Christie Digital Systems Ds+5k, Ds+8k, Dw3k, Dw6k, Mirage S2k, S4k, S8k, Matrix 4000, Dlv1400-dx Users Manual

							Section 3: Operation 
 
  
 User’s Manual     3-25. 
Use options in the Image 
Settings menu to alter your 
main 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 
Ex i t or
 Menu). Options 
not available for the projector 
model or source are disabled 
and appear dim (gray). 
Contrast 
(
SHORT CUT: Press Contra st 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). 
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 what gray shades are displayed between 
minimum input (black) and maximum input (white) for all signals. A good gamma 
setting helps to optimize blacks and whites while ensuring smooth transitions for the 
“in-between” values utilized in other 
colors. Thus, unlike “Brightness” and 
“Contrast” controls, the overall tone of 
your images can be lightened or darkened 
without changing the extremes, and all 
images will be more vibrant while still 
showing good detail in dark areas.  
Gamma is used to fine tune the gamma 
table currently in use, ranging from 1 – 3 (2.5 = default). If excess ambient light 
washes out the image and it becomes difficult or impossible to see details in dark 
areas, lower the gamma setting to compensate. This will improve contrast while   Ima
ge Settings Menu 
 
 
   
						

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maintaining good details for blacks. Conversely, if the image is washed out and 
unnatural, with excessive detail in black areas, increase the setting. In high ambient 
light conditions, lower gamma may produce better results than higher gamma. Gamma 
of 2.5 (default) indicates the gamma table has not been adjusted. For more 
information, refer to Advanced Image Settings, Gamma Table submenu. Again, good 
gamma improves contrast while maintaining good details for blacks. 
Filter 
The proper filter setting is automatically set for virtually all 
signals, and rarely needs to be changed.  It applies a low pass 
filter for noise reduction in the incoming input signal, particularly 
for HDTV or SDTV. Applied in the analog domain before 
sampling, this filtering removes high frequencies and thus 
reduces pixel phase noise (note this also reduces signal bandwidth). Override only if 
standard pixel tracking and phase adjustments do not adequately clear up a “noisy” 
video signal, or if a graphics signal appears overly “soft”. Both instances indicate that 
“Filter” may be set to the wrong option. 
Detail 
“Detail” adjusts the sharpness of a video image so that edges remain clearly defined. It 
can be particularly useful if a significant “Noise Reduction” adjustment has caused the 
image to appear too soft. Adjust until the display is as sharp as desired, keeping in 
mind that because “Detail” adds some high frequencies back into the image, it can 
also re-introduce a certain degree of noise. 
Noise Reduction 
“Noise Reduction” is similar to the “Filter” control, but operates in the post-sampling 
digital domain with a more subtle effect. Higher settings are most useful for clearing 
up noisy RGB images such as those from a PC. Adjust as desired, keeping in mind 
that reducing noise (which reduces high frequencies) may also soften the image. 
Color Space 
“Color Space” determines how the color components of an analog 
input signal are decoded for accurate color in the display. 
Selecting a color space option is useful only for analog signals 
and certain digital sources connected to 
INPUT 1, INPUT 2, INPUT 5 
or 
INPUT 6. Although color space for these analog signals is 
automatically determined by the projector, in some circumstances you may wish to 
override this and manually set a specific color space. 
NOTE: For many 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, 5 or 6. 
• Select 
YPbPr (Video) with a standard definition televised signal (SDTV). 
• Select 
YPbPr (HDTV) with a high definition televised signal (HDTV). 
NOTE: When certain RGB signals are first connected, the projector may not initially 
recognize them as RGB and will incorrectly decode their color information as YPbPr 
(video). These signals can include: 
 
  
 
  
						

							Section 3: Operation 
 
  
 User’s Manual     3-27. 
• RGB signals in NTSC, PAL, SECAM frequency range.s 
• Scan-doubled sync-on-green. 
• Scan-quadrupled sync-on-green. 
For these signals, change the Color Space to RGB, then define a new channel for 
future use. 
Video Options 
— SUBMENU 
This submenu is used with video 
sources only (
INPUTS 3 or 4). 
ENABLE DECODER AGC: 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. 
VIDEO STANDARD: For all but the more unusual video 
standards available in the world, the projector automatically 
detects the incoming horizontal and vertical frequencies and 
sets the projector’s processing of this signal to the 
corresponding standard. The current video standard name 
appears in the Video Options submenu, and includes an “A” if 
it has been auto-detected. Press 
 to view or select a 
different video standard from those available to the 
projector—any that are disabled have frequency characteristics that differ from those 
of the incoming signal. Selecting a specific standard forces the projector to process the 
signal according to this standard. 
NOTE: Best results are obtained with defined channels. Otherwise, switching from 
one video source to another can sometimes cause slight disturbances in the display, 
indicating that the Auto function is struggling. Recover by briefly selecting a different 
video standard, then going back. 
Table 3.3. Regions and Video Standards: Summary 
StandardWhere Used (SUBJECT-TO-CHANGE) 
NTSC N. America and Japan 
NTSC 4.43 A tape-only standard for partially-translated hybrid signals 
PAL Most of Europe, China, Australia, some of S. America, some of Africa 
PAL-M Brazil 
PAL-NC Argentina, Chile, other Latin American countries 
PAL 60  
SECAM France, Eastern Europe, most of Africa 
NOTE: Generally, use “Auto” for all instances EXCEPT: 1) a poor quality input 
signal or 2) a black-and-white video signal. In order to detect and display such 
signals, select the relevant standard from the list. 
 
 
   
						

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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. 
TINT: This slidebar adjusts the red/green color hue for true color reproduction of video 
and HDTV signals connected to Input 3 or 4. For best results, adjust tint while 
displaying an external test pattern—otherwise, it is recommended that tint remain at 
its default setting. 
DECODER LUMA DELAY: This control affects any incoming composite or S-video 
signal, delaying the luma signal (intensity) in relation to the chroma (color). In the 
image, increasing the luma delay will move luma (seen as a shadow where colors 
overlap) to the right slightly, with colors remaining in place. Decreasing this delay 
will move the shadow slightly to the left. If necessary for your current source, adjust 
so that no shadows occur with adjacent colors. 
Input Levels 
— SUBMENU 
NOTES: 1) Because the 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 
 
 
 
  
						

							Section 3: Operation 
 
  
 User’s Manual     3-29. 
monitoring image content and adjusting the controls appropriately—further 
adjustment is typically not required to obtain proper blacks or whites. NOTE: This 
automatic adjustment requires at least 6-12 consecutive white pixels in the image. 
Without these pixels, input levels may produce skewed colors, particularly in non-
video images. 
However, for a very unusual source exhibiting one or more overly high blacklevels 
(typically caused by a noisy source causing blacklevel spikes), an experienced user 
may prefer to use the Input Levels menu (shown above). These adjustments, which 
together serve as a calibration process compensating for differences in sources and 
cabling, enable an experienced user to perfect the source image input levels and 
eliminate the “overshoot” and “undershoot”. Note that Input Levels are of limited use 
with digital signals, but do offer some ability to tweak poorly mastered source 
materials. 
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. 
AUTO INPUT LEVEL – Temporarily enter a checkmark only if you are an experienced 
user and you have an unusual source that you feel needs further color temperature 
and/or input level adjustment. This compensates for incoming out-of-range drives 
(white) and blacklevels (black) that would cause “crushing” of light and dark colors in 
the image. After entering a checkmark, wait for the six slidebar values to stabilize, 
then delete the checkmark and exit. The Auto Input Level is automatically turned off 
upon exit from the Input levels Menu. 
BLACKLEVELS AND DRIVES - To check your image levels and adjust these controls: 
1.  Make sure overall “Contrast” and “Brightness” settings are both set to near 50. 
NOTE: Not required for “Auto” adjustment. 
• 
Contra st= 50 (approx.) 
• 
Bright= 50 (approx.) 
2.  Check the color temperature setup using an internal grayscale test pattern, making 
sure to obtain a neutral grayscale. NOTE: Not required for “Auto” adjustment. 
3.  Confirm that you are using an analog source not connected to INPUT 3 or INPUT 
4, as Input Levels are not applicable for digital sources or sources going through 
the decoder. A grayscale is recommended. 
4.  If the blacks and/or whites appear OK, input levels do not need adjustment. If 
black levels are too high (and/or whites are too low, which is rare), you likely 
have a noisy source that is producing skewed input levels. Continue with Step 5. 
5.  Temporarily enable “Auto” in the Input Levels submenu. Wait for all 6 values to 
stabilize. Alternatively, do not use “Auto”—reduce blacklevels manually instead. 
Judge by eye and change one or more of the six levels as necessary to obtain 
proper blacks and whites. You may want to see only a certain color while 
adjusting—use the “Color Enable” option (described below). 
6.  Delete the “Auto” checkmark and leave the Input Levels menu. 
IMPORTANT: Do not use Input Levels to adjust color temperature. This will distort 
Contrast and Brightness functions as well as color temperature.  
						

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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, or to enable a different specific color through 
the Color Enable Control. 
CLAMP LOCATION – This option (formerly known as sync tip 
clamping) can brighten the image produced from certain high-
resolution high-frequency graphic sources. 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 backporch location (which is likely too short) to the tip of the 
horizontal sync pulse. Tri Level is typically needed for an HDTV source. 
COLOR ENABLE –Select which color or colors you want to see in the display, useful 
while working with color temperature white levels or input levels. 
NOTES: 1) Input levels apply for the current source only, but for any color 
temperature used. 2) Assuming that color temperature has been set up based on the 
internal test patterns, you can then set up input levels for a given source so that it 
matches the color temperature of the internal test patterns. 
PEAK DETECTOR – The Peak Detector is a tool to assist with defining individual input 
levels, enabling you to accurately set the Input Levels for any particular source with 
the appropriate image. Enabling the Peak Detector activates a special operating mode 
for detecting only pixels that are considered black or white—all other levels are 
displayed as a mid-level gray. When used with a smooth grayscale pattern in which 
black and white are known to be at opposite edges of the image, you can watch these 
isolated areas while adjusting individual 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 3.15. 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 or extreme crushing. 
2.  Display one primary color. NOTE: Selecting Auto Color Enable ensures the 
correct color is displayed for each setting.  
3.  For the current color, adjust its corresponding “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. 
 
  
						

							Section 3: Operation 
 
  
 User’s Manual     3-31. 
5. It may be advantageous to go back and check the black band—adjust the 
blacklevel slidebar if necessary. NOTE: Readjusting blacklevels at this point 
affects the gain; only readjust when absolutely necessary. 
6.  Repeat Steps 3-5 with the other two remaining primary colors. When each 
primary color shows one optimized black band and white (or colored) band, 
the input levels for this source are correctly set. Upon exiting the Input Levels 
menu, the Peak Detector checkbox will clear. 
 
Figure 3.15. Adjusting Input Levels Using the Peak Detector (RED EXAMPLE SHOWN) 
Advanced Image Settings — SUBMENU 
Use the Advanced Image Settings 
submenu to make the 
adjustments necessary for lesser 
used but more specialized 
applications on your projector. 
 
 
 
GAMMA TABLE: This control 
applies a default video or 
graphics gamma table or “curve” to your 
images, controlling the intensity of midlevel 
colors and producing maximum contrast, 
brightness and color performance. As 
shown at right, the graphics curve is a 
simple power curve while the video curve 
has a linear segment near black to compensate for increased blacklevels typical of 
video signals. Although the projector automatically applies either the graphics or 
video curve according to what type of incoming signal is detected, in some cases you 
may wish to override this default and use graphics gamma for a video source or video 
gamma for a graphics source. Alternatively, if neither default is ideal, you may prefer 
to apply a user-defined custom gamma curve that has been created externally, named, 
and downloaded to the projector (requires separate PC-based Arbitrary Gamma
 and 
KoRE Librarian
 software applications). If any of these special user curves have been 
installed, their names will appear in the Gamma Table pull-down list. 
 
 
 
  
						

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Keep in mind that any Gamma Table choice sets the related Gamma value (shown in 
the Image Settings menu) to a 2.5 default, where it can be fine-tuned as desired. 
Different values (1-3) here indicate that the original gamma table has been adjusted 
with either the Gamma slidebar or direct key. 
SELECT COLOR ADJUSTMENT: In “Select Color Adjustment”, 
choose an overall color palette 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. This 
enables the adjacent 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. It 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. 
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) Factory-
defined color primaries, which ensure consistent color gamut from projector-to-
projector, can be calibrated in the Service menu only. If you suspect alteration, the 
factory settings can be recovered with selection of Reset to Factory Defaults? in the 
Color Primary Settings submenu within the Service menu (password-protected). 
COLOR TEMPERATURE — Adjust to apply a specific and accurate color temperature to 
all displays. Color temperatures are expressed in degrees Kelvin (3200-9300K), and 
utilize different combinations of the projector’s original native color primaries to 
produce a “coloration” or cast (reddish or bluish) in images—the lower the 
temperature, the more reddish the cast; the higher the temperature, the more bluish the 
cast. Note that the 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. 
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. Performance of aperture depends on the lens in use. 
NOTE: Optical Aperture also appears in the lamp menu. 
RESERVED - No function. 
 
  
						

							Section 3: Operation 
 
  
 User’s Manual     3-33. 
Simulation 3D — SUBMENU OF ADVANCED IMAGE SETTINGS 
Use the options in the Simulation 3D 
menu to make the timing adjustments 
necessary for realistic simulation and 
3D images. 
NOTES: 1) Available in Mirage 
projectors only. 2) For complete 3D 
application notes, refer to the 
separate Using 3D in Mirage
 manual 
provided with the Mirage projector. 
FRAME DELAY MONITOR — This slidebar monitors the latency between input and 
output. For best results, the bar width and value should remain fairly constant, 
indicating that timing of input and output frames is locked; the Frame Delay Monitor 
value should stay within 5-10 lines or so of the Frame Delay setting. If a frame is lost 
or “dropped”, the bar will move suddenly and the values will change, indicating that 
the frame input is no longer equal to the output. 
NOTE: See separate Using 3D in Mirage manual provided for more information. 
FRAME DELAY — Set the number of lines delayed between the input signal and its 
appearance on screen, keeping in mind that projector processing always adds one 
frame of delay to the frame delay setting. For applications such as simulation, where 
the feeling of “real time” image response is a priority, a minimum setting is usually 
preferable. For projectors capable of 3D (stereographic) applications where alternating 
left-right frames must be synchronized with the corresponding L/R shutters in 3D 
glasses, a total frame delay setting of two (or multiple of two) may be more useful. If 
set too high or low, frame locking will not be possible—most sources require 
approximately 50 lines of delay to ensure frame locking. 
NOTE: See separate Using 3D in Mirage
 manual provided for more information.  
DARK INTERVAL — Adjust Dark Interval to artificially increase the amount of dark 
time between displayed frames for stereographic 3D images. Higher settings provide 
more time for shutters in 3D glasses to open/close, ensuring that each eye sees the full 
display intended for it. Symptoms of cross-talk and/or color artifacts can indicate need 
for adjustment. The Dark Interval range of adjustment depends on the vertical 
frequency of your source—the higher the frequency, the smaller the range. 
NOTE: See separate Using 3D in Mirage
 manual provided for more information. 
3D STEREO SYNC LOCKING — This option defines 1) whether or not the incoming 
stereographic 3D signal locks to the vertical sync output so that signals are 
synchronized, and 2) whether or not the 3D frames must be inverted, i.e. swapped left-
with-right. The correct setting ensures that the projector’s 3D display of left/right 
frames is synchronized with the rest of the 3D system components so that left/right 
image data is seen by the intended eye. Select the option corresponding to your 3D 
source connections and timing, and use only if the Mirage 3D Stereo Sync Cable is 
connected between the projector’s GPIO port and a server. Keep this adjustment OFF 
(default) when you are not using the Mirage 3D Stereo Sync Cable. 
 
Figure 3.16.  
						

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With your sync cable, Z-screen and, if desired, emitter connected as described in the 
Using 3D in Mirage
 manual, select the option suited to your 3D configuration (see 
above). If Frame Delay is 2 (or 0), do not invert; if frame delay is 1 or 3, invert. 
Generally, an “Unlocked” setting is synchronized with the incoming L/R signal rather 
than the vertical sync output, and may be needed only with multi-projector 
installations in which the vertical sync outputs vary. 
NOTE: See separate Using 3D in Mirage
 manual provided for more information. 
3D STEREO SYNC SELECT 
—
 Define which of the 
Mirage 3D Stereo Sync 
Cable’s input connecters 
is routed from your 
server. Use only if the 
cable is present. 
3D STEREO SYNC DELAY — Set when the L/R frames begin, defining the best 
reference point for synchronizing the display with your glasses. Proper adjustment of 
this delay should eliminate cross-talk and odd colors caused by timing differences 
between the glasses and the projected display. Use this slidebar only if the Mirage 3D 
Stereo Sync Cable is connected between the projector’s GPIO port and a server. 
Slidebar values indicate the number of lines that are delayed. 
FRAME LOCK ENABLE—When checked, the output image frame rate is locked to the 
input signal frame rate when possible. When the images are not locked, the input and 
the output will run as close to the same rate as possible, but frames may occasionally 
be duplicated or dropped.  
NOTES: 1) When enabled, the output is always locked to the primary source. 2) See 
separate Using 3D in Mirage
 manual provided for a full explanation. 
WARP LATENCY — Requires optional ChristieTWIST module. See ChristieTWIST 
User’s Manual provided with the module. 
Advanced Image Settings continued 
— SUBMENU 
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.