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Christie Digital Systems Ds+60, Dw30, Matrix 3000 Users Manual
Christie Digital Systems Ds+60, Dw30, Matrix 3000 Users Manual
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Section 3: Operation Christie DS+60/DW30/Matrix 3000 User’s Manual 3-25 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 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
Section 3: Operation 3-26 Christie DS+60/DW30/Matrix 3000 User’s Manual 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 connected to INPUT 1, INPUT 2, or INPUT 5. 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 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, or 5. • 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 appear magenta and can include: • RGB signals in NTSC, PAL, SECAM frequency ranges • 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.
Section 3: Operation Christie DS+60/DW30/Matrix 3000 User’s Manual 3-27 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. 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 signals connected to Input 3 or 4. For best results, adjust tint while displaying an external color bars test pattern—otherwise, it is recommended that tint remain at its default setting.
Section 3: Operation 3-28 Christie DS+60/DW30/Matrix 3000 User’s Manual 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 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,
Section 3: Operation Christie DS+60/DW30/Matrix 3000 User’s Manual 3-29 then delete the checkmark and exit. The Auto Input Level is automatically turned off upon exiting 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. 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. 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
Section 3: Operation 3-30 Christie DS+60/DW30/Matrix 3000 User’s Manual 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 3.14. 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. 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 3.14. Adjusting Input Levels Using the Peak Detector (RED EXAMPLE SHOWN)
Section 3: Operation Christie DS+60/DW30/Matrix 3000 User’s Manual 3-31 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. 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. NOTES: 1) If no user curves have been defined and downloaded to projector memory, only the “2.5, Graphics/Video Normal” default gamma curve is available here – adjust as desired using gamma in the main Image Settings menu. 2) Some graphic material will look best with the video setting while some video material is best with the graphic setting. 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
Section 3: Operation 3-32 Christie DS+60/DW30/Matrix 3000 User’s Manual 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. RESERVED — No function. WHITE BOOST — White boost is a source dependent setting that enables you to recapture some of the lost light from the transition between segments in the color wheel as it’s spinning. For NTSC, HDTV, PAL and SECAM signals the white boost defaults to “2” and for graphic signals or when a test pattern is selected it’s “10”. When white boost is set to zero, it is off and the option grays out in the menu. As you increase the value of white boost you will notice that the image becomes increasingly brighter and a little less saturated. NOTES: 1) White Boost is automatically disabled (grayed out in menu) when you enable Brightness Uniformity, Edge Blending or select a color adjustment (Select Color Adjustment) other than “Max Drives”. The grayed out value you see is the last value loaded before being disabled. 2) White Boost can also be adjusted specifically for internal test patterns. However, once you switch back to a source, the White Boost settings will reset to the value set for that source. 3) If the ChristieTWIST module is installed and edge blending is enabled, White Boost is still active and can be adjusted to suit.
Section 3: Operation Christie DS+60/DW30/Matrix 3000 User’s Manual 3-33 Simulation 3D — SUBMENU OF ADVANCED IMAGE SETTINGS This submenu allows you to adjust the timing between the input signal and its appearance on screen. This is most useful in applications where you want to match the timing of the projector to other equipment, such as a video recording device in broadcasting environments. FRAME DELAY MONITOR — This value changes as it monitors the latency between input and output. The value should remain fairly constant and close to the value of the Frame Delay, 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 values will change significantly, indicating that the frame input is no longer equal to the output. 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, where the feeling of “real time” image response is a priority, a minimum setting is usually preferable. If set too high or low, frame locking will not be possible—most sources require approximately 50 lines of delay to ensure frame locking. 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. By default, this option is checked. 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. 4. FILM: For video images that originated from film. This will optimize image quality and stability. FILM MODE THRESHOLD — This setting determines how sensitively the projector can detect if an incoming video signal originated from film or not. It should not require adjustment. Figure 3.15.
Section 3: Operation 3-34 Christie DS+60/DW30/Matrix 3000 User’s Manual DETAIL THRESHOLD — Use “Detail Threshold” to define at what frequency level the “Detail” control will begin to magnify high frequencies, which adds details back into the image. Raise the threshold to ignore more of these high frequencies, and lower the threshold to magnify more of these frequencies. A setting of “0”, for example, means no noise will be ignored and all will be magnified. An ideal detail threshold is one in which high frequencies that are causing objectionable noise are not magnified when using “Detail”, but frequencies which can help sharpen an overly-soft image are magnified. Use the Configuration menu to define general operating parameters and communications with other projectors and equipment, and to access other advanced processing and image adjustments affecting overall performance. In addition, the Configuration menu provides access to diagnostics, calibration tools and the Service submenu (password-protected). Keep in mind that settings in the Configuration menu (and its submenus) are typically “global” settings applied regardless of the type of source your are using. This characteristic is identified with the (globe) icon alongside the option. NOTE: The Configuration menu is recommended for experienced users/technicians only. The first six options in the Configuration menu are explained below: Language Choose from available languages to use in the projector’s menus. The change will take effect immediately. Image Orientation Set the orientation of the image according to the orientation of your projector. If the setting is incorrect, projected images will be reversed and/or upside down. Auto Power-up Enter a checkmark to enable the projector to automatically power up after losing power due to a power failure or due to unplugging the projector during operation. Note that unsaved display adjustments may be lost. Set Date & Time Enter/read the current year-month-day and hour-minute-second. Changes here reset the projector’s real-time clock. 3.6 Adjusting System Parameters and Advanced Controls System Configuration — GENERAL —