Christie Dlv1920 Dx User Manual

							Section 3: Operation  
3-52 020-100001-01 Rev. 01 (04/07) 
Swap Main and PIP Image 
Toggle the current picture-in-picture relationship so that the primary (main) image 
becomes secondary (PIP), and the secondary image becomes primary. Swapping is 
available only when PIP is enabled. 
NOTE: There may be a slight delay when swapping the Primary and Secondary 
images. 
PIP Enable 
Short cut: Press 
 on the Remote if menu not present. 
Toggle to display from two 
sources at once (Picture-in-
Picture) or the primary source 
only. This checkbox turns the 
secondary source on and off. 
 NOTE: Disable PIP and Best 
Switching for Interlaced 
sources > 35kHz. 
PIP Size and Position – 
SUBMENU 
Most controls in the PIP Size and 
Position menu adjust the PIP 
(secondary) image in the same 
fashion as their counterparts in the 
main Size and Position menu 
adjust the main image—see 3.6, 
Adjusting the Image for details. 
Exceptions are: 
POSITION PRESETS –Set the 
location of the PIP (secondary) 
image in the display. 
ASPECT RATIO PRESETS – Choose the desired aspect ratio for your PIP pixels. Use 
the “Default” aspect ratio when incoming format has square pixels (most common). 
This ensures that the resulting PIP image maintains its intended aspect ratio. Use 
“Anamorphic” for NTSC signals having narrower pixels--this will stretch the pixels 
horizontally to regain the intended aspect ratio of the PIP image.  
NOTE: If the image is already resized at the source it will remain that way in the PIP 
window. If, for example, an NTSC signal is already set to anamorphic through the 
Resize and Preset menu it will remain that way in the PIP window. If the NTSC signal 
is formatted as widescreen at the source, then the image in the PIP window will 
appear with black bars above and below it. 
PIP Image Settings — 
SUBMENU 
Adjust the PIP (secondary image) without affecting the size or position. The primary 
image remains unchanged. See 3.6, Adjusting the Image for details 
PIP Border Width 
Set the desired line thickness for your PIP window border.  
 
 
 
  
						

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PIP Border Color 
Select the desired color for the PIP window border. 
 
NOTES: 1) Numbers 7 and 8 on the Picture-in-Picture and Switching submenu 
control switching parameters. 2) Disable PIP in order to work with Seamless 
Switching. 3) Disable PIP and Best Switching for Interlaced sources > 35kHz. 
 
Seamless Switching is the ability to instantly and/or smoothly switch sources, and is 
controlled with options 7 and 8 in the PIP and Switching menu. To use Seamless 
Switching, PIP must be disabled. 
Tips for best source switching:
 
• Ensure a channel has been configured for each source. 
• Progressive digital and analog sources are recommended. 
• Set Image Optimization to Seamless Switching (see below). 
• For best results, use the same frame rate and gamma setting for each. 
NOTE: Avoid using two interlaced sources. 
Image Optimization 
Use this setting to choose what is more important, image quality or switching between 
sources. Selecting Best Image Quality will ensure your image is always proper 
however when switching sources, the screen will go blank increasing your switching 
time. Smooth Switching allows for a cleaner transition between sources. The image 
will fade from one image to another according to the Fade Time control. Seamless 
Switching overrides the Frame Lock Enable settings and forces the output to run at 
60Hz regardless of the input signal. Image is 100% seamless when switching sources.  
NOTE: Disable PIP and Best Switching for Interlaced sources > 35kHz. 
Fade Time 
Set how long (in seconds) it takes to gradually dissolve one image into another for a 
source switch when Image Optimization is set to Smooth Switching.  
NOTE: PIP must be disabled for Fade Time to take effect. Also, the PIP window must 
be closed to activate it.    Working with Seamless f
   Switchin
g  
						

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Numbers Select Main Image 
Use Numbers Select Main Image to use the numeric 
keys #1-8 as input keys. This remapping of the keypad 
(see right) can be particularly useful with PIP displays, 
providing a convenient shortcut for changing the 
primary (background) image without first having to 
return to the Main menu. Select “Always” to use the 
keys in this manner all of the time, even with single 
displays. For normal keypad function, select Never 
(default). Set to When PIP Active to activate number 
keys only when PIP is in use. 
NOTE: Numbers Select Main Image keypad 
functionality works only when menus are closed. 
 
 
Whenever you install a new lamp in the 
projector, access the Lamp menu to record 
the lamp serial number in the projector’s 
memory. You can also choose a lamp mode 
for regulating power and light output, 
change optical aperture size, and access 
other read-only information pertaining to 
past and present lamps. 
LAMP HOURS (read-only) shows the number 
of hours logged on the current lamp. 
Whenever you record a new lamp serial 
number this value automatically resets to “0”, where it begins to log time for the new 
lamp. This information also appears in the Status menu.  
 
LAMP S/N (read-only) is the serial number recorded for the current lamp. When you 
install a new lamp and enter its serial number, the number will appear here.  
Enter a checkmark for 
LAMP MESSAGE to enable a warning message that will appear 
upon power-up when the lamp has reached the specified lamp limit and should be 
replaced. Delete the checkmark to prevent display of this message—instead, when 
your lamp expires, only the status display messages on the back of the projector will 
provide the visual warning to replace the lamp. 
NOTES: 1) It is recommended that the Lamp Message checkbox remain enabled. 2) 
When a lamp warning message appears, press 
Exit to temporarily cancel the 
message. The message will continue to appear upon power-up until you install a new 
lamp. 
Set 
LAMP LIMIT to the number of hours you expect to log on the current lamp before 
replacing it. This will trigger a lamp message on-screen (if enabled). 
 
 
3.8 Working with 
the Lamp  
						

							 Section 3: Operation 
020-100001-01 Rev. 01 (04/07)  3-55. 
NOTES: 1) If you change modes over the life of a lamp, the lamp limit you originally 
expected may no longer be possible. 2) Turning the lamp on and off reduces lamp life 
significantly, as do other factors. 3) It is recommended that Lamp Limit not exceed the 
expected lamp life, otherwise a lamp could become dangerously fragile with overuse. 
Set which 
LAMP MODE you want to use in order to control 
the light output. You can choose to run the lamp as bright as 
possible (i.e., always using maximum power—this is the 
default upon power up) or you can power the lamp with a 
specific wattage appropriate for the installed lamp or you can set a specific intensity 
(brightness) to maintain. Although there are exceptions, generally higher light output 
or higher power settings can shorten lamp life. 
Use the lamp mode that best suits your brightness needs. For example, in a tiled 
application you may want to precisely match brightness levels between adjacent 
images—judge by eye and set each individual 
Lamp Power setting as necessary. Or if 
you want images to be as bright as possible—choose 
Max Brightness. Always keep in 
mind that higher lamp power settings can shorten lamp life. 
Lamp modes are described below: 
• 
Max Brightness: The lamp will always burn as brightly as possible, driven by 
100% of the power level rating for the installed lamp (see Section 6, 
Specifications). Keep in mind that the “maximum brightness” for any lamp 
gradually diminishes with age—images will become dimmer over time. Its current 
output level appears in the “
Intensity” option (not in lumens). 
• 
Intensity: Brightness will remain close to a specified level for as long as possible. 
Once you select this option, enter a number representing the intensity level 
(brightness) you wish to maintain—the projector will automatically adjust power 
as needed to maintain this intensity as closely as possible. Note that the intensity 
value is a correlation only and does not represent an actual lumens level. See 
“
Intensity” below.  
• 
Power: The power supplied to the lamp will remain at your specified wattage 
level. Once you select this option, enter the number of watts representing the 
power level you wish to maintain. See “
Power” below. 
POWER - This slide bar and number indicates how many 
watts are applied to the lamp. You can apply anywhere 
from approximately 60-65% of the maximum power intended for the installed lamp 
up to 100% of the lamp rating. Set for the number of watts as desired, keeping in mind 
that lower power levels produce dimmer images. When in either 
Power or Max 
Brightness
 modes, the power level remains constant. Specifying a maximum power 
level here is the same as operating in 
Max Brightness mode.  
NOTE: Power level can be set only if the lamp is in P
ower mode. 
INTENSITY – This value and slide bar represents the 
current brightness of your lamp, decreasing over time 
when you are operating in 
Max Brightness mode or at a specific Power level. When 
you are operating in “
Intensity” mode this value remains at the original “Intensity” 
setting chosen and cannot be adjusted.   
						

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NOTE: The number shown for “intensity” is not the actual lumen output, but rather a 
correlated value only—1246 may represent 3500 lumens, for example. 
To use “
Intensity” mode, judge by eye (or use a meter) and set the level as desired for 
your application. Over time, the projector will automatically increase the power 
supplied to the lamp as needed to maintain the chosen intensity as closely as possible. 
This mode is known as “Brightness Tracking” or “LiteLOC™”. 
HOW LONG CAN I MAINTAIN BRIGHTNESS? Software can maintain your “Intensity” 
setting until the required power reaches the maximum rating for the lamp. The lower 
the setting, the longer it will take to reach this threshold and the longer you can 
maintain the desired brightness. Keep in mind that once the lamp power reaches its 
maximum wattage (see “
Power”, above), this tracking is no longer possible. At this 
point, the lamp will gradually begin to dim as usual, even though your original 
“
Intensity” value will still appear in the menu. To resume accurate tracking, reduce the 
intensity setting so that the resulting “
Power” value is less than its maximum—the 
lower the intensity, the longer it can be maintained. 
For example, a 1000-watt lamp can be driven at no more than 1000 watts. To produce 
desired brightness at the screen, a new lamp would likely need less than this 
maximum rating—perhaps 812 watts (example only). Over time, however, the lamp 
will require more and more current in order to generate the desired light, until 
eventually the lamp wattage reaches its 1000-watt maximum and the lamp power 
automatically levels off. At this point, the tracking function terminates (i.e., the power 
level stabilizes) and the lamp will begin to dim normally. Either reduce your 
“
Intensity” setting or replace the lamp. 
Do not lower the “
Intensity” so much that the corresponding “Power” value reaches its 
minimum—the intensity setting will be inaccurate and cannot be maintained. For best 
results in achieving uniform intensity amongst tiled images, choose an “
Intensity” 
setting that enables all lamps to operate at less than the maximum number of watts 
available in your projector but high enough to keep the corresponding lamp power 
above its minimum. See “
Power”, above. 
NOTES: 1) Lamps become more stable over time, thus a specific intensity is more 
easily maintained as the lamp ages. 2) Intensity can be set only if the lamp is in 
Intensity mode 3) Intensity cannot exceed the output of Max Brightness mode. 
OPTICAL APERTURE -  This option is also available under the Advanced Image 
Settings menu. See 4.6 – Adjusting the Image for details. 
LAMP HISTORY - This read-only option lists the lamps most 
recently installed and recorded in the projector. Lamp History 
automatically updates whenever you record a new lamp serial 
number—the new lamp is added to the bottom of the list. 
  
						

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Use CHANGE LAMP to record the serial number for a newly installed lamp: 
In the Lamp S/N window, use the number text entry keys to record the new lamp serial 
number and press 
 again to accept the change. See Using Slide bars and Other 
Controls if you need help entering the number. Once entered, the new lamp serial 
number will be added to the Lamp History menu and the Lamp Hours timer will reset 
to “0”. Lamp Mode and Lamp Limit remain as they were for the previous lamp and 
can be changed at any time. See Figure 3.12. 
 
Figure 3.12. Recording the New Lamp Serial Number 
NOTE: Enter a serial number only if you have just installed a new lamp. This will 
help ensure that lamp timer is not reset on an old lamp and that the number of hours 
logged on the lamp will be accurate. 
IMPORTANT: Always record the serial number of a NEW lamp. 
 
When a new lamp is installed and its serial 
number recorded by selecting “Change 
Lamp” in the Lamp menu, the lamp timer 
resets to “0” and begins logging time for 
the new lamp. This tally appears in both 
the Lamp menu (see right) and the Status 
menu. 
To review the number of hours logged for 
previous lamps, consult the Lamp History 
menu. 
If the “Lamp Message” checkbox has been enabled in the Lamp menu 
(recommended), an expiry message will appear upon power-up when the lamp has 
reached its defined “Lamp Limit”. In addition, the LED’s next to the built-in keypad 
will flash “LP” when lamp time has expired. The lamp should be replaced. 
The “Lamp Limit” setting should not exceed the expected lamp life, as an old lamp 
becomes increasingly fragile and more prone to sudden failure. See also 4.4, Lamp 
and Filter Replacement. 
    How Old is My Lamp?  f 
 
 
  When to Replace f 
 the Lam
p  
						

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3-58 020-100001-01 Rev. 01 (04/07) 
 
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, the 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. 
 
IMPORTANT:
 When working with more than two projectors, it’s important to work 
left to right, top to bottom. 
 
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. See 
2.4, Connecting Communications for full routing details. 
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. 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 corrected 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; however, is not 
critical for all installations. 
3.9 Status Menu 
3.10 Using Multiple 
Projectors 
 Matching Colors f 
 In Multi
ple Screens  
						

							 Section 3: Operation 
020-100001-01 Rev. 01 (04/07)  3-59. 
To return to the factory-set color primaries, such as when a projector is moved to 
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 desired keypad. 
3. Use the same lamp mode for all projectors, and do the following: 
• Set Select Color Adjustment to “Max Drives” 
• Display a full white test pattern 
• Adjust lamp power and Optical Aperture until adjacent white fields appear the 
same brightness. 
4. Display the Color Adjustments by X,Y menus for all projectors. Each menu shows 
the x/y coordinates defining the “Max Drives” color gamut for this projector. Note 
the values shown in one (any) of the displays. See Figure 3.13. Or use the “Copy 
From” function to copy them into a “User” gamut in one projector.  
 
Figure 3.13. Jot Down a Set of ”Max Drives” X/Y Values 
5. In each projector, select a “User” color adjustment (1-4) to enable Color 
Adjustments by X,Y changes. Then enter your recorded x/y values into each menu 
(Figure 3.14).  
						

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Figure 3.14. Copy X/Y Values into All Projectors 
6. In each projector, judge by eye and adjust x/y coordinates slightly in the following 
manner: 
• To match reds, decrease “Red 
X” until full field red screens 
match. 
• To match greens, decrease 
“Green Y” until full field 
green screens match. 
• To match blues, increase both 
“Blue X” and “Blue Y” until 
full field blue screens match. 
NOTE: For speed, enable the “Auto 
Color Enable” checkbox. Each color coordinate you select will then automatically 
trigger a full field display of the corresponding color. 
Alternatively, use the Color Saturation menu for these adjustments or to fine tune. 
NOTE: For speed, enable the “Auto Color Enable” checkbox. Each color coordinate 
you select will then automatically trigger a full field display of the corresponding 
color. 
These coordinate adjustments move the three color points closer together (see below) 
to establish a “shared” gamut attainable by all projectors in your group. Adjust only as 
necessary to ensure that the resulting color palette is as large as possible. When done, 
you may need to adjust lamp power slightly. 
7. All screens should now be color-
matched. Apply this new “User” 
gamut to a source at any time by 
selecting it in the “Select Color 
Adjustment” list accessed in the 
Advanced Image Settings menu. 
 
  
						

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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 slide bars as 
needed. Note that 
adjustments here define 
new x/y coordinates in the 
Color Adjustments by X,Y 
menu. 
For best results, use this 
menu after doing the color 
adjustment procedure. 
 
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: