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     3-45. 
LiteLOC™ Calibration 
NOTES: 1) LiteLOC™ Calibration takes up to two minutes. 2) For best results, allow 
the projector to warm up for 15 minutes prior to calibration. 
LiteLOC™ Calibration defines the range of power needed to maintain lamp 
brightness. Select Calibrate LiteLOC for calibration using your projector’s unique 
specifications (recommended) rather than standard specifications. The projector will 
revert to the default back-up in the event of a power failure. 
The two “Option 
Card” entries In 
the Configuration 
menu identify 
which optional 
input modules 
(a.k.a. cards) are 
present at 
INPUT 
5 
(Option 1) and 
INPUT 6 (Option 
2). If either of these option slots are empty, the corresponding read-only menu entry 
does nothing. If there is a module installed, the corresponding menu entry may 
activate a submenu of further options pertaining to that module. 
For example, if the Dual SD/HD-SDI module is installed at 
INPUT 5 (Option 1). The 
Option 1 Card submenu provides controls for configuring the various connections on 
this multi-input, multi-output module. As desired for your application, you can define 
1) which physical input loops through to which output, and 2) which functional input 
(main or PIP signal) loops through to which output. 
PIP (Picture-in-Picture) and Seamless Switching are independent but related projector 
features that both utilize two image processing paths within the projector. In the case 
of Picture-in-Picture, this double processing enables you to display two different 
images simultaneously – typically a smaller “secondary” image within a large 
“primary” background.  In a seamless switch, the double processing essentially occurs 
between displays so that a full image relayed from one source can smoothly transform 
into a full image from another source. This change can be virtually instantaneous, or 
slowed as desired so that the current image appears to dissolve or “fade” into the new 
image. 
Options for enabling and controlling PIP and Seamless Switching all reside in the 
same menu. Note, however, that because both features utilize the projector’s double 
processing capability, PIP and Seamless Switching cannot be used together. For 
example, fading a pair of PIP images into a new display from a different source is not 
possible. 
For best PIP or Seamless Switching results, use two different signal types* as defined 
below. Do not mix two signals of the same type. 
 
 
 System Configuration 
  OPTIONAL INPUT MODULES 
3.7 Working with 
PIP or 
Seamless 
Switching  
						

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 Signal Type Description (Input Location) 
#1  5 BNCs (RGBHV or YPbPr) 
#2  DVI - I (analog or digital) 
#3  Decoded signals (Input 3, Input 4, Composite video, S-Video, or any video 
signal via  Input 1 BNC connectors or via an analog option card). 
#4  Analog Option Cards 
#5  Digital Option Cards 
#6  Digital Option Cards 
* HD interlaced sources are not recommended for the PIP window. 
Other PIP or Seamless Switching tips to keep in mind include: 
• When using 2 digital signals or 1 analog and 1digital, each must be ≤ 165 
megapixels.  
• When using two analog signals, each must be ≤ 90 megapixels. 
• Avoid using an interlaced source in the PIP window 
• Seamless switching may affect image quality in some cases 
 
NOTE: To control the primary image, access all picture controls through the Main 
menu. To control the secondary (PIP) image, access picture controls through the 
Picture-in-Picture and Switching menu. 
Use the first of six 
options in the PIP 
and Switching menu 
to enable and define 
how you want to use 
PIP. 
 
 
 
Swap Main and PIP Image 
Toggle the current picture-in-picture relationship so that the primary (main) image 
becomes secondary (PIP), and the secondary image becomes primary. Swapping is 
available only when PIP is enabled. 
NOTE: There may be a slight delay when swapping the Primary and Secondary 
images. 
PIP Enable 
(Short cut: Press 
  on the Remote) if menu not present. 
Toggle to display from two 
sources at once (Picture-in-
Picture) or the primary source 
only. This checkbox turns the 
secondary source on and off. 
NOTE: Disable PIP and Best 
Switching for Interlaced 
sources > 35kHz.   Workin
g with PIP 
 
 
 
  
						

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PIP Size and Position – SUBMENU 
Most controls in the PIP Size and 
Position menu adjust the PIP 
(secondary) image in the same 
fashion as their counterparts in the 
main Size and Position menu 
adjust the main image—see 3.6, 
Adjusting the Image for details. 
Exceptions are: 
POSITION PRESETS –Set the 
location of the PIP (secondary) 
image in the display. 
ASPECT RATIO PRESETS – Choose the desired aspect ratio for your PIP pixels. Use 
the “Default” aspect ratio when incoming format has square pixels (most common). 
This ensures that the resulting PIP image maintains its intended aspect ratio. Use 
“Anamorphic” for NTSC signals having narrower pixels--this will stretch the pixels 
horizontally to regain the intended aspect ratio of the PIP image. NOTE: If the image 
is already resized at the source it will remain that way in the PIP window. If, for 
example, an NTSC signal is already set to anamorphic through the Resize and Preset 
menu it will remain that way in the PIP window. If the NTSC signal is formatted as 
widescreen at the source, then the image in the PIP window will appear with black 
bars above and below it. 
PIP Image Settings — 
SUBMENU 
Adjust the PIP (secondary image) without affecting the size or position. The primary 
image remains unchanged. See 3.6, Adjusting the Image for details 
PIP Border Width 
Set the desired line thickness for your PIP window border.  
PIP Border Color 
Select the desired color for the PIP window border. 
NOTES: 1) Numbers 7 and 8 on the Picture-in-Picture and Switching submenu 
control switching parameters. 2) Disable PIP in order to work with Seamless 
Switching. 3) Disable PIP and Best Switching for Interlaced sources > 35kHz. 
 
Seamless Switching is the ability to instantly and/or smoothly switch sources, and is 
controlled with options 7 and 8 in the PIP and Switching menu. To use Seamless 
Switching, PIP must be disabled. 
Tips for best source switching:
 
• Make sure a channel has been configured for each source. 
• Progressive digital and analog sources are recommended 
• Set Image Optimization to Best Switching (see below). 
• For best results, use the same frame rate and gamma setting for each. 
NOTE: Avoid using two Interlaced sources. 
 
 
 Working with Seamless 
   Switching  
						

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Image Optimization 
Choose whether to use Best Switching or whether you prefer to optimize image 
quality, whichever best suits your needs. When Best Switching is selected, sources are 
switched almost instantaneously without a dark state in between images. Eight-bit 
processing is used to maximize the opportunity for a seamless transition.  Best 
Switching is recommended when only when seamless switching is necessary. Best 
Quality maximizes allocated resources to maintain image quality by using 10-bit 
processing and a single source only. If selected, there may be a brief dark state 
between images.  
NOTE: Disable PIP and Best Switching for Interlaced sources > 35kHz. 
Fade Time 
Set how long (in seconds) it takes to gradually dissolve one image into another for a 
source switch when Image Optimization is set to Best Switching. NOTE: PIP must be 
disabled for Fade Time to take effect. Also, the PIP window must be closed to activate 
it. 
Numbers Select Main Image 
Use Numbers Select Main Image to use the 
numeric keys #1-8 as input keys. This remapping 
of the keypad (see right) can be particularly useful 
with PIP displays, providing a convenient shortcut 
for changing the primary (background) image 
without first having to return to the Main menu. 
To use the keys in this manner all of the time, 
even with single displays, select Always. For 
normal keypad function, select Never (default). 
Set to PIP Only to use activate number keys only 
when PIP is in use. 
NOTE: Numbers Select Main Image keypad 
functionality works only when menus are closed. 
 
 
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.  
 
 
3.8 Working with 
the Lamp 
   
						

							Section 3: Operation 
 
  
 User’s Manual     3-49. 
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, 
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. 
 
Figure 3.25.  
						

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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 
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. 
  
						

							Section 3: Operation 
 
  
 User’s Manual     3-51. 
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 3.26. 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. 
 IMPORTANT  
Always record the serial number of a NEW lamp. 
 
 
 
  
						

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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. 
 
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 
Pr o j key as desired to 
limit responses to an individual projector. 
Alternatively, you may want to add projectors to a hub on an Ethernet network. See 
2.4, Connecting Communications for full routing details. 
NOTE: Refer back to 3.6, Adjusting System Parameters and Advanced Controls for 
complete information about communicating with multiple projectors. 
In a multiple-projector wall, you will likely want to precisely match color and intensity 
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. 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    How Old is M
y Lamp?  
 
 
  When to Replace 
 the Lamp 
3.9 Status Menu 
3.10 Using Multiple 
Projectors 
 Matching Colors 
 In Multiple Screens  
						

							Section 3: Operation 
 
  
 User’s Manual     3-53. 
projectors. Or you may be renting a projector in which the colors were corrected 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 (password-
protected) 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; however, is not 
critical for all installations. 
To return to the factory-set color primaries, such as when a projector is moved to 
different site, you must access the Service menu (password-protected). Select the 
Reset to Factory Defaults? option in the Color Primaries submenu. Then repeat the 
calibration process describe above, if desired, and continue with matching of colors. 
Color Adjustment Procedure 
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 desired keypad. 
3.  Use the same lamp mode for all projectors, and do the following: 

						

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Figure 3.27. 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 3.28). 
 
Figure 3.28. Copy X/Y Values into All Projectors 
6.  In each projector, judge by eye and adjust x/y coordinates slightly in the following 
manner: