Christie Digital Systems Ds+5k, Kc-8k, Dw3k-6k, Kc, Hd5k, Kc-8k, Kc, Mirage S+2-4-8k, Dlv1400-dx, 1920-dx, Matrix S+2k, 4000, Hd4k Users Manual

							 Section 3: Operation 
013-100199-04  3-43. 
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. To disable the Brightness 
Uniformity function, delete the “Uniformity Enable” checkmark.  
NOTES: 1) See also 3.10, Using Multiple Projectors for the complete step-by-step 
procedure for achieving uniform brightness in adjacent displays. 2) If Christie TWIST 
module is installed, the enable checkbox changes to a list giving the option to choose 
from several different uniformity maps. Please refer to documentation included with 
your Christie TWIST module. 
Edge Blending 
— SUBMENU 
The Edge Blending submenu provides a range of controls for smoothing together the 
overlapping bright edges of multiple adjacent projected images to create a single 
larger “seamless” image. These controls, which primarily affect white levels, are 
typically used in conjunction with mechanical lens blinders (optional), which are 
installed on the front of the projector and which primarily affect black levels. There is 
a centerline (both horizontal and vertical) in the Edge Blending test pattern. The 
intersection of these lines is the true center of the projector’s display area. 
NOTES: 1) There is a centerline (both horizontal and vertical) in the Edge Blending 
test pattern. The intersection of these lines is the true center of the projector’s display 
area. 2) See also 3.10, Using Multiple Projectors.  
Color Adjustments by X/Y, and Color 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-
defined primary color levels, which ensure a specific color performance from 
projector-to-projector, can be calibrated in the Service menu only. If you suspect 
alteration of these defaults, the factory settings can be recovered with selection of 
“Reset to Factory Defaults?” in the Color Primary Settings submenu accessed via 
the Service menu (password-protected). 
From the factory, the projector can utilize 
any of the three pre-defined color 
performance settings identified at right 
(default=Max Drives), or colors can be 
driven on the basis of color temperature. 
For most applications, one of these gamuts 
will produce accurate and realistic colors 
from a variety of sources. They can be 
applied at any time in the Advanced Image 
Settings menu (“Select Color 
Adjustment”), and are not adjustable. 
 
  
						

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3-44 013-100199-04   
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 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) with these adjustments. 
Note that the two menus differ only in their user interface, so use whichever menu 
best suits your needs and application. A color meter can help with adjustments. 
• Color Adjustments by X,Y
 — Enter known x/y coordinates from the chromaticity 
graph. 
• Color Saturation
 — Adjust color slide bars and judge image color by eye or 
meter. 
A user-defined color “adjustment” can be applied by selecting it in the Advanced 
Image Settings menu (“Select Color Adjustment”). 
COLOR ADJUSTMENT BY X,Y: Use 
this submenu if you want to create, 
alter or copy a color gamut (i.e., 
“color adjustment”). Controls in 
this menu define the precise hue of 
each primary color component (red, 
green, blue, and white) used to 
generate the millions of colors 
produced in displays. The x/y 
coordinates for each color define its 
location on the standard CIE 
chromaticity graph (see Figure 
3.9)—changing either or both of 
these numbers will change the hue 
of the color, and relocate the 
“triangle” for possible colors. For 
example, changing the x/y 
coordinates for red may move the 
color closer to orange or closer to violet, which will in turn affect all displayed colors 
having a red component. Adjust the slide bars or enter new specific coordinates as 
desired to define or change up to four “User” color gamuts needed for your 
environment and applications. Apply at any time in the Advanced Image Settings 
menu. 
 
 
 
Figure 3.9. Customize Color  
						

							 Section 3: Operation 
013-100199-04  3-45. 
 
Figure 3.10. CIE 1931 Chromaticity Diagram (without Yellow Notch Filter) 
NOTE: Keep new x,y coordinates within the original color gamut triangle shown 
here. 
PROCEDURE FOR X,Y ADJUSTMENTS:  See 3.10, Using Multiple Projectors. 
COLOR 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 defines the corresponding x/y coordinates 
shown in the Color Adjustment by X,Y submenu. These x/y coordinates will remain 
stable for this User gamut until they are changed again via either menu. Values 
displayed in the Color 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.  
Black Level Blending 
— SUBMENU 
Black Level Blending is a feature that eliminates the differences between black levels 
when edge blending multiple projectors. The Black Level Blending submenu provides 
many controls to allow the edges of adjacent images to be smoothly overlapped 
creating a “seamless” image. Edge blending smoothes white levels, and if edge 
blending is not in use, Black Level Blending is disabled. Black Level Blending 
provides a simple solution for uneven black levels, without the need for external 
 
  
						

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3-46 013-100199-04   
hardware, by matching up black level hues with a “target area” hue (the intersection of 
the center lines), and adjusting the overlaps (edges) surrounding the target area.  
 
NOTES: 1) Refer to section 3.10, Using Multiple Projectors for additional 
information. 2) There is a centerline (both horizontal and vertical) in the Black Level 
Blending test pattern. The intersection of these lines is the true center of the 
projector’s display area. 3) Adjust white levels before adjusting black levels. 4) 
Blinders are recommended for fixed installations. 
 
Default Color Adjustments 
— SUBMENU 
Refer to System Configuration – Geometry and Color, Color Adjustments by X,Y for 
description. 
Intelligent Lens System (ILS
™) — SUBMENU 
ILS™ provides the ability to recall focus and zoom settings specific to each source 
input. Custom lens settings you’ve chosen for any source will be quickly and 
accurately applied when you select a source that has already been calibrated. Place a 
checkmark in the checkbox to enable ILS™. If no calibration has previously been 
done you may be prompted to do a full calibration. If a motion calibration has been 
done, you will be prompted to complete a reference calibration. If both calibrations 
have been done, the checkbox will be checked and ILS™ enabled. If ILS™ is enabled, 
a reference calibration will be done on power up and the lens will return to the saved 
position of the source that is active at the time of power up or to the position the lens 
was located when it was powered on. Further adjustments to the zoom, focus and 
position will be automatically saved for source the selected source. If you switch to a 
source with different lens settings and switch back, the lens will automatically move 
to your saved settings upon return. Other sources can be used without using ILS™ . 
NOTES: 1) See System Configuration – Diagnostics/Calibration, ILS Calibration 
for further details about calibration. 2) ILS
™ control is a preference setting and will 
be retained between power cycles. 
 
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. 
NOTE: There is a centerline (both 
horizontal and vertical) in the Edge 
Blending test pattern. The 
intersection of these lines is the true 
center of the projector’s display 
area. 
Test Pattern Grey Level 
Set the desired level of grey for displaying in the full gray field test pattern.   System Configuration f
 
 DIAGNOSTICS  /  CALIBRATION  
 
  
						

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013-100199-04  3-47. 
Freeze Image 
Enter a check mark to freeze (stop) an image on a single frame. This diagnostic tool is 
useful if you need to examine in detail a still version of an incoming image that cannot 
be “frozen” at the source. For example, in moving images it is sometimes difficult to 
observe artifacts such as external de-interlacing/resizing and signal noise. Remove the 
checkmark to return back to normal. 
Color Enable 
Select which color or colors you want to see. This is useful while working with color 
temperature, input levels or other special setup parameters. Colors can also be 
enabled/disabled by entering the corresponding function code listed on the back of the 
standard remote keypad. 
Odd Pixel Adjustment 
NOTES: 1) Factory-set and rarely required by user. 2) Source must be >90 MHz. 
When using certain RGB sources, you may need to adjust the normal gain or offset of 
odd pixels in relation to even pixels. This will smooth out very narrow (one-pixel 
wide) “checks” or vertical stripes that indicate adjacent “on” and “off” pixels. Using 
the Level Detector simplifies this process (see Figure 3.11): 
1. Use an external analog native-sized continuous grayscale test pattern with at least 
256-levels. 
2. Turn “Level Detector” on. 
3. Set “Level Value” to ~200. The image should now be black-and-white (or black-
and-one color, if you use “Color Enable” function). 
4. Adjust offset. Half of the pixels will move, the other half will not. 
5. Adjust until the two transition regions overlap. The stripe of noise will be 
minimized, defined by the value in the slide bar. 
6. Set “Level Value” to ~800. The image should now be black-and-white. 
7. Repeat Steps 4 and 5, but adjusting gain. 
8. Repeat Steps 3-7 for all remaining colors. Your RGB source should now be OK. 
Two sets of values are automatically saved with these controls—one value for Input 
#1, and one for Input #2 (analog). The current set of values depends on which source 
is in use. This enables a source to be processed correctly via two different inputs. 
 
Figure 3.11. Using “Odd Pixel Adjustment”  
						

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3-48 013-100199-04   
NOTES: 1) Adjust offset before gain, since offset affects gain. 2) A value of 128 
represents no change in normal odd pixel offset or gain. 3) Odd Pixel Adjustment 
eliminates “one pixel on, one pixel off” artifact only, not any type of larger artifacts. 
Reserved 
No function. 
Peak Detector 
The “Peak Detector” is a fast method for defining individual input levels, and can 
improve the accuracy of input levels set by the Auto Input Level function. Enabling 
the “Peak Detector” activates a special operating mode for detecting only pixels that 
are considered black or white—all other levels are displayed as a mid-level gray. 
When used with a 16-step grayscale pattern in which the two black and white bands 
are known to be at opposite edges of the image, you can watch these isolated areas 
while adjusting individual black levels and input drives until both bands are just 
visible. Images from this source will then display correct blacks and whites without 
crushing or washing out. 
NOTE: If using Peak Detector with PIP, both images must have the same color space. 
Level Detector 
The “Level Detector” checkbox enables specific thresholds for blacks and whites—
input levels that fall below a specified Level Value (see below) are displayed as black, 
and all others are displayed as white. It aids in Odd Pixel Adjustment. To use: 
1. Enable “Level Detector” and display a continuous grayscale. 
2. Set “Level Value” to near black (such as 200). 
3. Adjust Offsets to minimize area of black stripe. 
4. Set “Level Value” to near white (such as 800). 
5. Adjust Gains to minimize area of white stripe. 
Level Value 
Level Value defines the value to be used by the Level Detector in recognizing blacks 
and whites. See Level Detector, above.  
						

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013-100199-04  3-49. 
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. 
Intelligent Lens System (ILS
™) Calibration 
This option allows you to choose between three types of lens calibrations. Reference 
calibration determines a reference point that is used as a defined starting position for 
relative motion of the lens. All positioning is measured from this reference point. A 
reference calibration is lost when power is removed from the projector and will occur 
on every power up as long as ILS™ is enabled. A motion calibration determines the 
characteristics of each motor and values are saved in the projector’s memory. If ILS™ 
is enabled and a motion calibration has previously been done, the projector will 
automatically recall these settings from memory when it’s being powered up and a 
motion calibration will not take place. A full calibration performs both a reference 
and motion calibration. 
Aspect Ratio Overlay 
 
Selecting this option with a checkmark will overlay a number of common aspect ratio 
boxes on top of the source image. This is very helpful during the setup of the projector 
and can be turned off after desired specifications have been achieved.  
 
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 
is 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. 
 
 
 System Configuration f 
  OPTIONAL INPUT MODULES  
						

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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. 
 Signal Type Description (Input Location) 
#1  5 BNCs (RGBHV or YPbPr) 
#2  DVI - I (analog or digital) 
#3  Decoded signals (Input 3, Input 4, Composite video, S-Video, or any video 
signal via  Input 1 BNC connectors or via an analog option card). 
#4 Analog Option Cards 
#5 Digital Option Cards 
#6 Digital Option Cards 
* HD interlaced sources are not recommended for the PIP window. 
Other PIP or Seamless Switching tips to keep in mind include: 
• When using two digital signals or one analog and one digital, each must be ≤ 165 
megapixels.  
• When using two analog signals, each must be ≤ 90 megapixels. 
• Avoid using an interlaced source in the PIP window 
• Seamless switching may affect image quality in some cases 
 
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. 
 
 
 
3.7 Working with 
PIP or 
Seamless 
Switching 
 Working with PIP f 
 
  
						

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013-100199-04  3-51. 
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. 
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.  
 
 
 
  
						

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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:
 
• Ensure a channel has been configured for each source. 
• Progressive digital and analog sources are recommended. 
• Set Image Optimization to Seamless Switching (see below). 
• For best results, use the same frame rate and gamma setting for each. 
NOTE: Avoid using two interlaced sources. 
Image Optimization 
Use this setting to choose what is more important, image quality or switching between 
sources. Selecting Best Image Quality will ensure your image is always proper 
however when switching sources, the screen will go blank increasing your switching 
time. Smooth Switching allows for a cleaner transition between sources. The image 
will fade from one image to another according to the Fade Time control. Seamless 
Switching overrides the Frame Lock Enable settings and forces the output to run at 
60Hz regardless of the input signal. Image is 100% seamless when switching sources.  
NOTE: Disable PIP and Best Switching for Interlaced sources > 35kHz. 
Fade Time 
Set how long (in seconds) it takes to gradually dissolve one image into another for a 
source switch when Image Optimization is set to Smooth Switching.  
NOTE: PIP must be disabled for Fade Time to take effect. Also, the PIP window must 
be closed to activate it.    Working with Seamless f
   Switchin
g