Christie Digital Systems Ds+4k, 8k, Dlv1400-dx, Mirage S+2k, 4k, 8k Users Manual

							Section 3: Operation 
 
  
 User’s Manual     3-39. 
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 (enter a checkmark) 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.  
Color Adjustments by X/Y, and Color Saturation — 
SUBMENUS 
NOTES: 1) For defining or changing a User 1, 2, 3, or 4 color performance or 
“gamut”. Sometimes known as Comprehensive Color Adjustment™.  2) Factory-
measured 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. 
DEFINING “USER” COLOR GAMUTS: In some cases, you may find that none of the pre-
defined “Select Color Adjustment” options exactly suit your needs. For example, you 
may require a unique color gamut (range) for a single projector or application, or you 
may need to precisely match colors across multiple adjacent displays. In such cases, 
use 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. 
 
Figure 3.17. Color Performance 
Choices  
						

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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, 
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” color gamuts at any time in the Advanced Image Settings menu. 
 
Figure 3.18. Customize Color Hue  
						

							Section 3: Operation 
 
  
 User’s Manual     3-41. 
 
Figure 3.19. CIE 1931 Chromaticity Diagram 
NOTE: Keep new x,y coordinates within the original color gamut triangle shown 
here. See Section 6 – Specification for color primaries. 
PROCEDURE FOR X,Y ADJUSTMENTS:  See 3.10, Using Multiple Projectors. 
COLOR SATURATION: Use this 
submenu if you do not have specific 
color coordinates in mind and will 
simply judge color performance by 
eye (or meter).
 Like the Color 
Adjustment by X,Y submenu, each 
color control actually defines new 
x/y coordinates for that color and 
changes its hue--it is just a 
different interface. 
Adjust the hue of each primary 
color (red, green, blue, and white) 
by using more or less of it in 
relation to the other colors. 
NOTE: A Color Saturation 
adjustment sets the corresponding x/y coordinates shown in the Color Adjustment by 
X,Y submenu. These x/y coordinates will remain stable for this User gamut until they 
are changed again via either menu. Values displayed in the Color Saturation menu, 
however, will likely fluctuate as you use the projector, and will be different when you 
return to this menu at some point in the future. These floating changes do not affect 
the x/y coordinates or gamut. 
PROCEDURE FOR USING COLOR SATURATION: See 3.10, Using Multiple Projectors. 
 
Figure 3.20. Customize Color  
						

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Test Pattern 
Choose the desired internal test 
pattern to display or select OFF to 
turn off a test pattern. 
Alternatively, use the 
Te s t key for 
cycling through test patterns.  
Test Pattern Grey 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.   System Configuration 

 DIAGNOSTICS / CALIBRATION  
 
  
						

							Section 3: Operation 
 
  
 User’s Manual     3-43. 
 
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. 
Reserved 
No function. 
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.  Enable “Level Detector” and display a continuous grayscale. 
2. Set “Level Value” to near black (such as 200). 
3.  Adjust Offsets to minimize area of black stripe. 
4. Set “Level Value” to near white (such as 800). 
5.  Adjust Gains to minimize area of white stripe. 
Level Value 
The “Level Value” defines the value to be used by the Level Detector in recognizing 
blacks and whites. See Level Detector, above. 
  
						

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Whenever you install a new lamp in the 
projector, access the Lamp menu to record 
the lamp serial number in the projector’s 
memory. You can also choose a lamp mode 
for regulating power and light output, 
change optical aperture size, and access 
other read-only information pertaining to 
past and present lamps. 
LAMP HOURS shows the number of hours 
logged on the current lamp. Whenever you 
record a new lamp serial number this value 
automatically resets to “0”, where it begins to log time for the new lamp.  
NOTE: Read-only. This information also appears in the Status menu.  
LAMP S/N is the serial number recorded for the current lamp. When you install a new 
lamp and enter its serial number, the number will appear here. NOTE: Read-only. 
Enter a checkmark for 
LAMP MESSAGE to enable a warning message that will appear 
upon power-up when the lamp has reached the specified lamp limit and should be 
replaced. Delete the checkmark to prevent display of this message—instead, when 
your lamp expires, only the status display messages on the back of the projector will 
provide the visual warning to replace the lamp. 
NOTES: 1) It is recommended that the Lamp Message checkbox remain enabled. 2) 
When a lamp warning message appears, press 
Ex i t to temporarily cancel the 
message. The message will continue to appear upon power-up until you install a new 
lamp. 
Set 
LAMP LIMIT to the number of hours you expect to log on the current lamp before 
replacing it. This will trigger a lamp message on-screen (if enabled). 
NOTES: 1) If you change modes over the life of a lamp, the lamp limit you originally 
expected may no longer be possible. 2) Turning the lamp on and off reduces lamp life 
significantly, as do other factors. 3) It is recommended that Lamp Limit not exceed the 
expected lamp life, otherwise a lamp could become dangerously fragile with overuse. 
Set which 
LAMP MODE you want to use in order to control the 
light output. You can choose to run the lamp as bright as 
possible (i.e., always using maximum power—this is the 
default upon power up) or you can power the lamp with a 
specific wattage appropriate for the installed lamp or you can 
set a specific intensity (brightness) to maintain. Although there are exceptions, 
generally higher light output or higher power settings can shorten lamp life. 
Use the lamp mode that best suits your brightness needs. For example, in a tiled 
application you may want to precisely match brightness levels between adjacent 
images—judge by eye and set each individual 
Lamp Power setting as necessary. Or if 
you want images to be as bright as possible—choose 
Max Brightness. Always keep in 
mind that higher lamp power settings can shorten lamp life. 
Lamp modes are described below: 
• 
Max Brightness: The lamp will always burn as brightly as possible, driven by 
100% of the power level rating for the installed lamp (see Section 6, 
3.7  Working with the 
 Lamp 
  
 
Figure 3.22.  
						

							Section 3: Operation 
 
  
 User’s Manual     3-45. 
Specifications). Keep in mind that the “maximum brightness” for any lamp 
gradually diminishes with age—images will become dimmer over time. Its 
current output level appears in the “
Intensity” option (note: not in lumens). 
• 
Intensity: Brightness will remain close to a specified level for as long as 
possible. Once you select this option, enter a number representing the intensity 
level (brightness) you wish to maintain—the projector will automatically adjust 
power as needed to maintain this intensity as closely as possible. Note that the 
intensity value is a correlation only and does not represent an actual lumens 
level. See “
Intensity” below.  
• 
Power: The power supplied to the lamp will remain at your specified wattage 
level. Once you select this option, enter the number of watts representing the 
power level you wish to maintain. See “
Power” below. 
POWER - This slidebar and number indicates how 
many watts are applied to the lamp. You can apply 
anywhere from approximately 60-65% of the maximum power intended for the 
installed lamp up to 100% of the lamp rating. Set for the number of watts as desired, 
keeping in mind that lower power levels produce dimmer images. When in either 
Power or Max Brightness modes, the power level remains constant. Specifying a 
maximum power level here is the same as operating in 
Max Brightness mode.  
NOTES: Power level can be set only if the lamp is in P
ower mode. 
INTENSITY – This value and slidebar represents the 
current brightness of your lamp, decreasing over time 
when you are operating in 
Max Brightness mode or at a specific Power level. When 
you are operating in “
Intensity” mode this value remains at the original “Intensity” 
setting chosen and cannot be adjusted.  
NOTE: The number shown for “intensity” is not the actual lumen output, but rather a 
correlated value only—1246 may represent 3500 lumens, for example. 
To use “
Intensity” mode, judge by eye (or use a meter) and set the level as desired for 
your application. Over time, the projector will automatically increase the power 
supplied to the lamp as needed to maintain the chosen intensity as closely as possible. 
This mode is known as “Brightness Tracking” or “LiteLOC”. 
HOW LONG CAN I MAINTAIN BRIGHTNESS? Software can maintain your “Intensity” 
setting until the required power reaches the maximum rating for the lamp. The lower 
the setting, the longer it will take to reach this threshold and the longer you can 
maintain the desired brightness. Keep in mind that once the lamp power reaches its 
maximum wattage (see “
Power”, above), this tracking is no longer possible. At this 
point, the lamp will gradually begin to dim as usual, even though your original 
“
Intensity” value will still appear in the menu. To resume accurate tracking, reduce the 
intensity setting so that the resulting “
Power” value is less than its maximum—the 
lower the intensity, the longer it can be maintained. 
For example, a 1000 watt lamp can be driven at no more than 1000 watts. To produce 
desired brightness at the screen, a new lamp would likely need less than this 
maximum rating—perhaps 812 watts (example only). Over time, however, the lamp 
will require more and more current in order to generate the desired light, until 
eventually the lamp wattage reaches its 1000-watt maximum and the lamp power 
  
						

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automatically levels off. At this point, the tracking function terminates (i.e., the power 
level stabilizes) and the lamp will begin to dim normally. Either reduce your 
“
Intensity” setting or replace the lamp. 
Do not lower the “
Intensity” so much that the corresponding “Power” value reaches its 
minimum—the intensity setting will be inaccurate and cannot be maintained. For best 
results in achieving uniform intensity amongst tiled images, choose an “
Intensity” 
setting that enables all lamps to operate at less than the maximum number of watts 
available in your projector but high enough to keep the corresponding lamp power 
above its minimum. See “
Power”, above. 
NOTES: 1) Lamps become more stable over time, thus a specific intensity is more 
easily maintained as the lamp ages. 2) Intensity can be set only if the lamp is in 
Intensity mode 3) Intensity cannot exceed the output of Max Brightness mode. 
OPTICAL APERTURE - The optical aperture inside the projector controls the diameter 
of the light beam passing through the system. 
With a fully open aperture (slidebar default of 
“0”), the maximum amount of light passes 
through for maximum brightness in your images. 
Increase the slidebar setting to reduce the aperture 
diameter and maximize contrast ratio instead. 
LAMP HISTORY - This read-only option lists the lamps most recently 
installed and recorded in the projector. Lamp History automatically 
updates whenever you record a new lamp serial number—the new 
lamp is added to the bottom of the list. 
Use 
CHANGE LAMP to record the serial number for a newly installed lamp: 
In the Lamp S/N  window, use the number text entry keys to record the new lamp 
serial number and press 
 again to accept the change. See Using Slidebars and 
Other Controls if you need help entering the number. Once entered, the new lamp 
serial number will be added to the Lamp History menu and the Lamp Hours timer will 
reset to “0”. Lamp Mode and Lamp Limit remain as they were for the previous lamp 
and can be changed at any time. 
 
Figure 3.23. Recording the New Lamp Serial Number 
NOTE: Enter a serial number only if you have just installed a new lamp. This will 
help ensure that lamp timer is not reset on an old lamp and that the number of hours 
logged on the lamp will be accurate. 
 
 
 
  
						

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 User’s Manual     3-47. 
 IMPORTANT  
Always record the serial number of a NEW lamp. 
When a new lamp is installed and its serial 
number recorded by selecting “Change 
Lamp” in the Lamp menu, the lamp timer 
resets to “0” and begins logging time for 
the new lamp. This tally appears in both 
the Lamp menu (see right) and the Status 
menu. 
To review the number of hours logged for 
previous lamps, consult the Lamp History 
menu. 
If the “Lamp Message” checkbox has been enabled in the Lamp menu 
(recommended), an expiry message will appear upon power-up when the lamp has 
reached its defined “Lamp Limit”. The lamp should be replaced. 
The “Lamp Limit” setting should not exceed the expected lamp life, as an old lamp 
becomes increasingly fragile and more prone to sudden failure. See also 4.4, Lamp 
and Filter Replacement. 
 
The read-only Status menu lists a variety of details about the standard and optional 
components currently detected in the projector. Refer to the Status menu for versions 
of hardware and software installed, the type (size) of lamp, the hours logged in total 
and for a specific period (such as a rental period), and for your projector model name 
and serial number. In addition, the Status menu identifies the current channel, its 
location, its frequencies and other details. 
Scroll the full Status menu using 
 . Use  for page up/down.    How Old is M
y Lamp?  
 
 
  When to Replace 
 the Lamp 
3.8 Status Menu  
						

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A single Mirage projector can display 3D (stereographic) images as described below. 
Such images require a specialized source, as well as additional hardware and software 
in order to be displayed and interpreted correctly in a typical 3D active stereo viewing 
environment. 
In simple terms, images generated from a 3D-video source consist of a series of 
images (frames or fields) that alternate quickly between two slightly different 
viewpoints corresponding to the separation of our left and right eyes. When these 
frames are displayed with enough speed and viewed with special glasses synchronized 
with the left/right frames, the resulting “single” perceived image appears with much 
the same depth and perspective we sense in the real world. 
Once you have the necessary source and hardware/software setups described below, 
the Mirage projector will detect and process a 3D (stereographic) signal 
automatically. 
In addition, if you are using Christie’s 3D Stereo Sync Cable (available early 2005), 
select the appropriate “3D Stereo Sync”
 setting in the Advanced Image Settings menu. 
See 3.5, Adjusting the Image for more information. 
NOTE: Christie’s Stereo3D
TM Interface Module used with earlier Mirage 
2000/4000/5000/6000 models is not
 compatible with Mirage S+ models.  
 
Figure 3.24. Connecting 3D Stereo Sync Cable 
 
A 3D-video signal is sent to the projector via analog cables such as: 
• 3-wire RGB sync-on-green 
• 4-wire RGB with composite sync 
• 5-wire RGB with separate H-sync and V-sync 
• DVI 
    NOTE: Refer to 2.3, Connecting Sources for full details and illustrations. 
Most 3D (stereographic) signal formats currently available are optimized for display 
via CRT (cathode ray tube) technology, thus they have high pixel rates unsuitable for 
use in Mirage. However, by reducing the blanking in these signals, you can lower 
their pixel rate enough to be compatible with the projector (under 220 MHz). 
3.9  3D Images           
 MIRAGE ONLY 
 Description 
  How to Activate 3D 
  What 3D Sources Work?