Christie Digital Systems Ds+60 Users Manual

							Section 3: Operation 
 
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LAMP HISTORY - This read-only option lists the lamp serial 
number and corresponding lamp hours of the lamp most recently 
installed. Lamp History is automatically updated when a new 
lamp is installed.  
 
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 defined in projector 
memory, its current, voltage and 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. 
 
 
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 
Proj key as desired to 
limit responses to an individual projector. 
Alternatively, you may want to add projectors to a hub on an Ethernet network. 
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 (refer back to Figure 3.19). 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 changed 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. 
3.8 Status Menu 
3.9 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 a 
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 a wired keypad. 
3.  Use the same lamp mode for all projectors, and do the following: 

						

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Figure 3.24. 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 slidebars as 
needed. Note that 
adjustments here define 
new x/y coordinates in the 
Color Adjustments by X,Y 
menu. 
 
 
 
 
 
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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lamps, either set up Brightness Uniformity after this period, or do an initial 
setup and re-check at 100 hours. 

						

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1d) In either Color Adjustment menu, select a “User” color. Then: 
• If you have adjusted “User 1” Color Adjustment to create a well-matched 
wall (recommended), select “User 1” and then choose a color. Continue 
with Step 
1e. 
• If you prefer maximum brightness rather than a particular color 
temperature, select “Max Drives”. 
 IMPORTANT  
Do not change User 1 Color Adjustments 
in color-matched applications! 
1e) In the White Uniformity 
menu, set “Overall” to 50.0 
and set all others to 0. This 
decreases the light output 
from each color 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), then adjust 
its corners. See Figure 3.26. 
  
						

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Figure 3.26. 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 3.27). 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 3.27. 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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Canceling 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 whitelevels 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 3.28. 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. 

						

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Figure 3.31. Set Starting Points for Each Projector 
4. SET BLEND WIDTH: On one projector, increase the Blend Width for an overlapping 
edge (for example, if the projector’s image is on left, its right edge overlaps the 
adjacent image—adjust Right Blend Width). Use the same setting on the second 
projector for this shared edge. 
5.  Re-adjust width (both projectors) until the overly bright band at the midpoint of the 
overlapping blends disappears or just changes to very light gray. For the shared 
edge, use the same Blend Width setting on each projector. If the “best blend” 
appears to be between two settings, choose the wider setting for both projectors. 
6. 
CHECK BLEND: If the blended region appears too dark or light in relation to the rest 
of the image: