Christie Digital Systems Ds+60, Dw30, Matrix 3000 Users Manual

							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 
 
   
						

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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. 
 
 
 
  
						

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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. 
 
 
 
  
						

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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, 
 
  
						

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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 
 
  
						

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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 
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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 
  
 
 
 
  
						

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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. 
  
						

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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. 
 
  
						

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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 —