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

							Section 3: Operation 
 
   User’s Manual    3-45. 
 
  Figure 3.10. CIE 1931 Chromaticity Diagram 
NOTE: Keep new x,y coordinates within the original color gamut triangle shown 
here. 
PROCEDURE FOR X,Y ADJUSTMENTS:  See 3.10, Using Multiple Projectors. 
COLOR SATURATION: Use this 
submenu if you do not have 
specific color coordinates in mind 
and will simply judge color 
performance by eye 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.  
 
  
						

							Section 3: Operation 
3-46     User’s Manual 
    
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 
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, zoom and positioning settings specific to 
each source input. This allows the projector to display multiple aspect ratios correctly 
sized and positioned on the same screen. It’s useful when working with a variety of 
source types that might differ in size and/or aspect ratio since the custom lens settings 
you’ve chosen for any source will be quickly and accurately applied when you select 
that source. 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 desired 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. 
  
						

							Section 3: Operation 
 
   User’s Manual    3-47. 
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. 
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 (1-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.   System Configuration 
'
 DIAGNOSTICS  /  CALIBRATION  
 
  
						

							Section 3: Operation 
3-48     User’s Manual 
    
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 2 different inputs. 
 
Figure 3.11. 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” 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.  
						

							Section 3: Operation 
 
   User’s Manual    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 '
  OPTIONAL INPUT MODULES  
						

							Section 3: Operation 
3-50     User’s Manual 
    
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 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. 
 
 
 
3.7 Working with 
PIP or 
Seamless 
Switching 
 Working with PIP '
 
  
						

							Section 3: Operation 
 
   User’s Manual    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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3-52     User’s Manual 
    
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 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 
'
  Switching  
						

							Section 3: Operation 
 
   User’s Manual    3-53. 
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. 
Select “Always” to use the keys in this manner all 
of the time, even with single displays. For normal 
keypad function, select Never (default). Set to 
When PIP Active to 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  (read-only) 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. This information also appears in the Status menu.  
 
LAMP S/N (read-only) 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.  
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). 
 
 
3.8 Working with 
the Lamp 
 
  
						

							Section 3: Operation 
3-54     User’s Manual 
    
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 (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 slide bar 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 slide bar 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.