Christie Projector Mirage 5000 User Manual

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NOTES: 
1) Increasing the Dark Interval decreases the peak brightness of the image.
Use only if necessary—you may prefer some color artifacts rather than reduced
brightness, or vice versa. 
2) Higher input frame rates limit the range of Dark Interval
adjustment. 
3) You may have to adjust Gamma (if available—it is set to “Default” if
the Adjust Primary Colors function is also in use) to account for the longer dark
interval. 
4) Faster glasses enable use of a briefer dark interval.
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By default, the projector begins display on its first (top) line of pixels. However, it is
important to remember that a V-Position adjustment (accessed in the Size and
Position menu) determines the first active line in the source, moving your display
accordingly. Such an adjustment, therefore, increases or decreases the delay in your
display signal, in turn changing the required synchronization in your 3D application.
x 
,) 9326,7,21 ,6 +,*+¨
¨ More delay, so display starts later in the signal
x 
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¨  Less delay, so display starts earlier in the signal
Note that H-Position and Blanking controls do not affect timing parameters.
The following sources are optimized for active 3D images using the projector and
active glasses. Clamp Tip is “off”. The first signal in the table is 1024 x 1024 and all
others are 1280 x 1024.
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Refer to the following guide when 3D images displayed by your projector do not
appear as you expect:
)/,&.(5,1* ,0$*(: Make sure your source signal is 96 Hz or higher.
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:,7+ */$66(6 3(563(&7,9( $33($56 ´5(9(56(µ: If vanishing points of objects
appear in the foreground rather than background, destroying perspective, the TTL
inverter is likely missing or not working (you can confirm this by turning the glasses
upside-down—3D will return). Or, if you are using the Stereo3D
TM Interface Module,
the checkbox in the Advanced Image Settings needs to be toggled.
,0$*( ,6 %5($.,1* 83: The horizontal back porch may be too small or too large. If
you can lock to the signal by changing H-Position but have a black left edge in the
image, reduce the source’s horizontal back porch blanking. If the black edge is on the
right, increase the source’s horizontal back porch blanking.
+25,=217$/ 675($.6 ,1 7+( ,0$*(: You may need to enable the Clamp Tip
option in the Input Levels menu (accessed via Advanced menu) with 4- or 5-wire
signals.
&2/256 $5( ´2))µ: If some grays in your grayscale appears tinted when viewed in
3D mode (i.e., Minimum Delay), your glasses may be slightly slow for the current
signal setup. 1) If possible, adjust the projector’s Dark Interval control. 2) Double-
check timing adjustments to the source. 3) Use faster glasses.
When working with multiple projectors, you may want to use the RS-232 or RS-422
serial ports to chain the projectors together in a network that you control from either a
keypad or a computer/controller (see 2.9, Serial Port Connections). Or you may prefer
that each projector stands alone, in which case you will probably use a single IR
remote keypad. In either case, you can switch back and forth between broadcasting to
all projectors or controlling each projector individually. You may also want to match
adjacent images to one another with an accuracy that demands adjustment of one or
more of their primary color “cast”.
Make sure you have assigned a unique projector number to each projector present —
this number will be required in order get the exclusive attention of an individual
projector. To assign a projector number:
Press 
0HQX and select the Communications menu. In the Communications menu, scroll
down to Projector# and enter a three-digit number (000 to 999) for identifying the
current projector. Press 
(QWHU to accept the entry, or ([L W to cancel.
Repeat for each projector, using a unique three-digit number for each. Once every
projector has its own number, you can begin to control the network.
First make certain that only one (any) networked projector has its Broadcast Keys
option selected (checked) and IR sensors enabled — the remaining projectors must
have the “Broadcast Keys” option unchecked and their keypads disabled (do this in
Preferences menu). The Broadcast Keys projector will then relay keypad
commands to the other projectors. If using a wired remote, make sure to select the
“Broadcast Keys” option for the projector to which the wired remote is connected.
To work with a single projector, press 
 to display an editable window from each
projector. Enter the three-digit number you have assigned to the projector you wish to
control. All keypad commands will then affect this projector exclusively until you press
 again and enter a different number, or until you switch to broadcast mode (below).
NOTE: If you are using a computer or controller to issue commands, use the correct
RS-232 software command to gain control of a single projector.
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First make certain that only one (any) networked projector has its Broadcast Keys
option selected (checked) — the remaining projectors must have the option
unchecked and their keypads disabled (do this in Preferences menu). The Broadcast
Keys projector will then relay keypad commands to the others. If using a wired
remote, make sure to select the “Broadcast Keys” option for the projector to which
the wired remote is connected.
On either the IR remote or wired keypad, press 
 to display the projector box.
Press 
 again without entering a number — the keypad commands will now affect
all projectors. Due to time lags in network communications, direct number entry is
recommended when broadcasting a parameter adjustment—i.e., holding 
 or 
will not ensure uniform adjustment, since more remote projectors are subject to time
delays and will “fall behind”. Instead, enter the desired value to broadcast.
NOTE: If you are using a computer or controller to issue commands, use the correct
RS-232 software command to broadcast.
In a multiple-projector wall, you will likely want to precisely match image color and
intensity from screen-to-screen so that the wall is as uniform as possible. The first step in
achieving such consistency is to use the Adjust Primary Colors (CSC) menu to fine-tune
each projector’s fundamental primary colors—red, green and blue—so that each color
hue and intensity appears exactly the same from projector to projector. Once matched,
these colors work together to essentially create a single new color temperature or “image
cast” that all projectors can attain (range is 5250-6750K). This setup can be applied or
disabled at any time throughout the wall, simplifying both the setup and maintenance of a
“seamless” wall. Follow the step-by-step instructions below.
NOTES: 
1) During this procedure, look at the center of each screen. 
2) On-line hints
and help can guide you through the procedure. 
3) A color meter is helpful but not
required. 
4) Color matches are optimized for graphic sources. If using video sources
with radically adjusted primary colors, you may notice a slight posterized or banded
effect in images.—you may have to forfeit some color matching to eliminate this. 
5)
Review primary colors upon installation of a new lamp.
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6(7 83 $1 237,0,=( $// 352-(&725 6(77,1*6Note that you can ignore
color temperature at this point, since it will be redefined when adjusting
primary colors, but do set up the projectors in every other aspect. Also make
sure that edges of adjacent screens lie very close to one another.
E 
$66,*1 352-(&725 180%(56. Make sure each projector is assigned a
unique 3-digit number (see Assigning a Projector #, previous page). You’ll
then be able to switch between communicating with an individual projector
(
 ###) and broadcasting () at any time.
F 
,63/$<  :+,7( ),(/ ,17(51$/. On each screen, display the internal
white field test pattern.
Use of the internal white field is strongly recommended. If, however, you still
prefer to use an externally generated white field, set Contrast and Brightness
to 50 for each projector. Then, in the Input Levels menu, set input levels
correctly for each projector while displaying an external 256-step grayscale:
1.
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2.
 Wait for the 6 values (blacklevels and drives) to stabilize.
3.
 Delete the checkmark and leave the Input Levels menu. Input
levels are now correct for this source. Switch to the external
white field for the remainder of this procedure.
NOTE: Avoid using a digital source (particularly YUV) for the white field.
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86( 7+( 6$0( /$03 32:(5. Set all projectors to the same Lamp Mode
(Power or Intensity). Set all to the same desired setting (default = maximum).
NOTE: Do not try to match the perceived light output at this point.
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(1$%/( 35,0$5< &2/25 $-8670(17In the Adjust Primary Color (CSC)
menu (
0HQX), enter a checkmark in the Use Primary Color Adjustment
checkbox so that primary color controls can be adjusted and applied to the
image. See Figure 3.36.
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Note also that enabling Use Primary Color Adjustment also sets Gamma to its
default—no other setting of Gamma is possible with adjusted primary colors.
If at any time you decide 
not to use or apply the Adjust Primary Colors (CSC)
feature, delete its checkmark—this disables Red Primary, Green Primary and
Blue Primary controls. In addition, full normal adjustment of Gamma is
regained.
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In the
Adjust Primary Color (CSC)
menu, select a “User” color
temperature that you will be
defining through your
adjustment of primary colors
on each projector. Choose
any of the four User choices,
but note that User 
1 is the
default color temperature
applied if you add a new
source in the future while
Primary Color Adjustment is
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activated (instead of the usual default of 6500K applied when Primary Color
Adjustment is 
not enabled). As in any color temperature menu, white levels
for preset color temperatures cannot be changed. See Figure 3.37.
F 
6(7  :+,7( /(9(/6 67$57,1* 32,176 In the Adjust Primary Color
(CSC) menu, set all White Levels to 
90% (note: appears as 
90.2 in the menu).
See Figure 3.37.
NOTE: A starting point should 
not be 100% because this color could not then
be added to the mix for either of the two remaining primary colors, therefore
limiting the success of matching all colors.
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0$7&+ $// /,*+7 287387 Compare all white fields and choose the dimmest.
Using the 
 ### function to talk to the other projectors individually, reduce
Lamp Power settings as necessary until each projector has approximately the
same light output as the dimmest.
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F 
0$7&+ *5((16Compare green fields and choose the least saturated green
(i.e. the screen which you feel is furthest from “pure green” and leans slightly
toward yellow or blue). In the Green Primary menu for each remaining
projector—starting with the adjacent projector—add red or blue as necessary
until all green fields match the first, both in color and light output. Sometimes
all projectors need
color added, other
times certain
projectors will
need red and others
will need blue, etc.
See right. NOTE:
Green affects the
light output of any
color the most,
blue the least.
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‰ 6500K is the default color temperature if you adjusted primary colors for
User 
2, 3 or 
4 (see Step 2b in Matching Colors In Multiple Screens),
regardless of the Use Primary Color Adjustment checkbox status. To
switch to your primary color adjustments, select the proper User color
temperature as usual from any color temperature menu. Make sure that
the Use Primary Color Adjustment checkbox is 
checked.
‰ 6500K is the default color temperature if the Use Primary Color
Adjustment checkbox is 
unchecked, regardless of which “User” color
temperature you chose in Step 2b.
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If you do not want to use primary color adjustments, delete the Use Primary Color
Adjustment checkmark in the Adjust Primary Color (CSC) menu. This disables Red
Primary, Green Primary and Blue Primary controls. In addition, the Gamma setting
returns to normal function and can now be changed if desired.
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:+$7 ,6 %5,*+71(66 81,)250,7< When used to refine screens already matched
for their primary colors (see Adjust Primary Colors
, above) and overall light output,
proper adjustment of Brightness Uniformity
 can create an exceptionally smooth
screen in which:
x no area of the screen appears more red, green or blue than another
x no area of the screen appears brighter than another
x 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
“seamless” 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:
‰ 86( 35,0$5< &2/256³Always activate and adjust the primary colors control
as described in the “Matching Colors in Multiple Screens” procedure (above)
before attempting to work with Brightness Uniformity. This ensures that $FKLHYLQJ %ULJKWQHVV


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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.
‰ 581 /$03 )25  +2856³Light output and Brightness Uniformity can vary
significantly during the first 100 hours of lamp use. For best results with new
lamps, either set up Brightness Uniformity after this period, or do an initial
setup and re-check at 100 hours.
‰ 6(7 /$03 32:(5³Make sure 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 uniform brightness
will then require a reduced overall brightness—this reduction will help ensure
that you have enough range of adjustment when examining brightness
variables more closely from screen-to-screen, and will help prevent premature
“maxing out” when trying to match to a certain color, zone or projector.
‰ 86( ´86(5 µ &2/25 7(03(5$785(³Always adjust Brightness Uniformity
for the User 1 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.
‰ ,*125( 7+( &2/25 2) 0(186³Menu color will vary between screens that
are otherwise well-matched.
‰ :+,7( 81,)250,7< 6/,(%$56³White Uniformity slidebar values may not
reduce to “0”. Each slidebar 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 slidebar to stop earlier than expected.
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F Select the 13 Point test pattern for display.
This pattern provides 9 screen “zones” with
13 targets.
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.
G In the Advanced Color Temperature menu,
select “User 1”. Then:
x If you have adjusted “User 1” Primary Colors to create a well-matched
wall (recommended), continue to Step 
H.
x If you prefer maximum 
brightness rather than a particular color
temperature, set the User 1 white levels to 100 (maximum).
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H In the White Uniformity menu, reduce each color light output level to 
50.0.
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—a
higher level will
likely interfere
with achieving
brightness
uniformity and is
not recommended.
See Figure 3.42.
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.
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NOTES: 
1) At this point, ignore the 
brightness of individual zones. 
2) Always ignore
menu colors.
D 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 
E.
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E 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 3.43.
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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 
D & E for all remaining screens.
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D 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 3.44). 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.
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