Christie Projector Mirage M Series User Manual

							Section 3: Operation
Mirage M Series User Manual3-33020-100575-02  Rev. 1  (11-2010)
DATE & TIME - SUBMENU
The current year-month-day, hour-minute-second. Changes here reset the projector’s real-time clock.
MENU PREFERENCES - S
UBMENU
Adjust the appearance, content and/or location of on-screen menus and messages.
•LARGE MENU FONT 
Enter a checkmark to enlarge menus and their text. To adjust Menu Location to accommodate the increased 
menu area.
• MENU LOCATION 
Use the pull-down list to choose a pre-defined default or customized location for the display of all on-screen 
menus. 
To create a custom menu location:
1. Choose a preset that is closest to the desired location. 
2. Adjust Horizontal Shift and Vertical Shift slide bars to move the menu to the desired location. 
NOTE: 
Avoid locations too close to a corner or edge to prevent cropping of larger menus.
•HORIZONTAL SHIFT AND VERTICAL SHIFT 
Shift your menus as desired, creating a customized menu location.
•DISPLAY AUTOMATIC MESSAGE BOXES
Enable or disable the pop-up of automatic message boxes. These are messages to the user that are not directly 
triggered by user actions. Examples are signal information, function limitation or auto calibration message 
boxes.
•DISPLAY USER MESSAGE BOXES 
Enable or disable the pop-up of message boxes that are directly triggered by user actions. Examples are gamma 
or lens control message boxes.
•DISPLAY 3D MESSAGE BOXES 
NOTE: Only available on 3D and Mirage Products.
Enable or disable message boxes that are triggered by 3D setup errors.
•DISPLAY ERROR MESSAGES 
Choose how you want to be notified of errors detected in either the incoming signal or projector. Select Screen 
or All (default) to see brief on-screen messages. This is recommended during setup or testing of the projector. 
Or select “Serial Ports” to receive messages via RS-232 or RS-422 serial communication only. To hide error 
message displays, such as during shows and presentations, select Off or Serial Ports.
•SPLASH SCREEN SETUP 
Choose when to display a special introductory splash screen image, such as your company logo, graphic or 
message.
•Always Off – A splash screen never appears
•Start-up Only – The splash screen logo appears at projector start-up only.
•Start-up And No Signal – A splash screen appears at start-up and at any time when there is no signal.
To add your own splash screen in addition to the default “Christie logo” splash screen, use the Web UI to 
download the desired bitmap (.bmp) file to the projector. This will overwrite any other user splash screen that 
has been downloaded. 
NOTE: Only one user splash screen can be saved in the projector. 
						

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Section 3: Operation
•OSD TRANSPARENCY 
Check this box if you want the OSD menu backgrounds to be transparent.
•MENU TYPE 
Select the Basic or Advanced menu type from this list box. The Advanced menu setting will give the menu 
options. The Basic menu setting will give a small number of the most frequently used menu items.
•SPLASH SCREEN 
Choose which splash screen is to be used; the default or user downloaded splash screen.
• CASCADING MENUS
Enable or disable cascading menus. When disabled, a single menu level will be displayed on the OSD at a 
time.
COMMUNICATIONS - S
UBMENU
Defines and controls how single or multiple projectors are linked with each other and with a controlling device. 
For detailed information refer to the Serial Command document provided in the Dealer Section of the Christie 
Website, PN 020-100224-XX.
SERIAL OPTIONS - S
UBMENU
• BAUD RATE
Determines the speed of communication to and from the projector on the RS-232 or RS-422 links. The 
maximum rate for the RS-232 is 115200; for RS-422 it is 19200. Set the baud rate to match that of your 
controlling device, such as your PC. Refer to the documentation for the controlling device to determine the 
baud rate. In an existing network of projectors, if you discover that a projector has a different baud rate, use the 
pull-down list and select the correct baud rate using the E
NTER key. Do not scroll this control with LEFT ARROW 
KEY or RIGHT ARROW KEY. Serial communication is always eight data bits, no parity.
• SERIAL FLOW CONTROL
Determines whether software flow control or no flow control is used when transmitting and receiving data on 
the serial port. 
• PROJECTOR ADDRESS
Enter a three-digit number (such as “001”) to assign or change a number to the projector currently in use. If the 
current projector already has a number assigned, that number will appear here (for example “004” in the menu 
shown below. Numerical identity for projectors enables you to communicate with a single projector within a 
multiple-projector application (see also P
ROJ key in, 3.1 Using the Remote Keypad or Built-In Keypad). If you 
make a mistake in assigning or changing the projector number, press E
XIT to cancel. NOTE: When multiple 
projectors are being used and you want to adjust the color for individual projectors to create one seamless 
image, you must assign different numbers for each projector to allow switching back and forth between 
projectors while adjustments are being made.   
						

							Section 3: Operation
Mirage M Series User Manual3-35020-100575-02  Rev. 1  (11-2010)
• NETWORK ROUTING
NOTE: Not applicable for stand-alone projectors or simple serial networks with only one type of controller 
and linking.
Separate - Select “Separate” (factory default) to keep RS-232, RS-422 and Ethernet messages on their 
respective paths instead of being broadcast to the other types of ports, refer to Section 2 Installation and Setup, 
Figure 2-17 Connecting RS-232 to Figure 2-22 Communicating To All Ports.
RS-232 and RS-422 Joined - Messages originating from an RS-232 or RS-422 controller will be relayed to all 
RS-232or RS-422 ports. Any Ethernet communication, however, will not.
RS-232 and Ethernet Joined - Messages to and from the RS-232 ports will also be relayed to the Ethernet 
port, and vice versa. Any RS-422 communications will be isolated. In the case of multiple Ethernet sessions 
over the single Ethernet connector, input on the RS-232 port will be relayed to all Ethernet sessions; however, 
input from any Ethernet session will only be relayed to the RS-232 ports.
All Joined - All messages reach all ports, regardless of type in the case of multiple Ethernet sessions, input on 
one Ethernet session will be relayed to all other Ethernet sessions as well as to the RS-232 and RS-422 ports.
ETHERNET SETTINGS - S
UBMENU
NOTE: Recommended for network administrators only.
•IP ADDRESS 
Enter a valid and unique IP address for use on the network to which the projector is currently connected. This 
address will overwrite any previous IP address such as the projector’s factory-defined default. It takes 
approximately 10 seconds for the projector to respond at its new address.
•TCP PORT 
On some Ethernet networks, firewall restrictions may require that the port number of the projector be changed 
from its default of 3002. If so, enter a new valid port number here. It is highly recommended not to use a port # 
below 1000, as these ports are typically reserved for and used by common IP applications.
• SUBNET MASK 
Subnet Mask determines the subnet for the IP address and must be set manually. 
•DEFAULT GATEWAY 
This is the IP address of the gateway used to reach any non-local IP addresses; it must be set manually.
• HOST NAME
Set the hostname for the device
• DOMAIN NAME
Set the domain for the device
•MAC ADDRESS 
Displays the MAC address of the projector (read-only)
FIGURE 3-30 NETWORK ROUTING LIST 
						

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Section 3: Operation
•BROADCAST KEYS 
Use Broadcast Keys to relay all key presses received by the projector to all other projectors on the network.
•FRONT IR ENABLED
Enable or disable the IR sensor on the front of the projector.
•REAR IR ENABLED
Enable or disable the IR sensor on the rear of the projector.
•WIRED KEYPAD ENABLED
Enable or disable the interface for the wired keypad on the rear of the projector.
DMX / A
RTNET - SUBMENU
The projector supports the DMX512 protocol through both the DMXC option card and through the ArtNet 
communications via the Ethernet connector.  Both input methods share the same feature list, and can share the 
same configuration methods as follows:
• The user may select to monitor both, neither, or a single interface via a DMX control
• If both interfaces are selected, the DMXC input card will take priority if it is actively receiving data. While 
data is active on this card, ArtNet packets will be ignored.
• Only 1 DMXC card can be used at a time. If more than one is populated, the 2nd and subsequent cards will 
not be activated.
• The DMXC card will always be active, even when the projector is powered down (i.e. in standby mode).  
• When controlling a projector with DMX, it is recommended that no other interfaces (such as the IR Remote 
or Web interfaces) are used.
• The Menu for setting the ArtNet and DMX interface is always available at 
Configuration>Communications>DMX/ArtNet Settings.
 NOTE: When a DMXC card is installed, the 
same menu is available at Configuration>Option Card Settings>DMX Input Card>DMX/ArtNet Settings.
• DMX INTERFACE 
Select whether to monitor the DMXC input card only, the ArtNet interface only, both (ArtNet is ignored if the 
DMXC card is actively receiving data), or neither.
• DMX PERSONALITY
This control determines how many contiguous channels the projector will respond to.  Fewer channels mean 
more devices can be used per universe.  More channels mean greater control of the projector, but fewer 
devices.
•Show Personality (18 channels): This is the default setting. The 18 Show channels are those controls 
which are expected to be used throughout the course of an actual show (ie. shutter, channel change).  These 
channels are a subset of those in the Setup Personality.
•Setup Personality (38 channels):  The 38 Setup channels are those controls which are expected to be used 
during the setup of an actual show (ie. Projector orientation, Color, Brightness, etc.)
•ZAP Personality (25 channels): The ZAP personality includes channels with Load/Execute style        
functionality for ‘critical’ functions that require security so that they cannot be changed by a single button 
press and will not be affected by a Grand Master.  This personality cannot be used with a control board 
containing only sliders.  The Load/Execute channels operate as follows:
• The user must load a value, then send 86 (LOAD), then send 171 (EXECUTE) to execute the loaded 
value
• If this sequence of 3 values is not sent to the projector, the command is ignored
Refer to Appendix C: DMX / ArtNet for the DMX Channel Allocation 
						

							Section 3: Operation
Mirage M Series User Manual3-37020-100575-02  Rev. 1  (11-2010)
• BASE CHANNEL
There are 512 channels per universe. This control specifies the starting channel for this projector. If multiple 
projectors are used on the same universe and are to be controlled independently, this value must be changed. 
i.e. If both projectors are using the Show personality (18 channels), projector 1 should start at base channel 1 
and projector 2 should start at base channel 19. 
NOTE: The Base channel setting must allow enough space for the channels required by the selected personality 
i.e. If the Show Personality is selected, the Base Channel may be in the range 1-494. If the Setup Personality is 
selected, the Base Channel may be in the range 1-474.
• SOFTWARE TERMINATION
This control supplies a signal to the card to switch termination resistance in/out of the circuit.  It may be 
necessary to clear this setting upon card removal.  By default SW termination is disabled. The Input 
termination (2 Watt, 120 Ohm) is required on the last DMXC card in a loop through configuration. (i.e. only on 
the last projector). Termination may be either hardware (by plugging in a termination dongle, etc) or may be 
switched in by software, but should not be both.  
NOTE: Hardware termination is recommended, because 
software termination is only in place when the projector has AC applied. If there are cases where the network 
is required to be terminated without AC applied to the last projector, then a hardware terminator should be 
used
• ARTNET UNIVERSE
For DMX512, each universe represents a separate electrical circuit (up to 512 devices/channels).  For ArtNet 
however, DMX data is broadcasted over an Ethernet network, so every device will receive every packet of 
data, whether they belong to that universe or not.  This control specifies which universe the projector belongs 
to, so it can filter out all other data packets. The Universe applies to ArtNet only, and does not apply to the 
DMXC input card.
• ARTNET SUBNET
This is the highest level address in an ArtNet network, providing expandability beyond the universe level.  
This control specifies which ArtNet subnet (group of universes) the projector belongs to. The Subnet applies to 
ArtNet only, and does not apply to the DMXC input card.
• INPUT NOISE FILTER
The Input Noise Filter eliminates DMX/ArtNet input oscillation, which can occur on some DMX control 
boards. This can cause fine resolution controls (e.g. Lens, Brightness) to continually change. A filter setting of 
0 will turn off the filter; a setting of 1 will filter +/- 1 step changes, etc. Using this filter will decrease the fine 
control precision of some slider controls. By default this filter is set to 0 (Off). It is not recommended to use 
this feature unless you are experiencing problems with your DMX input.
• HOST NAME
This will be used to respond to ArtNet polling queries. Christie will be the short name, Christie_HostName 
will be our long name. By default the host name is composed from the projector name and serial number. 
(Default = _). 
NOTE: The Host name is also defined at Configuration->Communica-
tions->Ethernet Settings->Host Name.
GEOMETRY AND COLOR - S
UBMENU
In the Configuration menu, select the Geometry and Color submenu when you need to modify overall color 
performance and/or image geometry for all sources.
•TEST PATTERN 
Choose the desired internal test pattern, or select OFF to turn off a test pattern. Alternatively, use the T
EST key 
for cycling through test patterns.  
						

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Section 3: Operation
GEOMETRY CORRECTION - SUBMENU
• Keystone is typically caused by tilting the projector in relation to the screen, so that the lens surface and 
screen are no longer parallel to each other. Vertical keystone is used to correct a keystoned image shape in 
which the top and bottom borders of the image are unequal in length, and both sides of the image are inclined 
toward the top or bottom edge, see Figure 3-31 Vertical Keystone.
Horizontal keystone is used to correct a keystoned image shape in which the left and right borders of the image 
are unequal in length, and the top and bottom are slanted to one of the sides, see Figure 3-32 Horizontal 
Keystone.
All settings to adjust keystone are in the Geometry Correction submenu. Brightness Uniformity, Edge 
Blending and Black Level Blending should be disabled before performing Keystone adjustments.
ADJUSTING AN IMAGE FOR KEYSTONE CORRECTION
1. Enable keystone adjustments by selecting Keystone from the Geometry Correction drop down list. 
NOTE: This will enable the controls for performing 1D or 2D keystone adjustments.
2. Select a Test Pattern. 
NOTE: It is recommended to use the Grid test pattern.
3. Perform coarse keystone adjustment by using the Horizontal or Vertical Adjust setting. Use the left and 
right arrow keys to make the adjustment. 
NOTE: The corner cursors are a guide as to how the image will 
be adjusted. The outside edge of a cursor will be the outside edge of the image. It may not be possible to 
exactly match the screen dimensions with the Horizontal and Vertical Keystone controls, but these settings 
can be refined when the 2D keystone settings are adjusted. 
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 adjustments have been made, starting to do any Horizontal 
Keystone adjustments will erase the Vertical 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.
FIGURE 3-31 VERTICAL KEYSTONE
FIGURE 3-32 HORIZONTAL KEYSTONE 
						

							Section 3: Operation
Mirage M Series User Manual3-39020-100575-02  Rev. 1  (11-2010)
9. Press ENTER again, to save that position for the corner.
10. Repeat Steps 6 to 9 to adjust all 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-ordinates 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 that 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 attempt 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 keystone is simply enabled again, the same image 
corruption may occur. After pressing F
UNC+HELP, it is recommend to immediately “Reset Keystone Settings”, 
which will set all keystone co-ordinates to zero.
BRIGHTNESS UNIFORMITY - S
UBMENU
• Brightness Uniformity provides further 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 Brightness 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 Coarse Adjustment check box to apply Brightness Uniformity settings with a large 
granularity. Coarse Adjustment helps identify brightness changes and accelerates projector response time 
while adjusting settings. To disable the Brightness Uniformity function, delete the Brightness Uniformity 
Enable checkmark. 
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 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. 
						

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Section 3: Operation
IMPORTANT! 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: 

ADJUST COLORS FIRST—Always adjust the primary colors as described in 3.12 Using Multiple Projectors:  
Matching Colors in Multiple Screens procedure, before attempting 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 lamps, 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 slightly 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 pro-
jector. 
NOTE: On DLV models, the Power control is fixed at 150W to maximize lamp life. In Constant 
Power mode, use the Manual Iris Position slidebar to adjust brightness. In Constant Intensity mode, use 
the Intensity slidebar to adjust brightness.

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 can be achieved with either. 
Step 1: General Setup
a. Adjust primary colors see 3.12 Using Multiple Projectors: Matching Colors in Multiple Screens to 
ensure matched overall color temperatures 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 uniformity controls and 
will apply the settings to your image. 
						

							Section 3: Operation
Mirage M Series User Manual3-41020-100575-02  Rev. 1  (11-2010)
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 “Overall” output level to 50.0 and all remaining slide bars 
to 0.0. This decreases the light output 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 
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 slightly to recover center matches.
Step 2: Adjust Color (level of red/green/blue) in Eight Zones
NOTES: 1) At this point, ignore the brightness of individual zones. 2) Always ignore menu colors.
a. On each screen, compare the color temperatures in the 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 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), 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.
Step 3: Adjust Light Output in Eight Zones
a. 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. 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.
FIGURE 3-33 13-POINT TEST PATTERN 
						

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Section 3: Operation
• Adjust corner White Uniformity last—each corner adjustment affects only this quadrant. 
• Repeat for each screen. 
Step 4: Readjust Color Temperature (level of red/green/blue) in Eight Zones
a. Return to Steps 2a & 2b and, if necessary, fine-tune the zones so that they all still 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 - S
UBMENU
The Edge Blending submenu provides a range of controls for smoothing together the overlapping bright edges 
of multiple adjacent projected images to create a single larger “seamless” image. These controls, which 
primarily affect white levels, are typically used in conjunction with mechanical lens blinders (optional), which 
are installed on the front of the projector and which primarily affect black levels. Brightness uniformity 
adjustment, if desired, should be performed first. The Edge Blend or Grid Test Pattern 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 centerline (both horizontal and vertical) in the Edge Blending 
test pattern. The intersection of these lines is the true center of the projector’s 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 walls, complementary blends between neighboring 
images can compensate for the extra “brightness” 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 3-35 Edge Blending Concept:
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 located 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.
FIGURE 3-34 EDGE BLENDING
FIGURE 3-35 EDGE BLENDING CONCEPT