separate horizontal and vertical sync)
◊ BNC connectors for RGB signal inputs
◊ buffered loop-through video outputs
NOTE: The audio connectors are not functional.
PC250 Analog ' The PC250 Analog Input Module may be installed in this projector, a Marquee Signal
Input Module
Switcher or a Marquee Case/Power Supply. The module receives analog RGB input
38-804609-xx
signals from IBM PC compatibles or Macintosh computers. Video inputs are 75Ω
terminated. Video outputs are provided for buffered loop-through to another display
device.
PC250 Analog Features
◊ accepts VGA or MAC RGB video
◊ 15 pin D connectors for video
◊ active loop-through video outputs
NOTES: 1) This interface does not accept VGA and MAC signals simultaneously. 2)
The audio connectors are not functional. 3) Trademarks are the rights of their
respective owners.
F-2
Christie DS+60 User’s Manual
Appendix F: Optional Input Modules
DVI Input Module ' This module can display digital video input signals conforming to the DVI (Digital
38-804635-xx
Visual Interface) single-channel standard.
Features
◊ supports Digital Visual Interface (DVI) single-channel
◊ supports VESA Extended Display Identification Data (EDID)
◊ provides an active-loop-through using a DVI connector (conforming to
the DVI Specification)
Serial Digital Input Module ' This module accepts a serial digital 4:2:2 component video signal (YCbCr) via a
38-804602-xx
single SERIAL IN BNC connector. The signal can loop through the SERIAL OUT BNC
out to another device (such as another projector). Inputs are 75Ω terminated.
SDI Features
◊ accepts serial digital 4:2:2 component video (YCbCr)
◊ provides both a SERIAL IN and a SERIAL OUT BNC connector
includes status LEDs for signal and error
' The Dual SD/HD-SDI Module enables incoming serial digital data to be tiled across
Dual SD/HD-SDI Module
38-804856-xx
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
Christie DS+60 User’s Manual
F-3
Appendix G
300W P-VIP Product
Safety Data Sheet
Christie DS+60 User’s Manual
G-1
Appendix G: 300W P-VIP Product Safety Data Sheets
G-2 Christie DS+60 User’s Manual
Appendix G: 300W P-VIP Product Safety Data Sheets
Christie DS+60 User’s Manual G-3
Index
A
Anamorphic, 3-22
Arrow Key, 3-9
Auto Input Level, 3-28
Auto Key, 3-5
Auto Power-up, 3-33
Auto Setup, 3-5, 3-19
Automatic Gain Control (AGC), 3-26
AutoSource Checkbox, 3-19
B
Bad Sync, 3-57
Baud Rate, 3-35
Blacklevels and Drives, 3-29
Blanking, 3-24
Brightness Key, 3-7, 3-25
Brightness Uniformity, 3-38
Definition of, 3-50
Disable, 3-54
Prerequisites, 3-50
Procedure, 3-50
Broadcast Key, 3-37
Broadcasting, 3-8
Built-in Keypad, 3-1, 3-3
C
Ceiling Mount, 2-10
Channel
Locked, 3-19
Name, 3-18
Number, 3-15, 3-18
Signal Type, 3-16
Channel Copy/Delete, 3-17
Channel Edit Menu, 3-18
Channel Key, 3-6, 3-14
Channel Selection, 3-15
Channel Setup Menu, 3-16
And Enter Key, 3-17
And Function Key, 3-17
Channels
Creating Automatically, 3-15
Creating in Channel Setup Menu, 3-17,
3-18
Definition of, 3-14
Deleting in Channel Setup Menu, 3-17
Checkbox Toggles, 3-12
Clamp Tip, 3-29
Color Adjustment by X,Y, 3-39
Color Adjustments by X,Y, 3-38
Color Enable, 3-41
Color Matching, 3-47
Color Saturation, 3-38, 3-40
Color Space, 3-26
Color Temperature, 3-31
Color Wheel
Calibration of, 3-42
Component Video
Connection, 2-13
Composite Video
Connection, 2-14
Contrast Key, 3-7, 3-24
Custom Sizing, 3-20
D
Date and Time, Set, 3-34
Decoder Luma Delay, 3-27
Detail, 3-25
Detail Threshold, 3-33
Display Channel List, 3-34
Display Error Messages, 3-34
Display Slidebars, 3-34
DVI Digital Video
Connection, 2-14
E
Edge Blending
Adjustment, 3-55
Blend Midpoint, 3-55
Blend Shape, 3-55
Blend Width, 3-54
Definition of, 3-54
Enter Key, 3-9
Error Codes, 3-58
Error Conditions, 3-57
Error Messages
Bad Sync, 3-57
H-Sync or V-Sync, 3-58
No Signal, 3-57
System Warnings/Errors, 3-58
Ethernet
Communications, 2-16
Troubleshooting, 5-3
Exit Key, 3-9
F
Fade Time, 3-33
Film Mode Threshold, 3-32
Frame Delay, 3-32
Freeze Image, 3-41
Christie DS+60 User’s Manual
Index
IR Remote, 3-4
Wired, 3-37
Wired Remote, 3-5
Keypad Commands, 3-3, 3-5
Keypad Guidelines, 3-5
Full Height, 3-21
Full Screen, 3-21
Full Width, 3-21
Function Key, 3-8
G
L
Gamma, 3-25, 3-31
Gamma Key, 3-7
Glossary of Terms, 1
H
Help
Context-sensitive, 3-10
From presentation level, 3-11
I
Image
Troubleshooting, 5-1
Image Adjustments, 3-19
Image Orientation, 3-33
Image Position, 3-23
Image Resizing, 3-20
Image Size, 3-22, 3-23
InMenu Checkbox, 3-18
Input
Definition of, 3-14
Selecting/switching, 3-14
Input 1, 2-12
Input 1 Key, 3-6
Input 2, 2-14
Input 2 Key, 3-6
Input 3 Key, 3-6
Input 4 Key, 3-6
Input 5 Key, 3-6
Input 6 Key, 3-6
Input Levels, 3-28
Input Panel, 3-2
Input Video Black, 3-27
Installation
Ambient Lighting, 2-5
Horizontal Position, 2-8
Other Considerations, 2-5
Quick Setup, 2-1
Types, 2-3
Vertical Position, 2-6
Interfaces,Optional, 2-14
Invalid Channel, 3-57
IR Remote
Description of, 1
IR Remote Keypad, 3-4
IR Sensors, 3-3, 3-37
K
Kensington Security Lock, 3-3
Keypad
Built-in, 3-3
Christie DS+60 User’s Manual
Lamp
Cleaning of, 4-4
Dual Lamp, 3-45
Replacement, 4-2, 4-5
Single Lamp, 3-46
Troubleshooting, 5-3
Lamp Door, 3-3
Lamp History, 3-47
Lamp Hours, 3-46
Lamp Limit, 3-45
Lamp Menu, 3-43
Lamp Message, 3-45
Lamp Mode, 3-45
Lamp Operation, 3-45
Auto-Switching, 3-43
Lamp Power, 3-45
Lamp Serial Number, 3-46
Lamp Status, 3-46
Languages, 3-33
Laser Key, 3-10
Lens
Cleaning of, 4-4
Offset Adjustment, 2-6, 2-8
Release Button, 3-2, 4-8
Replacement, 4-8
Lens Mount, 3-2
Level Detector, 3-43
Level Value, 3-43
Locked Channel Checkbox, 3-19
Luma Delay, 3-27
M
Menu
Channel Edit, 3-18
Channel Setup, 3-16
Communications, 3-35
Configuration, 3-33
Diagnostics and Calibration, 3-41
Ethernet Settings, 3-36
Image Settings, 3-24
Main, 3-10
Size and Position, 3-20
Menu Font Size, 3-34
Menu Key, 3-7
Menu Location on Screen, 3-34
Menu Navigation, 3-10, 3-19
Menu Preferences, 3-34
Motion Filter, 3-32
Index
N
Network, Split. See Split Network
No Resizing, 3-21
No Signal, 3-57
Noise Reduction, 3-25
Numerical Entry, 3-13
O
Odd Pixel Adjustment, 3-41
Offsets
Horizontal, 2-6, 2-8
Vertical, 2-6, 2-8
On Screen Display, 3-7
Optical Aperture, 3-32
Optional Input Modules, 2-14, 1
OSD Key, 3-7
P
Peak Detector, 3-30, 3-43
Pixel Phase, 3-22
Pixel Tracking, 3-22
Power
Connection, 2-17
Line Cord, 4-2
Requirements, 6-3
Power On/Off Key, 3-5
Primary Colors, Adjusting, 3-47
Projector
ID number, 3-35
Location, 4-2
Mounting, 2-10
Number, 3-13
Position and Mounting, 2-5
Remote control of, 3-56
Resetting, 3-58
Projector Height, 3-2
How to Adjust, 2-11
Projector Number, 3-8
Pull-Down Lists, Use of, 3-12
R
Remote
Replacing Batteries, 4-5
Resizing, 5-1
RGB
Connection, 2-12
RS-232, 3-56
Connection, 2-15
RS-422, 3-56
Connection, 2-16
S
Serial Ports
Communication Cables, 1
Service Requirements, 4-3
Shutter Key, 3-8
Slidebar Adjustment, 3-11
Slidebars
"Direct", 3-12
Using, 3-12
Source
Specifying a Location, 3-6
Source Setup. See Channel
Split Network, 3-35
Status Menu, 3-47
S-Video
Connection, 2-14
Switcher, 3-18
Sync
Def. and types, 6
System Integration
GPIO Connector, 2-17
T
Temperature, 2-5
Non-Operating, 6-4
Operating, 6-4
Test Pattern, 3-37, 3-41
Text
Editing, 3-13
Throw Distance
Definition of, 2-5, 1
Formulas, 1
Time-outs, 3-11
Troubleshooting
Displayed Image, 5-1
Ethernet, 5-3
Lamps, 5-3
Power, 5-1
V
Ventilation, 3-2, 4-3
Vertical Keystone, 3-37
Vertical Stretch, 3-22
Video Options, 3-26
Video Standard, 3-26
W
White Boost, 3-32
Wired Remote, 3-5
Y
YPbPr, 3-26
Connection, 2-13
Screen Size, 2-4, 2-5
Christie DS+60 User’s Manual
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