Christie Digital Systems Ds+60 Users Manual

							Section 3: Operation 
 
Christie DS+60 User’s Manual     3-27  
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. 
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. 
 
  
						

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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 2 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. 
AUTO INPUT LEVEL – Keep off for virtually all sources (default). 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. After entering 
a checkmark, wait for the six slidebar values to stabilize, then delete the checkmark 
and exit. This compensates for incoming out-of-range drives (white) and blacklevels 
(black) that would cause “crushing” of light and dark colors in the image. 
 
  
						

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BLACKLEVELS AND DRIVES - To check your image 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. 
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. 
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 back porch location (which is likely too short) to the tip of the 
horizontal sync pulse. Tri Level is typically recommended for an HDTV source where 
the back porch is also short. 
NOTE: Clamp Location is not used for video sources or any RGB source with sync 
information included on the video (e.g., sync-on-green). Use Tri Level instead. 
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. 
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. 
 
  
						

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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 smooth grayscale pattern in which black and white are 
known to be at opposite edges of the image, you can watch these 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 3.13. 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. 
2.  Display one primary color (use Color Enable to select). 
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.  Go back and check the black band—adjust the blacklevel slidebar if 
necessary. Blacklevel and Input Drive adjustments are related, so you may 
have to go back and forth until both bands are just optimized. 
6.  Repeat Steps 2-5 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 3.13. Adjusting Input Levels Using the Peak Detector (RED EXAMPLE SHOWN) 
  
						

							Section 3: Operation 
 
Christie DS+60 User’s Manual     3-31  
Advanced Image Settings — 
SUBMENU
 
GAMMA TABLE: This control selects and 
applies the normal 2.2 gamma setting. 
Adjust this setting as desired in the main 
Image Settings menu.  
 
 
 
 
SELECT COLOR ADJUSTMENT: In “Select Color 
Adjustment”, choose an overall color performance 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, which enables the nearby 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 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, and 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 located in the Configuration menu under Geometry 
and Color. 
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) White 
Boost automatically turns off when a setting other than Max Drives is selected – you 
will notice an immediate dimming of the display.  3) Factory-measured color 
primaries, which ensure consistent color gamut from projector-to-projector, can be 
altered in the Service menu only. If you suspect alteration, the factory settings can be 
recovered with selection of Factory Defaults in 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 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. 
 
 
 
  
						

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OPTICAL APERTURE — Use this control to adjust true contrast of an image. This is an 
optical adjustment where the two apertures in the projector are simultaneously 
adjusted; one aperture is located in the illumination system and the other in the 
projection lens. Adjust 
 to close the apertures, which minimizes contrast and 
maximizes brightness. Alternatively, adjust 
 to maximize true contrast and 
minimize brightness. By default, the apertures are closed. 
NOTES: 1) Powering down the projector does not reset the apertures to their default 
position. 2) Adjusting contrast using the 
Contra st key is an electronic adjustment, not an 
optical one. 
WHITE BOOST — White boost is a source dependent setting that enables you to 
recapture some of the lost light from the transition between color wheel segments and 
the white segment as it’s spinning. For NTSC, HDTV, PAL and SECAM signals the 
white boost defaults to  “2” and for graphic signals it’s “10”. When set to zero, white 
boost is off. As you increase the white boost setting 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”. 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. 
FRAME DELAY — Set the interval of delay desired between the input signal and its 
appearance on screen. For applications such as simulation, where the feeling of “real 
time” image response is a priority, a minimum setting is usually preferable. For 
projectors capable of 3D (stereographic) applications where alternating left-right 
frames must be synchronized with the corresponding L/R shutters in 3D glasses, a 
frame delay setting of two (or multiple of two) may be more useful. Delay may vary 
between sources. 
NOTE: If frame delay is set too low it can cause frame tears. 
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.  
						

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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 when using “Detail”. 
 
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-and-
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. 
Fade Time 
Set how long (in seconds) it takes to gradually dissolve one image into another for a 
source switch. 
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. 
3.6 Adjusting 
 System 
 Parameters and 
 Advanced 
 Controls 
 
 
 System Configuration 
 — GENERAL —  
						

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3-34   Christie DS+60 User’s Manual  
Set Date & Time 
Enter/read the current year-month-day and hour-minute-second. Changes here reset 
the projector’s real-time clock. 
Menu Preferences 
— SUBMENU 
Use the options in this submenu to 
adjust the appearance, content 
and/or location of on-screen 
menus and messages. 
LARGE MENU FONT — Enter a 
checkmark to enlarge menus and 
their text. You may have to adjust 
“Menu Location” to accommodate 
the increased menu area. 
MENU LOCATION — Use the pull-down list to choose a pre-defined default or 
customized location for the display of all on-screen menus.  
To create a custom menu location quickly, choose a preset that is closest to the desired 
location. Then adjust “Horizontal Shift” and “Vertical Shift”slidebars to move the 
menu to the desired location. Avoid locations too close to a corner or edge to prevent 
cropping of larger menus. 
HORIZONTAL SHIFT AND VERTICAL SHIFT — Shift your menus as desired, creating a 
customized menu location. 
DISPLAY CHANNEL LIST — Enter a checkmark if you want to see a scrollable channel 
list whenever you press 
C han nel from your presentation. Channels marked with a list icon 
 in the Channel Setup menu will appear here. The “Display Channel List” option 
also enables on-screen feedback when using the Input key. If you prefer to hide the 
channel list and input dialog box while switching channels and sources during a 
presentation, clear the checkbox. 
NOTE: The Channel List and input dialog box cannot be hidden during use of the 
menus. 
DISPLAY SLIDEBARS — Enter a checkmark to superimpose a small slidebar over the 
current image whenever an adjustable parameter is selected directly with a key such as 
Contra stor
 Bright. If “Display Slidebars” is unchecked, these slidebars can still be accessed, 
but will be hidden during adjustment. This option does not affect slidebars in menus. 
 
DISPLAY ERROR MESSAGES — Choose in what way you want to be notified of errors 
detected in either the incoming signal or projector.
 Select “Screen” or “All” to see a 
brief on-screen message or select “RS232” to receive messages via RS232 (or RS422) 
serial communication only. Select “Off” to hide error message displays. 
 
  
						

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Christie DS+60 User’s Manual     3-35  
Settings in the Communications 
submenu define and control how 
single or multiple projectors are 
can link with each other and with a 
controlling device. 
Baud Rates 
The baud rate setting determines 
the speed of communication to and 
from the projector on the RS232 or 
RS422 links. The maximum rate 
for either standard is 115200. Set 
the baud rate to match that of your 
controlling device, such as your PC. If you are unsure about what baud rate to choose, 
refer to the documentation for the controlling device. In an existing network of 
projectors, if you discover that a projector has a different baud rate, make sure to use 
the pull-down list and select the correct baud rate using the 
 key—do not just 
scroll this control with 
 or  keys. Serial communication is always 8 data bits, 
no parity. 
Projector 
Enter a three-digit number (such as 001”) to assign or change a number to the 
projector currently in use. If the current projector already has a number assigned, that 
number will appear here (for example, “004” in Figure 3.14, above). Numerical 
identity for projectors enables you to communicate with a single projector within a 
multiple-projector application (see also 
Pr o j key in 3.2, Using the Keypads). If you 
make a mistake in assigning or changing the projector number, press 
Ex i t to cancel. 
Network Routing 
NOTES: 1) Not applicable for stand-alone projectors or simple serial networks with 
only one type of controller and linking. 
 
SEPARATE: Select “Separate” (factory default) to keep RS232, RS422 and Ethernet 
messages on their respective paths instead of being broadcast to the other types of 
ports. In Figure 3.15A, RS422 controls only the projector to which it is connected. In 
Figure 3.15B, either RS232 or RS422 will control the network. 
 
Figure 3.14. Communications 
 System Configuration 
 — COMMUNICATIONS —  
						

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3-36   Christie DS+60 User’s Manual  
 
Figure 3.15. Using the “Network Routing” Option 
RS232 AND RS422 JOINED: Messages originating from an RS232 or RS422 controller 
will be relayed to all RS232 ports. Any Ethernet communication, however, will not. 
RS232 AND ETHERNET JOINED: Messages to and from the RS232 ports will also be 
relayed to the Ethernet port, and vice versa. Any RS422 communications will be 
isolated. 
ALL JOINED: All messages reach all ports, regardless of type. 
Ethernet Settings 
(SUBMENU) 
NOTES: 1) Recommended for network administrators only. 
DHCP: Enable this checkbox if you want a DHCP server to automatically change the 
projector’s default IP address (0.0.0.0) to one that is valid and unique for use on the 
current Ethernet network. On networks without a DHCP server, or to simply override 
the automatic DHCP server function, delete the checkmark and enter the new “IP 
Address” settings desired. Remember that only a 0.0.0.0 address will trigger the 
DHCP addressing service, and only when the DHCP checkbox is enabled. 
 
IP ADDRESS: Enter a valid and unique IP address for use on the network to which the 
projector is currently connected. This address will overwrite any previous IP address 
such as the projector’s factory-defined default (0.0.0.0), or one that has been assigned 
by a DHCP server or other user. An IP address entered here remains in effect until it is 
changed again. 
PORT: On some Ethernet networks, firewall restrictions may require that the port 
number of the projector be changed from its default of 3002. If so, enter a new valid 
port number here.