Christie Digital Systems Matrix Hd2 Users Manual

							Section 3: Operation  
3-22 020-100001-01 Rev. 01 (04/07) 
 
• Select “ANAMORPHIC” to display an anamorphic 
image in its native 16:9 aspect ratio. The image will 
fill the screen from side-to-side and be centered 
between black bars at top and bottom.  
 
Size 
“Size” controls both the image width and height in tandem, maintaining the current 
aspect ratio (proportion) of the displayed signal data.  
Vertical Stretch 
“Vertical Stretch” adjusts the height of the image while keeping the width constant. 
Use “Vertical Stretch” to change the aspect ratio of the display.  
Pixel Track 
Steady flickering or several soft vertical stripes or bands across the entire image 
indicates poor pixel tracking. Proper pixel tracking helps ensure that the image quality 
is consistent across the screen, the aspect ratio is maintained, and that the pixel phase 
can be optimized (described below). Tracking determines the frequency of the pixel-
sampling clock, indicated by the number of incoming pixels per line, so that all pixels 
generated by a particular source are sampled.  
NOTE: By default, the projector samples at the correct frequency for most sources. 
For best results, use a good test pattern such as a smooth gray consisting of a clear 
pattern of black and white pixels, or a similar “half on, half off” graphic image, such 
as the Windows shutdown screen. Adjust the slide bar until the vertical stripes broaden 
to the point where one large stripe fills the image. If the image still exhibits some 
shimmer or noise, adjust Pixel Phase (below). 
Pixel Phase 
NOTE: Adjust “Pixel Phase” after “Pixel Tracking”. 
Adjust pixel phase when the image (usually from an RGB source) still shows shimmer 
or “noise” after pixel tracking is optimized. Pixel phase adjusts the phase of the pixel-
sampling clock relative to the incoming signal. 
For best results, use a good test pattern such as a smooth gray consisting of a clear 
pattern of black and white pixels, or a similar “half on, half off” graphic image, such 
as the Windows 2000 shutdown screen. Adjust the slide bar until the image stabilizes 
and each pixel is clearly defined. You may notice that you can stabilize the image at 
more than one point—i.e., you may find that the image appearance at “11” is identical 
to the image appearance at “38”, thus you can use either setting. 
 
  
						

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If some shimmer from a video or HDTV source persists, use the “Filter” control to 
remove high-frequency noise from the signal. 
H-Position 
This option moves the image right or left within the area of available pixels. 
NOTE: The value shown represents where the approximate center of the image lies in 
relation to the total number of pixels available horizontally. This varies widely 
according to the signal—watch the image while adjusting. 
V-Position 
This option moves the image up or down within the area of available pixels. 
NOTE: The value shown represents where the approximate center of the image lies in 
relation to the total number of pixels available vertically. This varies widely 
according to the signal—watch the image while adjusting. 
Advanced Size and Position 
— SUBMENU 
This submenu consists of the following options: 
ACTIVE INPUT WINDOW: This read-
only value indicates the current 
size (i.e., area) of your displayed 
data or “region of interest” as 
defined by the blanking controls. 
By default, the projector 
automatically determines what 
portion of its full resolution to use, 
and pixels in the surrounding 
borders are turned off. You can 
also specify a specific active input window size by adjusting one or more “Blank” 
settings. For example, if you have blanked (cropped) 100 pixels from both the left and 
right edges of an incoming source of 1400 x 1050, the remaining active input window 
will be reduced to 1200 x 1050. When using SD or HD or a decoded video source at 
INPUT 3 or INPUT 4, the default blanking of “0” defines an active input window of 720 
x 483. 
 
  
						

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BLANKING (TOP, BOTTOM, LEFT, and 
RIGHT): 
Crop the image as desired so 
that unwanted edges are removed from 
the display (changed to black—see 
right). Blanking defines the size of the 
Active Input Window, or area of 
interest. Range of adjustment depends 
on the source resolution and other 
factors. After adjustment of blanking it 
may be necessary to perform a source 
switch.  
NOTE: Blanking a PIP image 
resembles zoom (see Figure 3.6). For 
example, left Blanking zooms the right 
side of the PIP image; Right Blanking 
zooms the left side. There are no black 
bars.  
 
Figure 3.6.  Blanking of a PIP Image 
 
PLUG & DISPLAY (EDID): By default, a Plug & Play 
(EDID) source outputs a signal according to the 
EDID information provided by the projector. To 
override this information and display in a different 
format (for example, if your Plug & Play [EDID] 
device does not support the projector’s resolution 
and/or frequency), select the desired Plug & Play 
(EDID) resolution from the list. 
Any daisy-chained projectors will also display 
according to the chosen Plug & Play (EDID) format. 
EDID = Extended Display Identification Data standard. 
 
      Blanking of a Primary Image 
 
 
  
						

							 Section 3: Operation 
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Use options in the Image Settings 
menu to alter your main image 
without affecting its size or 
position. Changes made to the 
Image Settings menu are applied 
immediately and are saved when 
you exit the menu (press 
Exit or
 Menu). Options not available for 
the projector model or source are 
disabled and appear dim (gray). 
Contrast 
(
SHORT CUT: Press Contrast and adjust the slide bar.) 
“Contrast” increases or decreases the perceived difference between light and dark 
areas of your image (0-100). For best results, keep close to 50. If contrast is set too 
high, the light parts of the image lose detail and clarity. If the contrast is set too low, 
the light areas will not be as bright as they could be and the overall image will be dim. 
For best results, start with a low value and increase so that whites remain bright but 
are not distorted or tinted, and that light areas do not become white (i.e., are 
“crushed”).   
NOTE: If the environment lighting changes, an adjustment of Gamma is 
recommended (see below). 
Brightness 
(
SHORT CUT: Press Bright and adjust the slide bar.) 
“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 slide bar.) 
“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 (2.2 
= 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   Ima
ge Settings Menu f 
 
 
  
						

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setting. In high ambient light conditions, lower gamma may produce better results 
than higher gamma. Gamma of 2.2 (default) indicates the gamma table has not been 
adjusted. For more information, refer to Advanced Image Settings submenu, Gamma 
Table. 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 
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 
and certain digital sources connected to 
INPUT 1, INPUT 2, INPUT 
5
 or INPUT 6. 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 many 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, 5 or 6. 
• Select 
YPbPr (Video) with a standard definition televised signal (SDTV). 
• Select 
YPbPr (HDTV) with a high definition televised signal (HDTV). 
 
  
 
  
						

							 Section 3: Operation 
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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 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, and 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. 
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 
 
  
						

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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 slide bar 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 slide bar adjusts the red/green color hue for true color reproduction of 
video and HDTV signals connected to Input 3 or 4. For best results, adjust tint while 
displaying an external 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. 
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 two consecutive white pixels present 
in the image for proper “Auto Input Level” function. Leave this control off after use. 
 
  
						

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Good RGB or input levels—
that is, the drives and black 
levels 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 black levels 
(typically caused by a noisy source causing black level 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 black levels (black) that would cause “crushing” of light and dark colors 
in the image. After entering a checkmark, wait for the six slide bar values to stabilize, 
then delete the checkmark and exit. The Auto Input Level is automatically turned off 
upon exit from the Input levels Menu. 
BLACK LEVELS AND DRIVES - To check your image levels and adjust these controls: 
1. Ensure overall “Contrast” and “Brightness” settings are both set to near 50. 
NOTE: Not required for “Auto” adjustment. 
• 
Contrast= 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. 
 
  
						

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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 six values to 
stabilize. Alternatively, do not use “Auto”—reduce black levels 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 black level 
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. The projector 
automatically selects the best clamp location for almost all 
sources. 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 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. 
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. 
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 
isolated areas while adjusting individual black levels 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 3.7. Adjusting Input Levels Using the Peak Detector
: 
 
  
						

							 Section 3: Operation 
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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 “Black level” slide bar 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” slide bar 
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 black 
level slide bar if necessary.  
NOTE: Readjusting the black levels affects the gain at this point; 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 3.7. Adjusting Input Levels Using the Peak Detector 
(RED EXAMPLE SHOWN)