Christie Projector J Series 1000W & 1200W User Manual

							Section 3: Operation
J Series 1000W and 1200W User Manual3-41020-100706-02  Rev. 1  (03-2014)
4. When adjustment of the corners is complete, select OK. NOTE: A message will be displayed indicating 
that the projector is  “Processing request”.  The settings are applied to the  displayed image, and will take 
approximately 10 seconds. If Vertical Keystone adjust ments have been made, starting to do any Horizontal 
Keystone adjustments will erase the Ve rtical settings, and vice versa.
5. After the Horizontal or Vertical adjustments have  been made, selecting 2D Keystone adjustments will 
retain these settings. Fine adjustment can now be  made by moving any single corner separately. 
6. Use the arrow keys to move to the required corner. 
NOTE: The current corner will be displayed in red.
7. Press  E
NTER to select the corner. NOTE: The current corner will be displayed in green.
8. Use the arrow keys to move the selected corner to match the screen.
9. Press  E
NTER again, to save that  position for the corner.
10. Repeat Steps 6 to 9 to adjust al l 4 corners until they match the screen.
11. Select  OK to apply the new corner  positions to the image. 
NOTE: A message will be displayed for 
approximately 10 seconds indicating that the projector is  “Processing request”. 
Under certain combinations of extreme keystone co-ordin ates and specific signal frequency, a keystoned image 
may result that is outside the bandwidth limitations of  the projector. When attempting to apply the keystone 
settings, a message will pop up on the OSD, indicating th at the bandwidth has been exceeded and the keystone 
cannot be applied. The  cursor co-ordinates for keystone adjustment will remain at the failed keystone position. 
This will allow the user to make minor changes and a ttempt to reapply the corner settings. Either the co-
ordinates must be adjusted, or the free run frequency  must be changed to fall within the allowed bandwidth.
The  F
UNC+HELP key combination will immediately disable the  Keystone, Brightness Uniformity , Edge 
Blending  and Black Level Blending  features. This is helpful when, in  some extreme keystone configurations, 
some image corruption may appear and/or  the menus may not be readable. Although F
UNC+HELP disables 
these features, it will not overwrite their settings. If ke ystone is simply enabled again, the same image 
corruption may occur. After pressing  F
UNC+HELP, it is recommend to immediatel y “Reset Keystone Settings”, 
which will set all keystone  co-ordinates to zero.
BRIGHTNESS UNIFORMITY - Submenu
• Brightness Uniformity provides furt her refinement of displays already matched for their primary colors and 
overall light output. Use Brightness  Uniformity to create an exceptionally  smooth image in which no area 
appears brighter than another. In  the Brightness Uniformity menu, enable the Bright ness Uniformity Enable 
check box to access a multitude of adjustments for light output control in specific areas throughout the 
image. Your settings apply as long as the Brightness Uniformity Enable  check box is enabled. While making 
adjustments, enable the Co arse Adjustment check box to apply Brig htness Uniformity settings with a large 
granularity. Coarse Adjustment helps identify bright ness changes and accelerates projector response time 
while adjusting settings. To disable the Brightness Unif ormity function, delete the Brightness Uniformity 
Enable checkmark.  
						

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Section 3: Operation
WHAT IS BRIGHTNESS UNIFORMITY?
When used to refine screens already matched for their primary colors, see 3.12 Using Multiple Projectors:  
Matching Colors in Multiple Screens  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 scr een closely matches adjacent screens
Although the  Brightness Uniformity  control can be used for a stand-alone pr ojector, it is particularly useful 
for setting up and maintaining tiled imag es 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.
IMPORTANT!  Before You Begin
Read through the entire procedure befo re attempting to adjust Brightness Uniformity controls, and keep in 
mind the following checklist of  prerequisites and guidelines: 

ADJUST COLORS FIRST—Always adjust the primar y colors as described in 3.12 Using Multiple Projectors:   
Matching Colors in Multiple Screens procedure, before a ttempting to work with Brightness Uniformity . 
This ensures that primary colors, color temperature,  and maximized light output are all well matched from 
one screen to another. These matches are needed  before you can achieve good brightness uniformity 
results.

RUN LAMP FOR 100 HOURS—Light output and brightness uniformity  can vary significantly during the first 
100 hours of lamp use. For best results with new la mps, either set up brightness uniformity after this 
period, or do an initial setup and re-check at 100 hours.

SET LAMP POWER—Ensure that each  Lamp Power setting is as high as possible  for your application while 
still maintaining a good overall match of light output  from screen-to-screen. By nature, achieving a uni-
form brightness will require a sligh tly reduced overall brightness—this  reduction will help ensure that you 
have enough range of adjustment  when examining brightness variab les more closely from screen-to-
screen, and will help prevent premature “maxing out” when  trying to match to a certain color, zone or pro-
jector. 

USE A “USER” COLOR TEMPERATURE—Always adjust brightness uniformity for a User color temperature 
defined when you matched primary colors, and continue  to use it for all sources displayed on the wall. Your 
other color temperatures will not necessarily be matched from screen-to-screen.

WHITE UNIFORMITY SLIDE BARS—White Uniformity  slide bar values may not reduce to “0”. Each slide 
bar adjusts overall light output in a specific screen  zone, but the value shown represents the current setting 
for green in this zone. When other “hidden” values (red or blue) are lower than green, during adjustment in 
the  White Uniformity  menu their values will reach “0” first, causing the slide bar to stop earlier than 
expected.

JUDGE BY EYE OR USE A METER—Good brightness uniformity ca n be achieved with either.  
						

							Section 3: Operation
J Series 1000W and 1200W User Manual3-43020-100706-02  Rev. 1  (03-2014)
Step 1: Setup
a. Adjust primary colors see  3.12 Using Multiple Projectors : Matching Colors in Multiple Screens  to 
ensure matched overall color temperat ures and light output between screens. 
IMPORTANT!  
Double-check that all WHITES and LIGHT OUTPUT are well-matched.
b. Enable the Brightness Uniformity  check box. This will enable access to the unif ormity controls and 
will apply the settings to your image.
c. Select the 13-Point test pattern for display. This pattern  provides nine screen “zones” with 13 targets, see  13-Point Test 
Pattern . 
FOR BEST RESULTS  Rather than examining the CENTER of each 
zone when assessing Brightness Uniformity adjustments focus on 
extreme EDGES as indicated in the illustration at right.
d. In either  Color Adjustments  menu, select a “User” color. Then:
• If you have created a “User 1”  color gamut (recommended) 
for a well-matched wall,  continue to Step 1e.
• If you prefer maximum  brightness  rather than a particular 
color temperature, select  Max Drives.
IMPORTANT!
 Do not change User 1 Color Adjustment in color-
matched applications!
e. In the  White Uniformity  menu, and set the “Overa ll” output level to 50.0 and all remaining slide bars 
to  0.0 . This decreases the light output just enough th roughout 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 s lightly to recover center matches.
Step 2: Adjust Color (level of  red/green/blue) in Eight Zones
NOTES: 1) At this point, ignore the brig htness of individual zones. 2) Always ignore menu colors.
a. On each screen, compare the color temperatures in th e eight target zones (four edges and four 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.
b. 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 temp erature 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), and then adjust its corners.
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.
FIGURE 3-35 13-POINT TEST PATTERN 
						

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Section 3: Operation
Step 3: Adjust Light Output in Eight Zones
a. For each screen, compare the light output of each e dge 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. 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. 
Step 4: Readjust Color Temperature (l evel of red/green/blue) in Eight Zones
a. Return to Steps 2a & 2b and, if necessary, fine-tune the zones so that they all s till exhibit a single color 
temperature.
Cancelling Brightness Uniformity
If you do not want to use or apply Brightness  Uniformity settings, delete the checkmark from the Uniformity 
Enable  check box at the top of the  Brightness Uniformity menu. 
NOTE: Bottom defined by the slope.
EDGE BLENDING - Submenu
The  Edge Blending  submenu provides a range of controls for smoo thing together the overlapping bright edges 
of multiple adjacent projected imag es to create a single larger “seamless” image. These controls, which 
primarily affect white levels, are typi cally used in conjunction with mechanical lens bl inders (optional), which 
are installed on the front of the projector and which primarily affect black levels. Brightness uniformity 
adjustment, if desired, shou ld be performed first. The Edge Blend or Grid  Test Patter n is useful for the 
mechanical setup of the projectors. If necessary, adjust  Black Level Blending first with the Black test pattern, 
then use the  White test pattern to blend the white levels on the  blend edges. The final step is to check the 
blended image with an external source.There is a centerlin e (both horizontal and vertical) in the Edge Blending 
test pattern. The intersection of  these lines is the true center of the projector display area.
The  Show Blending Overlap control enables or disables edge blending  overlap. When enabled, this will make 
the size of the Edge Blending regions obvious. This control should only be used during setup.
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 wa lls, complementary blends between neighboring 
images can compensate for the extra “b rightness” 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 3-37 Edge Blending Concept :
FIGURE 3-36 EDGE BLENDING 
						

							Section 3: Operation
J Series 1000W and 1200W User Manual3-45020-100706-02  Rev. 1  (03-2014)
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 loca ted very close to one 
another.
Edge blending software controls are located in 
the two-page  Edge Blending submenu—
access via  Configuration  menu, then go to the 
Geometry and Color  menu and select Edge 
Blending . The Advanced Edge Blending  
option opens the second page of the  Edge 
Blending  submenu.
ADVANCED EDGE BLENDING - Submenu
Use Edge Blending controls to set the precise  width, shape  and midpoint  you need to blend overlapping edges 
together smoothly.
Blend Width
 determines how much area is used for blending along an overlapping edge. Slide bar values 
represent the number of eight-pixel steps used for th e blend. For example, a setting of “eight” creates a 
blended edge 24 pixels wide. 
A setting of “0” signifies no blending. For best results in most applications, use a blend width of 16-48 
steps (128-384 pixels). 
NOTE:  Ranges: 0-80 horizontal, 0-60 vertical.
Blend Shape
 determines the rate of roll-off across the blend wi dth, i.e. how quickly the white levels across 
the blend change from light  and dark. Increasing the Blend Shape setting accelerates the rate of change at 
both extremes so that  less of the region appears mid-grey  (see Figure 3.20). Decreasing the  Blend Shape 
setting slows the rate of change so that  more of the region appears mid-grey . For most applications, this 
subtle control is best left close to 50. 
Blend Midpoint  determines the white  level at the blend midpoint (the point equidistant between the 
beginning and end of the blend). Increasing the Blend Midpoint  setting creates a blend that appears 
brighter than the rest of the image. Decreasing the  Blend Midpoint setting creates a blend that is darker 
than the rest of the image. A se tting of 50 means the midpoint is  approximately 50% black—for best 
results in most applications, keep  fairly close to this default. 
Show Blending Overlap
 turns your defined blend width area to  solid grey so that, if needed, simply 
overlapping the grey bars can seamlessly  align two adjacent images. Toggle the Show Blending Overlap 
off to reactivate the blend effect.  
NOTE: Blending Overlap appears as Reserved when Christie TWIST is 
installed.
Other Functions
For convenience, the  Edge Blending submenu also includes related options for enabling a specific color and/
or test pattern, or for working with colors or the la mp. Such functions duplicate those provided elsewhere in 
the menu system.
FIGURE 3-37 EDGE BLENDING CONCEPT 
						

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Section 3: Operation
Edge Blending Procedure
NOTES: 1) Before attempting to work with  edge blending software functions , align the projectors/images by 
correctly overlapping the displays fro m your intended external source. 
2) Match colors and the brightness 
uniformity.
IMPORTANT!  For a shared edge, all blend procedures and settin gs should be identical on both projectors.
1. Start with two projectors. Display fu ll white field test pattern from both.
2. In the  Edge Blending submenu, enable  Edge Blending by entering a checkmar k in the top check box.
3.
SET STARTING POINTS FOR ADJUSTMENT
a. Set all blend widths to 0.
b. Go to  More and set everything in the  Edge Blending menu to 50.
4.
SET BLEND WIDTH On one projector, increase the  Blend Width for an overlapping edge (for example, if 
the projector 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 brig ht band at the midpoint of the overlapping blends 
disappears or just  changes to very light grey. For the shared edge, use the same  Blend Width setting on 
each projector. 
NOTE:  If the best blend appears to be between tw o settings, select the wider setting for both 
projectors.
6.
CHECK BLEND  If the blended region appears too dark or lig ht in relation to the rest of the image:
a. Increase  Blend Midpoint  in both projectors to “lighten” the ov erall blend, decrease to “darken” the 
overall blend.
b. Adjust  Blend Shape  in both projectors to fi ne-tune change the amount of mid-grey intensity (as 
opposed to black/white) in the blend.
7. Repeat with remaining projectors / overlaps.
8. Check completed display wall with  the desired external signal.
9. If necessary, adjust the mechanical alignment to ma intain perfect pixel-on-pixel alignment over time.
In applications where you are projec ting only white or light images, the Blend Width may be slightly higher—
set according to how much overlap you have between  images. Use the following as a guide (examples show 
overlapping width only—values for  overlapping height will differ). 
NOTE: Recommended overlap is 12.5% - 
25%. 
						

							Section 3: Operation
J Series 1000W and 1200W User Manual3-47020-100706-02  Rev. 1  (03-2014)
COLOR ADJUSTMENTS BY X/Y - Submenu
Enter known x/y coordinates from the chromaticity graph
NOTES: 1) For defining or changing a User 1, 2, 3, or 4 
color performance or “gamut”. Sometimes known as 
Comprehensive Color Adjustment™. 
2) Factory-defined 
primary color levels, which ensure a specific color 
performance from projector-to-projector, can be calibrated in 
the Service menu only. The fact ory settings can be recovered 
with selection of “Reset to Fa ctory Defaults?” in the Color 
Primary Settings submenu acces sed via the Service menu 
(password-protected).
From the factory, the projector can use any of the th ree pre-defined color performance settings identified at 
right (default=Max Drives), or colors can be driven on  the basis of color temperature. For most applications, 
one of these gamuts will produce accurate and realistic colors from a variety  of sources. They can be applied at 
any time in the  Advanced Image Settings  menu (“Select Color Adjustment”), and are not adjustable.
DEFINING “USER” COLOR GAMUTS  You may find the pre-defined “Select Color Adjustment” options 
do not suit your needs. For example, you may require a unique color gamut (range) for a single projector or 
application, or you may need to precisely match colors across multiple adja cent displays. In such cases, use the 
Color Adjustments by X,Y  or Color Saturation submenu to define the precise  hue of each primary color 
component (red, green , blue, and white) used to generate the millions  of colors produced in displays. You can 
create up to four custom color gamuts (User 1, 2, 3, or 4) with these adjustments.
NOTE:  The two menus differ only in their user interface,  so use whichever menu best suits your needs and 
application. A color meter can help with adjustments.
 Use this submenu to create, alter or copy a color gamut (i .e., “color adjustment”). Controls in this menu define 
the precise hue of each primary color  component (red, green, blue, and white ) used to generate the millions of 
colors produced in displays. The x/y coordinates for  each color define its location on the standard CIE 
chromaticity graph, see  Figure 3-38 CIE 1931 Chromaticity Diagram . Changing either or both of these 
numbers will change th e hue of the color, and relocate the “trian gle” for possible colors. For example, 
changing the x/y coordinates for red may move the color closer to orange or closer to violet, which will in turn 
affect all displayed colors having a  red component. Adjust the slide bars or enter new specific coordinates as 
desired to define or change up to four “User” color  gamuts needed for your environment and applications. 
Apply at any time in the  Advanced Image Settings  menu.
Max Drives
Color Temperature
SD Video
HD Video
User 1
User 2
User 3
User 4
Pre-defined
Adjustable Slidebar 
						

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Section 3: Operation
FIGURE 3-38 CIE 1931 CHROMATICITY DIAGRAM 
NOTE:
  Keep new x,y coordinates w ithin the original color gamut triangle shown here.
COLOR SATURATION - Submenu
Adjust color slide bars and judge im age color by eye or meter. A user-defined color “adjustment” can be 
applied by selecting it in the  Advanced Image Settings menu (select ‘Color Adjustment’).
Use this submenu if you do not have  specific color coordinates in mind and will judge color performance by 
eye or meter. Like the  Color Adjustment by X,Y  submenu, each color control actually defines new x/y 
coordinates for that color and changes its hue.
NOTE:  A  Color Saturation  adjustment defines the correspondi ng x/y coordinates shown in the Color 
Adjustment by X,Y  submenu. These x/y coordinates will remain  stable for this User gamut until they are 
changed again via either menu . Values displayed in the Color Saturation menu, will fluctuate as you use the 
projector, and will be different when you return to this  menu in the future. These floating changes do not affect 
the x/y coordinates or gamut.
BLACK LEVEL BLENDING - Submenu
Similar to  Edge Blending , Black Level Blending  allows you to adjust the bl ack level intensity of multiple 
adjacent projected images to create one large seamless display.  Blinders are reco mmended for fixed 
installations. 
						

							Section 3: Operation
J Series 1000W and 1200W User Manual3-49020-100706-02  Rev. 1  (03-2014)
Procedure
NOTES: 1) Adjust white levels before adjusting black levels. 2) The zones in BLB menu correspond to the Edge 
Blend zones. If a given Edge Blend zone width is set to  0 (i.e. no blend on that side) then the corresponding 
BLB zone is disabled. It only becomes accessi ble when that Edge Blend zone is active.
1. Start with two projectors. 
2. Select the black test pattern for both projectors from the  Geometry and Color submenu. In the Black 
Level Blending  submenu, enable black blending by  selecting Standard for each projector.
3. Working with one projector at a time, use the center  brightness slide bar to adjust the center brightness 
(brightness of the non-blended region) so that the center intensity matches that of the brightest blended 
region (the center of all images when blending a 2 x 2 display is the target area).
4. You can select which of the next four options, Top, Bottom, Left, Right, to use depending on which edge of  the projector you are working with has been edge blended. The blend width can be adjusted to line up 
properly but by default it corres ponds to the edge blending setting determined for that edge. 
5. The brightness and black hues of the blended region  can be adjusted in more detail in case fine-tuning is 
needed (may be only necessary for  blending a 2 x 2 projector display b ecause blending differs for the sides 
and center).
Default Color Adjustments
The value selected is the default to be  used by the system during auto setup or initial detection of a new source. 
Refer to  3.8 Configuration - Adjusting System Parameters and Advanced Controls >3.8.8 GEOMETRY AND 
COLOR - Submenu , Color Adjustments by X,Y for description.
TILING SETUP - Submenu
Image tiling allows a single input image to be displayed, sp read over multiple screens, with each screen 
displaying a fraction of the image. The image is disp layed by the m×n array of projectors, where m is the 
number of rows (1-3) and n  is the number of columns (1-3). This allows the following arrays to be set up: 
1x2, 2x1, 1x3, 3x1, 2x2, 2x3, 3x2, 3x3. 
NOTE:  Maximum array size 3x3 with SIPC, 2x2 with DIPC.
Projectors are numbered from left to right (left  column = 1), and from top to bottom (Top row = 1).
Examples:
On each projector you must set the following:
 The tiling array size - set the total rows and total columns. This setting will be the same on all the projec-
tors in the array. 
 The relative location of the projector within the arra y - set the row number and column number for each 
projector
 Enable Tiling - Tiling can be enabled or disab led without losing any of the above settings.
Projector A
Row 1, Col 1Projector B
Row 1, Col 2Projector C
Row 1, Col 3 Projector A
Row 1, Col 1
Projector C
Row 2, Col 1 Projector B
Row 1, Col 2
Projector D
Row 2, Col 2 
						

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Section 3: Operation
The features that act differently when Tiling is enabled are:
The PIP border is disabled
 Cascading menus are turned off
 Menus show only 5 items, with a scroll bar to allow the rest of  the menu items to be reached.
 Projector source switching in the array is not synchr onized. Therefore some latency can be seen from when 
the commands are issued to each  projector, causing switching to not  be as seamless when in a tiling config-
uration. When using loop-through via the Twin HDMI In put Card to distribute a signal to the tiling array, 
additional latency in the switching can  occur during HDCP repeater negotiations with the source player.
HINT: When the  FUNC+HELP  key combination is pressed, the t iling settings will be cleared.
NOTE: Tiled warps/keystones can be enabled through Christ ie TWIST 1.6; Refer to the Christie TWIST User 
Manual.
3.8.9 DIAGNOSTICS & CALIBRATION - Submenu
• TEST PATTERN
Select the desired internal test  pattern to display, or select OFF to turn off a test pattern. Alternatively, use the 
T
EST key for cycling through test patterns.
• GREY LEVEL
This will set the level of grey for displaying in the full grey field test pattern.
• FREEZE IMAGE
Enter a check mark to freeze (stop) an image on a single  frame. Use this diagnostic tool to examine in detail a 
still version of an incoming image that  cannot be “frozen” at the source. For example, in moving images it is 
sometimes difficult to observe artifacts  such as external de-interlacing/resizing and signal noise. Remove the 
checkmark to return to normal.
• COLOR ENABLED
Select which color(s) you want to see.  Use this while working with color temperature, input levels or other 
special setup parameters. Colors can be  enabled/disabled by entering the corresponding function code listed on 
the back of the standard remote keypad.
• INPUT PEAK DETECTOR
A fast method for defining individual input levels, and  improving the accuracy of input levels set by the Auto 
Input Level functio n. Enabling the Peak Detector activates a special opera ting mode for detecting only pixels 
that are considered black or white—all  other levels are displayed as a mid-level grey. When used with a 16-step 
greyscale pattern in which the two bl ack and white bands 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 bands are just 
visible. Images from this source will then display correct blacks and whites withou t crushing or washing out. 
NOTE: If using  Peak Detector  with PIP, both images must have  the same color space.