Christie Projector Mirage 5000 User Manual

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The Advanced menu includes a variety of special
options that an experienced operator may want to
adjust for certain applications, such as color-critical
displays or multiple projector walls. In addition,
this menu provides access to test patterns, lamp
settings and service, and the password-protected
Service submenu.
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Use the “Diagnostics” submenu to select a test
pattern or to freeze the current image, both helpful
for closely examining performance. You can also
turn specific colors on or off to further pinpoint
where a suspected problem may be occurring.
7(67 3$77(516 ²Select this option to use a pull-down list of
all available internal test patterns.
NOTE: For quicker access from your presentation, use the 
7H V W
key to cycle through the patterns. At the last pattern, press 7H V W
to return to your presentation—or press ([L W at any time.
)5((=( ,0$*( ²Use the “Freeze Image” checkbox to freeze
(stop) the image at a single frame. This diagnostic tool is
useful if you need to examine in detail a still version of the
incoming image which may not be “freezeable” at the source.
For example, in moving images it is difficult to observe
artifacts such as external deinterlacing/resizing and signal noise.
NOTE: “Freeze Image” is disabled for 3D images.
&2/25 (1$%/( ² Select which color or colors you want to see, useful while working
with color temperature white levels or input levels.
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NOTES: 
1) It is recommended that only experienced users use the 
Input Levels
menu—the projector automatically optimizes input levels for all but the most unusual
of sources. 
2) Always check that overall contrast and brightness settings are near 50
and that color temperature is properly set up on an internal grayscale test pattern
before attempting an input level adjustment. 
3) There must be at least one white pixel
present in the image for proper “Auto Input Level” function. Leave this control 
off. $GYDQFHG &RQWUROV


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Good RGB or input
levels—that is, the
drives and blacklevels
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” from the Main menu), 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 
1 white pixel in the image. Without a white
pixel, input levels may produce skewed colors, particularly in non-video images.
However, for a very unusual source exhibiting overly high blacklevels (most often
caused by a noisy source that causes blacklevel spikes), an experienced user may
prefer to use the Input Levels menu (see Figure 3.22). These adjustments, which are
actually a calibration process to compensate for differences in sources and cabling,
enables an experienced user to perfect the source image input levels. Note that Input
Levels are of limited use with digital signals, but offer some ability to tweak poorly
mastered source materials.
$872 ,1387 /(9(/ ² Keep off for virtually all sources (default). Temporarily enter a
checkmark only if you are an experienced user and you have an unusual source that
you feel needs further color temperature and/or input level adjustment. After entering
a checkmark, wait for the six values to stabilize, then delete the checkmark and exit.
%/$&./(9(/6 $1 5,9(6  To check your image and adjust these controls:
1.
 Make sure overall Contrast and Brightness are both set to near 50.
NOTE: Not required for “Auto” adjustment.
x 
&RQ W = 50 (approx.)
x 
 = 50 (approx.)
2.
 Check the color temperature setup using an internal grayscale test
pattern, adjusting as desired to obtain a neutral grayscale. NOTE: Not
required for “Auto” adjustment.
3.
 Make sure you are using an analog source 
not connected to 
,1387 or
,1387 , as Input Levels are not applicable for digital sources or sources
going through the video 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 6
values to stabilize. Alternatively, do not use “Auto”—reduce blacklevels
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
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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.
&/$03 7,3 ² This option (full name sync tip clamping) can brighten the image
produced from certain high resolution, high frequency graphic sources. Enter a
checkmark if the image appears unusually dim, if there are horizontal streaks across the
image, or if there is significant color drift. Delete the checkmark if the image is either
sufficiently bright or overly bright. This option is useful for non-3D as well as 3D.
NOTE: The clamp tip option is not used for video sources or any RGB source with
sync information on the video (e.g., sync-on-green).
&+520$ ,1387 *$,1 ²For most incoming signals, the projector produces the best
color saturation by applying the same gain for chroma levels (blue and red, i.e. “Pb,
Pr”) as it does for luma levels (green, i.e. “Y”)—this default processing is indicated
by a Chroma Input Gain value of “1000”. With certain YPbPr signals, however, you
may need to improve the color saturation by applying a different gain (500-2000) for
chroma relative to luma—this new gain will modify how “Auto Input Level” sets the
red and blue drive values. Adjust the Chroma Input Gain slidebar under either of the
following conditions:
‰ If the ADP option is installed and you want to adjust color saturation
produced by your YPbPr signal (the 
&RORU key or “Color” menu control do
not function with ADP)
or
‰ If a certain type of YPbPr (analog) component video signal—typically
Betacam or M11 format—is producing incorrect color saturation.
Note that the Chroma Input Gain slidebar is not useful for other types of signals and
has no effect unless “Auto Input Level” is run (either through the checkbox or during
an Auto Setup), or unless there is no channel defined yet. When Chroma Input Gain
adjustments are done before a channel is defined, the new channel will be defined
with the chosen value rather than the default of “1000”.
&2/25 (1$%/( ² Select which color or colors you want to see, 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. 
						

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NOTE: For sources with Color Space set to RGB only.
When using certain RGB
sources with static images, you
may need to adjust the normal
gain or offset of odd pixels in
relation to even in order to
smooth out very narrow (1-
pixel wide) checks or vertical
stripes. These patterns signify
adjacent “on” and “off” pixels,
and can be removed as
follows:
1.
 Use an external grayscale test pattern of some kind (make sure it has
both dark grays and light grays).
2.
 Make sure the image is displayed in its native resolution, i.e. with 
No
Resizing.
3.
 Display a single color — choose through the “Color Enable” menu
option or use the 
)X QF key shortcuts shown on the back of the remote
keypad.
4.
 Examine an area of 
darkest gray (but not black). If there is a 1-pixel
wide pattern present, adjust “Odd Pixel Adjustment” 
offset for the
current color. Stop when the pattern disappears and the area is smooth.
5.
 Examine an area of 
lightest gray (but not white). If there is a 1-pixel
wide pattern present, adjust “Odd Pixel Adjustment” 
gain for the current
color. Stop when the pattern disappears and the area is smooth.
6.
 Repeat for each color, adjusting offset then gain for each.
NOTES:  
1) Always adjust offset before gain, since offset affects gain. 
2) A value of
128 represents no change in normal odd pixel offset or gain. 
3) Odd Pixel Adjustment
eliminates “1 pixel on, 1 pixel off” patterns only, not any type of larger patterns.
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Select the  Advanced “Color Temp” option if you want to apply, alter, add, or copy a
color temperature, or if you want to use an unaltered factory default color
temperature.
By default, the projector can utilize any of four calibrated factory-set color
temperatures: 3200, 5400, 6500 or 9300 (expressed in degrees Kelvin). For most
applications, these temperatures will display accurate and realistic colors from a
variety of sources. They can be selected at any time in either the Image Settings menu
or in the Advanced Color Temperature menu.
NOTE: By default, color temperature is 6500K for a new source 
unless you have
defined and enabled a “User 1” color temperature in the 
Adjust Primary Colors
(CSC) menu. In this case, your “User 1” color temperature will be the default for a
new source. See 
3.9, Using Multiple Projectors for complete information. 
						

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However, if you require extra color temperatures, you can also add up to five custom
color temperatures–four “User” and one “Interpolated”–by defining them within the
Advanced Color Temperature menu or in the Adjust Primary Colors (CSC) menu
(each defaults to 6500K until then). Any “User” or “Interpolated” temperature
created here is immediately applied, or it can be selected at any time from the Image
Settings menu as usual, regardless of your source or channel. The Advanced Color
Temperature menu options are described below.
Note that with multiple projectors, a “User” color temperature can be further refined
so that its fundamental primary colors—red, green and blue—match from one
projector to another and produce even more consistent color temperature
performance. See 3.9, Using Multiple Projectors for complete instructions on
adjusting primary colors to create a uniform “User” color temperature in multiple
screens.
NOTE: For best results, use an internal grayscale test pattern when working with
color temperature.
&2/25 7(03 ² See Figure 3.23. Upon opening the Advanced Color Temperature
menu, the current temperature appears as the top option. You can change to a
different color temperature here as desired, just as in the Image Settings menu. Note
that if you select a “User” color temperature, the “White Level” options further down
in the Advanced Color Temperature menu are no longer disabled—you can adjust
them as desired to define or change a “User” color temperature (see “White Levels”,
below). Likewise, selecting “Interpolated” here activates the “Interpolated” slidebar
for defining or changing an interpolated color temperature.
,17(532/$7( ² Select this option if you need a specific color temperature that lies
somewhere between one preset color temperature and another. Adjust the slidebar to
define a new temperature which will be interpolated from the neighboring presets
(for example, 7841 is interpolated from 6500 and 9300). It can be used any time and
appears as a 4-digit temperature when present.
:+,7( /(9(/6 ²These 3 controls are adjustable only if a “User” choice is selected (in
which case “User 1, 2, 3 or 4” appears at the top of the Advanced Color Temperature
menu). Their current values are shown for the active color temperature. Changing a
white level here changes the drive (contrast) for that color, essentially creating a new
color temperature that is “warmer” or “cooler” etc. 
For maximum overall 
						

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brightness, always keep at least one white level at 100. When you are satisfied with
the new “User” temperature, it can be used immediately upon exit or it can be
selected from either the Image Settings menu or the Advanced Color Temperature
menu as usual. You can re-define a “User” color temperature at any time using the
Advanced Color Temperature menu.
&2/25 (1$%/( ² Select which color or colors you want to see, useful while working
with color temperature white levels.
&23< )520 ² Use this option to replace the currently selected “User” color
temperature setup with that of another. This function can be particularly useful for
creating a starting point for a new “User” color or for accessing an unaltered factory
default. It is disabled for all color temperatures except “User”. See Figure 3.24.
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To create a starting point: To set a starting point for a new custom user color
temperature, select a user temperature, then highlight “Copy From” and select a
temperature that is similar to what you want. Adjust white levels from there as
desired.
To use a factory default: The preset
color temperature setups (3200K,
5400K, 6500K and 9300K) can be
altered from within the password-
protected Service menu only—note that
although such an alteration changes the
setup and appearance for a preset, it
does not change its name. If you
suspect that you are using a preset
temperature that has been altered and
you want instead to use the original
factory-calibrated color temperature
without clearing the entire projector
memory, you can use the “Copy From”
option in the Advanced Color
Temperature menu to set up a “User” temperature with settings from a permanent
factory preset:
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1.
 Select the “User” color temperature you wish to update at the top of the
Advanced Color Temperature menu, such as “User 2”.
2.
 From the “Copy From” list, select the matching temperature labeled “Factory”
(such as “Factory 5400K”). These are the calibrated color temperatures set at
manufacture—they remain intact for the life of the projector.
3.
 The setups for the “User” color temperature you selected at the top of the
Advanced Color Temperature menu will now be updated/replaced by those for
the permanent factory calibrated temperature you selected in the “Copy From”
list. Again, a “User” temperature can be altered at any time, if desired.
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(/$< ²
 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.
,1387 9,(2 %/$&. ² This control compensates for incoming elevated black levels–
called “setup”–that are present in certain video signals, and ensures that blacks on
screen are neither crushed (i.e., with dark gray appearing black) nor excessively
elevated (i.e., with black appearing dark gray). By default, the projector automatically
determines the correct setting according to the type of incoming video signal:
x 
 ,5( – For DVD output with “enhanced black”, SECAM, most PAL
standards, and Japanese NTSC.
x 
 ,5( – 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 also for graphics sources. Generally, if black appears crushed when
brightness = 50, choose “0 IRE”. If black appears excessively elevated, use “7.5 IRE”.
9&5 ² This control determines to what degree the projector tolerates signal
disturbances. The correct setting is automatically determined and set according to the
type of incoming source signal–for instance, there should be a checkmark for all
VCR sources. The VCR option may require a change from its auto setting in very
rare circumstances only, such as if you are having difficulty switching between two
unusual and almost identical VGA computer sources. Otherwise, it is not necessary
to change this option.
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352&(66,1* 02( ²This control determines the projector’s processing method for
the incoming signal.
1.
 
$872(default):  The
projector will
automatically select the
correct processing mode
according to what input
signal it detects. Use
“Auto” unless you want or
need to override its performance and apply a specific mode instead.
NOTE: Auto does 
not process 3D signals. You must select “Minimum Delay”
mode instead.
2.
 
9,(2 Performs 15 kHz NTSC/PAL video de-interlacing, regardless of signal
type. Note that this option utilizes standard 8-bit processing.
3. 
*5$3+,&6  +79 Performs basic de-interlacing and scaling, regardless of
signal type. Note that this option utilizes standard 8-bit processing.
4. 
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3.
 027,21 For video images that did not originate from film, or for
moving computer-generated images. NOTE: Applied for RGB HDTV
interlaced signals.
4.
 
),/0 For video images that originated from film. This will optimize
image quality and stability.
NOTES: 
1) For 60 Hz video standards: NTSC, PAL M, PAL 60. 
2) Also
recommend for PAL video standard if the ADP module is present—note
that you must select film mode manually in this case. 
3) Signals can be
from RGB video, composite video or S-video sources.
(1$%/( (&2(5 $*& ²The “automatic gain control” affects decoded video images
only. Enter a checkmark (default) for most decoded video sources—this activates the
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.
$5. ,17(59$/ ²When displaying 3D images, use this setting to artificially increase
the amount of dark time between displayed frames. Higher settings provide more
time for shutters in 3D glasses to open/close, ensuring that each eye sees the full
display intended for it. Symptoms of cross-talk and/or color artifacts indicate that the
Dark Interval setting is incorrect for the current source. Note that the Dark Interval
default is approximately 375 µs, but slidebar values range from 0-255 and do not
indicate µs.
NOTE: See 
3.8, 3D Images for a full explanation of Dark Interval use.
3// /223 *$,1 ² This control changes the relative offset to the default gain. The
default PLL (Phase Lock Loop) Loop Gain setting of 10 is set automatically with a
Pixel Tracking adjustment and is correct in most cases. In rare instances, such as if
your image exhibits tearing or “flag-waving”, increase the PLL loop gain setting as
necessary. Or, if your image is unstable and “breaks up”, this may indicate that the
PLL loop gain setting is either too high or too low. PLL Loop Gain affects the current
channel only.
$9$1&( %,7 $3 ²Select this option to
access a submenu of controls affecting Advanced
Digital Processing module performance.
x Noise Reduction: Set the amount of image
noise reduction desired, with “0” applying
no noise reduction (default) and “10” applying maximum noise reduction. The
higher the value, the softer the image.
x Horizontal Filter: Set the amount of horizontal filtering desired for the current
source. Note that the default setting of “0” allows the projector to optimize the
amount of horizontal filtering according to the current source, and is the
recommended setting for most situations. You can override this by selecting a
value from 1-10, with “1” applying no filtering and “10” applying maximum
filtering. High filtering levels will soften the image slightly, particularly
evident along vertical edges.
x Vertical Filter: Set the amount of vertical filtering desired for the current
source. Note that the default setting of “0” allows the projector to optimize the 
						

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amount of vertical filtering according to the current source, and is the
recommended setting for most situations. You can override this by selecting a
value from 1-10, with “1” applying no filtering and “10” applying maximum
filtering. High filtering levels will soften the image slightly, particularly
evident along horizontal edges.
NOTES: 
1) The Advanced 10-bit (ADP) submenu is available only if the optional
Advanced Digital Processing module has been installed in your projector. 
2) The
ADP module is optimized for use with digital inputs, such as the 
Serial Digital Input
Module or the 
Digital HDTV Input Module. Images from analog inputs (Input 1, 3
or 4) will also be noticeably improved, however these signals are first converted with
8-bit processing before routing through the ADP module.
,19(57 67(5(2 70²This option is enabled
and useful only if you are using a Stereo3DTM
Interface Module—and related components—
to reverse the projector’s 3D display of
left/right frames. Such a configuration replaces
the need for a separate TTL inverter as
described in 3.8, 3D Images.
With your sync, Z-screen and, if desired,
emitter connected as described in 3.8, 3D Images, enter a checkmark (default). This
will invert the sync signal so that left/right image data is seen by the intended eye,
producing proper perspective in the display. Delete the checkmark if you do not want
to invert the signal via your Stereo3D
TM Interface Module.
NOTE: This option has no function unless the Stereo3D
TM module is properly
installed and connected. By default, the checkbox is checked and the signal inverted.
/DPS
Whenever you install a new lamp in the
projector you need to access the Lamp
submenu and record the lamp serial number in
the projector’s memory. You can also set
different Lamp submenu options such as
intensity (output) or power required. These
setups can be changed at any time.
NOTE: See 
4.4, Replacing the Lamp and
Filter for complete instructions on installing a
new lamp in the projector.
From the Advanced menu, select the “Lamp”
option for access to the Lamp submenu, where all lamp functions and data appear.
Read-only information includes the number of hours logged on the lamp so far and
the serial number recorded for the installed lamp.
/$03 +2856  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. NOTE: Read-only. This information also
appears in the Status menu.
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