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    3-55. 
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. 
OPTICAL APERTURE - The optical aperture inside the projector controls the diameter 
of the light beam passing through the system. 
With a fully open aperture (slide bar default of 
“0”), the maximum amount of light passes 
through for maximum brightness in your images. 
Increase the slide bar 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. 
 
 
 
 
 
 
  
						

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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 Slide bars 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. See Figure 3.12. 
 
Figure 3.12. 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. 
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”. In addition, the LED’s next to the built-in keypad 
will flash “LP” when lamp time has expired. 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. 
    How Old is My Lamp?  '
 
 
  When to Replace '
 the Lamp  
						

							Section 3: Operation 
 
   User’s Manual    3-57. 
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. 
 
 IMPORTANT  
When working with more than two projectors, it’s 
important to work left to right, top to bottom. 
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 
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. 
3.9 Status Menu 
3.10 Using Multiple 
Projectors 
 Matching Colors '
 In Multiple Screens  
						

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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: 

						

							Section 3: Operation 
 
   User’s Manual    3-59. 
 
Figure 3.14. Copy X/Y Values into All Projectors 
6.  In each projector, judge by eye and adjust x/y coordinates slightly in the following 
manner: 

						

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Using the Color Saturation Menu for Color Matching 
You may prefer to use the 
Color Saturation menu to 
match colors across 
multiple screens. In the 
three Color Adjustment 
submenus (Red, Green, 
Blue—see right), set all 
main values to 100 and 
the secondary values to 0. 
Then judge by eye and 
adjust the slide bars as 
needed. Note that 
adjustments here define 
new x/y coordinates in the 
Color Adjustments by X,Y 
menu. 
For best results, use this 
menu after doing the color 
adjustment procedure. 
 
WHAT IS BRIGHTNESS 
UNIFORMITY? 
When used to refine screens already matched for their primary colors 
(see Matching Colors in Multiple Screens, above) and overall light output, proper 
adjustment of Brightness Uniformity can create an exceptionally smooth screen in 
which: 
• no area of the screen appears more red, green or blue than another  
• no area of the screen appears brighter than another 
• color and light output from one screen closely matches adjacent screens 
Although the Brightness Uniformity control can be used for a stand-alone projector, it 
is particularly useful for setting up and maintaining tiled images that form a cohesive 
display wall in which the color “cast” and light output appear uniform throughout 
each image as well as throughout the entire wall. The procedure provided here 
assumes a multiple-screen application. 
 Before You Begin 
Read through the entire procedure before attempting to adjust Brightness Uniformity 
controls, and keep in mind the following checklist of prerequisites and guidelines:  

						

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• If you have created a “User 1” color gamut (recommended) for a well-matched wall, 
continue to Step 
1e. 
• If you prefer maximum brightness rather than a particular color temperature, select “Max 
Drives”. 
 IMPORTANT  
Do not change User 1 Color Adjustment 
in color-matched applications! 
1e) In the White Uniformity 
menu, set the “Overall” 
output level to 50.0 and all 
remaining slide bars to 0.0. 
This decreases the light 
output just enough 
throughout the screen so that 
any color level can then be 
increased later as necessary 
for matching light output 
from zone-to-zone. Do not exceed 50.0 for “Overall”—a higher level will 
likely interfere with achieving brightness uniformity and is not recommended. 
Ensure that overall light output remains well matched from one screen center to 
the next. Where necessary, increase or decrease Lamp Power slightly to 
recover center matches. 
Step 2: Adjust Color (level of red/green/blue) in 8 Zones 
NOTES: 1) At this point, ignore the brightness of individual zones. 2) Always ignore 
menu colors. 
2a) On each screen, compare the color temperatures in the 8 target zones (4 edges 
and 4 corners) to that of the color temperature of the center. Compare using a 
white field only, and take note of any areas that do not match the center. Also 
decide if any screen exhibits a more obvious color shift than other screens—
begin with this screen in Step 
2b.  
2b) Return to the Brightness Uniformity menu. Beginning with the screen that exhibits 
the most obvious color shift(s), for each edge that exhibits a noticeably different 
color temperature from the center, select the corresponding Uniformity adjustment 
menu—Left, Right, Top or Bottom. For example, if any part of the left side is too 
blue, too red or too green, go to the Left Uniformity menu and adjust the colors 
(i.e., change their light output) until all portions of the left side closely match the 
center color temperature. Adjust an edge first (focusing on its center), and then 
adjust its corners. See Figure 3.16. 
 
  
						

							Section 3: Operation 
 
   User’s Manual    3-63. 
 
Figure 3.16. Match Zones to Center Color Temperature 
Repeat the color adjustment of sides and corners for each edge of the screen that does 
not yet match the center (note that each corner is adjustable in either of its two 
adjacent “side” menus). When done, all areas of a given screen should match. Repeat 
Steps 
2a & 2b for all remaining screens. 
Step 3: Adjust Light Output in 8 Zones 
3a) For each screen, compare the light output of each edge and corner to that of the 
center. If any of the areas differ, use the White Uniformity menu to match edges 
and corners to the center as described below (see Figure 3.17). Begin with the 
screen exhibiting the most obvious variations in light output. 
• Adjust edge White Uniformity first—note that each edge adjustment 
also affects the rest of the screen slightly. Keep all edges just slightly lower 
than the center light output rather than matching light output precisely. 
Otherwise, it may not be possible to brighten the corners (typically the 
dimmest areas of the screen) enough. I.e., the best uniformity is a 
compromise between the brightest and darkest areas of the screen. 
• Adjust corner White Uniformity last—each corner adjustment affects 
only this quadrant.  
• Repeat for each screen.  
 
Figure 3.17. Match Zones to Center Light Output 
Step 4: Readjust Color Temperature (level of red/green/blue) in 8 Zones 
4a) Return to Steps 2a & 2b and, if necessary, fine-tune the zones so that they all 
still exhibit a single color temperature.  
						

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Cancelling Brightness Uniformity 
If you do not want to use or apply Brightness Uniformity settings, delete the 
checkmark from the “Uniformity Enable” checkbox at the top of the Brightness 
Uniformity menu. 
Christie Edge Blending is an innovative set of software functions that can quickly and 
easily blend white levels along the edges of multiple adjacent projected images to 
create a single seamless larger image. 
What is a Blend? 
In simple terms, a blend appears as a gradient strip 
along an edge of a projected image. It is darkest along 
the extreme edge of the image, and lightens nearer to 
the rest of the image (see right). 
How Are Blends Used? 
In multiple-projector walls, complementary blends 
between neighboring images can compensate for the 
extra “brightness” or intensity where these edges overlap. By controlling blend width 
and other properties, you can achieve uniformity across the group of images. Visible 
overlaps will disappear: 
 
Figure 3.18. Edge Blending Concept 
For best results, use the same projector model and type throughout your display wall. 
In addition, avoid high-gain screens whenever possible—the optical performance of 
such screens demands minimal image offset, thus projectors must be located very 
close to one another. 
Edge blending software controls are located in the 2-page Edge Blending submenu—
access via Configuration menu, then go to the Geometry and Color menu and select 
Edge Blending. The More option opens the second page of the Edge Blending 
submenu. 
Main Functions 
Use Edge Blending controls to set the precise width, shape and midpoint you need to 
blend overlapping edges together smoothly.