Christie Projector Mirage M Series User Manual

							Section 3: Operation
Mirage M Series User Manual3-43020-100575-02  Rev. 1  (11-2010)
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 the 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 width, 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 setting 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 lamp. Such functions duplicate those provided elsewhere in 
the menu system.
Edge Blending Procedure
NOTES: 1) Before attempting to work with edge blending software functions, align the projectors/images by 
correctly overlapping the displays from your intended external source. 
2) Match colors and the brightness 
uniformity.
IMPORTANT! For a shared edge, all blend procedures and settings should be identical on both projectors.
1. Start with two projectors. Display full white field test pattern from both.
2. In the Edge Blending submenu, enable Edge Blending by entering a checkmark 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’s 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. 
						

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Section 3: Operation
5. Re-adjust width (both projectors) until the overly bright 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 two settings, choose the wider setting for 
both projectors.
6.
CHECK BLEND If the blended region appears too dark or light in relation to the rest of the image:
a. Increase Blend Midpoint in both projectors to “lighten” the overall blend, decrease to “darken” the 
overall blend.
b. Adjust Blend Shape in both projectors to fine-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 maintain perfect pixel-on-pixel alignment over time.
In applications where you are projecting 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%.
COLOR ADJUSTMENTS BY X/Y - S
UBMENU
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 Comprehen-
sive 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 factory settings can be recovered with selection of 
“Reset to Factory Defaults?” in the Color Primary Settings 
submenu accessed via the Service menu (password-
protected).
From the factory, the projector can utilize any of the three 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 adjacent 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. 
						

							Section 3: Operation
Mirage M Series User Manual3-45020-100575-02  Rev. 1  (11-2010)
 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 3-36 CIE 1931 Chromaticity Diagram. Changing either or both of these 
numbers will change the hue of the color, and relocate the “triangle” 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.
FIGURE 3-36 CIE 1931 CHROMATICITY DIAGRAM
NOTE: Keep new x,y coordinates within the original color gamut triangle shown here.
COLOR SATURATION - S
UBMENU
Adjust color slide bars and judge image 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.
Adjust the hue of each primary color (red, green, blue, and white) by using more or less of it in relation to the 
other colors.
NOTE: A Color Saturation adjustment defines the corresponding 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. 
						

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Section 3: Operation
BLACK LEVEL BLENDING - SUBMENU
Eliminates the differences between black levels when edge blending multiple projectors. The Black Level 
Blending submenu provides many controls to allow the edges of adjacent images to be smoothly overlapped 
creating a “seamless” image. (Edge blending smooths white levels, and if edge blending is not in use, Black 
Level Blending is disabled.) 
NOTES: 1) Adjust white levels before adjusting black levels. 2) Blinders are recommended for fixed 
installations.
Similar to Edge Blending, Black Level Blending allows you to adjust the black level intensity of multiple 
adjacent projected images to create one large seamless display. Edge blending must be enabled in order to use 
the Black Level Blending features.
The use of Black Level Blending feature and the use of Christie TWIST module are mutually exclusive. If 
Christie TWIST is installed and Black Level Blending is desired:
1. Disable use of warps or 2D Keystone.
2. Enable edge blending; if not enabled.
3. Enable Black Level Blending.
4. Power down the projector then power up again.
Adjustments can now be made to black level controls. 
To restore the use of Christie TWIST:
1. Disable black blending.
2. Power cycle the projector.
3. Begin using the Twist controls.
Black Level Blending 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 accessible when that Edge Blend zone is active.
1. Start with two projectors. Select the black test pattern for both projectors from the Geometry and Color 
submenu.
2. In the Black Level Blending submenu, enable black blending by putting a checkmark in the check box 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. Use the following three color slide bars, Black Red Level, Black Green Level and Black Blue Level, so 
the black hue of each projector matches.
5. You can choose 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 corresponds to the edge blending setting determined for that edge. 
6. 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 because of blending differs for the 
sides and center). 
						

							Section 3: Operation
Mirage M Series User Manual3-47020-100575-02  Rev. 1  (11-2010)
NOTES: 1) The menu options vary depending on the edge blending parameters. 2) You may need to re-adjust 
the black level hues following the overlap adjustments on each blended edge.
 3) When adjusting six or more 
projectors, you need to ensure that the hue and brightness of each target area is matched at closely as possible.
Default Color Adjustments & Default Color Adjustment
Select the default values for the color adjustment. 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> GEOMETRY AND COLOR - Submenu, Color Adjustments by X,Y for 
description.
TILING SETUP - S
UBMENU
Image tiling allows a single input image to be displayed, spread over multiple screens, with each screen 
displaying a fraction of the image. The image is displayed 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.
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 array - set the row number and column number for each 
projector
Enable Tiling - Tiling can be enabled or disabled without losing any of the above settings.
NOTE: The Frame Delay Compensation function in the Tiling menu will cause the system to attempt to 
automatically correct for frame delay issues which may occur in 3 row tiling. When this checkbox is set, and 
using 3 row tiling, the manual frame delay control is disabled.
The features that act differently when Tiling is enabled are:
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 synchronized. 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 Input 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 tiling settings will be cleared.
NOTE: Tiled warps/keystones can be enabled through Christie TWIST 1.6; Refer to the Christie TWIST User 
Manual. 
						

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Section 3: Operation
DIAGNOSTICS & CALIBRATION - SUBMENU
• TEST PATTERN
 Choose 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 function. Enabling the Peak Detector activates a special operating 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 black 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 without crushing or washing out. 
NOTE: If using Peak Detector with PIP, both images must have the same color space.
• INPUT LEVEL DETECTOR
The Input Level Detector check box enables specific thresholds for blacks and whites. Input levels that fall 
below a specified level value (see below) are displayed as black, and all others are displayed as white. To use:
1. Enable Input Level Detector and display a continuous greyscale.
2. Set Level Detector Threshold to near black (such as 200).
3. Adjust Offsets to minimize area of black stripe.
4. Set Level Detector Threshold to near white (such as 800).
5. Adjust Gains to minimize area of white stripe.
• LEVEL DETECTOR THRESHOLD
Input Level Value defines the value to be used by the Input Level Detector in recognizing blacks and whites. 
See Input Level Detector, above.
• ASPECT RATIO OVERLAY
Check this box to display an overlay pattern over the image. The overlay shows the boxes corresponding to the 
size and shape of different aspect ratios.
• TEST PATTERN COLOR SWAP
This function swaps the green and red color when drawing the Grid test pattern, and may be helpful when 
adjusting convergence on the projector. 
						

							Section 3: Operation
Mirage M Series User Manual3-49020-100575-02  Rev. 1  (11-2010)
•CALIBRATE LITELOC 
The LiteLoc calibration process must be run to calibrate the LiteLoc sensor on all model types. “Constant 
Intensity” mode cannot operate correctly if the calibration has not been performed. The calibration must be 
done in Dual Lamp mode, after the lamps have warmed up for at least 5 minutes. 
NOTE: The shutter will close 
for the duration of the calibration, and will automatically open again when the calibration is complete.
•FREEZE IMAGE DURING AUTO SETUP 
*Available with 3D option only.
If selected, this will hide temporary image artifacts that may appear during the auto setup procedure.
OPTION CARD SETTINGS - S
UBMENU
Allows adjustment of any settings specific to each option card that is currently installed in the projector. 
IRIS - S
UBMENU
Refer to Image Settings>Advanced Image Settings
3.9 Lamp Menu
LAMP OPERATION
Select the operational mode to be assigned to the 
lamp(s) from the Lamp Operation drop-down list. If 
a lamp fails to strike on the first attempt, you can 
attempt upto 3 more strikes. 
The Lamp Operation modes are:
•Lamp 1 single lamp use or Lamp 2 single lamp 
use modes will only use the lamp specified. If the 
selected lamp will not strike, then the projector 
will not turn on. If the “Single Lamp Switch on 
fail” option is enabled, the projector will always 
attempt to turn on the selected lamp first, but if that lamp fails all attempts to strike, it will cause a switch to 
the other lamp. This option is not enabled for DLV models, which are restricted to operate in Dual Lamp Use 
mode only.
•Dual Lamp Use mode will use both lamps together. After 3 failed attempts to stay in Dual Lamp Use mode, 
the projector will switch to Single Lamp operation; however, the user-selected mode remains as Dual Lamp 
Mode. 
•Auto-Select a Single Lamp mode will choose the best lamp for single lamp operation. The lamp selection is 
based on:
• The lamp that will be the fastest to turn on (a lamp can be chosen if it is currently on, or if it has been off 
for at least the minimum hot re-strike period)
• The lamp that has been least used (determined by the lamp voltage, which increases as the lamp ages)
• The lamp with the fewest hours (this attempts to balance the lifetime of the two lamps)
In Auto-Select Single Lamp mode, a failure of a lamp to strike will cause a switch to the other lamp. This 
option is not enabled for DLV models, which are restricted to operate in Dual Lamp Use mode only.
Single Lamp mode, available for DLV models only.
FIGURE 3-37 LAMP MENU 
						

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Section 3: Operation
LAMP MODE
Determines how the lamp’s power and intensity are controlled. If Maximum Brightness the lamp burns as 
brightly as possible. Select Constant Intensity mode to maintain a specific brightness level over time. As the 
lamp ages, the projector will increase power as needed, to closely maintain the required output from the lamp. 
Select Constant Power to specify the power level supplied to the lamp. Both Constant Intensity and 
Constant Power modes extend lamp life. 
NOTES: 1) On DLV projector models, the power control is fixed at 
150W to maximize lamp life. In Constant Power mode, use the Iris Position slider (Iris Menu, see Appendix 
A: Menu Tree) to adjust brightness. Make sure that Iris is set to Manual mode. In Constant Intensity mode, 
use the Intensity slidebar to adjust brightness. 
2) Constant Intensity mode cannot operate correctly if the 
LiteLoc calibration has not been performed.
POWER
Set the lamp’s power in Watts. The Power control represents the amount of power sent to the lamp(s). Power 
increases when operating in Intensity mode, until it reaches its maximum. The value remains stable when in 
Max Brightness or Power mode. If using Power mode, setting a lower power level reduces brightness and 
extends lamp life.
INTENSITY 
Adjust the lamp intensity to% of full. This value is used as a target value by the LiteLOC system to maintain 
constant intensity. 
NOTE: When operating in Constant Intensity mode on DLV projector models, the Intensity 
slidebar will adjust both the lamp intensity and the Dynamic Iris position to maintain the required intensity.
COLOR PURITY FILTER 
Refer to 3.7 Image Settings Menu.
SINGLE LAMP SWITCH ON FAIL
Selecting this check box causes the projector to automatically attempt to start the other lamp if the current lamp 
experiences problems, and is preventing a light on the wall. This applies if there is a failure to start a lamp, or a 
failure during operation. This feature applies only to systems which have multiple lamps and are currently set 
to run in a single lamp operating mode. A brief period with no light may occur before the other lamp becomes 
active.
IRIS - S
UBMENU
Refer to Appendix A, Mirage M Series Menu Tree.
WARN WHEN LAMP REACHES (HOURS) 
Enter the maximum number of hours (threshold) for lamp usage. When the threshold (set number of hours) is 
reached on either lamp, a warning message displays on the status system, indicating that the lamp should be 
changed. This setting is  user-defined only, has no bearing on lamp warranty, and is not tied to actual lamp life 
in any way. The default setting is 0, which means that the feature is off, and no warning will be generated. 
LAMP 1 s/n and LAMP 2 s/n 
Enter the serial number for the specified lamp. This will apply the serial number to the current lamp statistics 
file. It will not perform the archiving as done by the CHANGE LAMP function. 
						

							Section 3: Operation
Mirage M Series User Manual3-51020-100575-02  Rev. 1  (11-2010)
CHANGE LAMP - Submenu
Initiates the lamp change process for the selected lamp and allows the serial number of the new lamp to be 
entered.
Lamp serial numbers are used for keeping statistics on each lamp used in each lamp position. Entering of serial 
numbers is optional, but is recommended. 
When using this function, the statistics from the previous lamp are archived, and starts statistics tracking for 
the new lamp. If this function is not used, statistics are accumulated (combined) for both the new and old 
lamps.
LAMP 1 HISTORY and LAMP 2 HISTORY
Lists the serial number and the number of hours logged for each lamp (current and previously)  installed in the 
projector. The current lamp appears at the bottom of the list. This entry is added automatically when you record 
a new serial number during the lamp change process. See CHANGE LAMP - Submenu.
3.10 Secondary Input Switching Menu
NOTE: PIP function is disabled in 3D mode.
3.11 Status
The read-only Status menu lists a variety of details about the standard and optional components currently 
detected in the projector. Refer to the Status menu for versions of hardware and software installed, the type 
(size) of lamp, the hours logged in total and for a specific period (such as a rental period), and for your 
projector model name and serial number. In addition, the Status menu identifies the current channel, its 
location, its frequencies and other details.
3.12 Using Multiple Projectors
IMPORTANT! When working with more than two projectors, work left to right, top to bottom.
When an installation requires multiple projectors, use the RS-232 serial ports to daisy chain the units together 
and control the group with a single keypad or a computer/controller connected to the first projector. In such a 
network, you can choose to broadcast commands to the entire group, or use the P
ROJ key as desired to limit 
responses to an individual projector. 
Alternatively, you may want to add projectors to a hub on an Ethernet network. See Figure 2-20 Mixed 
Network for full routing details.
Matching Colors in Multiple Screens
In a multiple-projector wall, you will likely want to precisely match color and intensity from image-to-image 
so that the full wall is as uniform as possible. 
						

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Section 3: Operation
Preliminary Calibration
All primary colors in the projector are precisely set to pre-established values to ensure that overall color 
performance is optimized and is as accurate as possible. Lighting and other environmental factors may slightly 
change how these colors appear on your screen. While the change is negligible in most cases, you may prefer 
to recover the originally intended color performance before trying to match colors from several projectors. 
To achieve consistency use a color meter to measure the native primary colors—red, green, blue, and white—
as they appear at the screen. Record these as Color Primary Settings in the Service menu (password-protected) 
for each projector. On the basis of these new values, which are stored in memory, each projector will then 
automatically calculate any necessary corrections to reproduce the original factory colors under the current 
environmental conditions. This essentially calibrates a projector to its surroundings, compensating for factors 
such as screen type; lamp and/or ambient lighting and will improve color accuracy and consistency in a group 
of projectors. It ensures a good starting point for further customizing and matching; however, is not critical for 
all installations.
To access the Service menu (password-protected) return to the factory-set color primaries. Select the “Reset to 
Factory Defaults?” option in the Color Primaries submenu. Then repeat the calibration process describe 
above and continue with matching of colors.
Color Adjustment Procedure
Once the Color Primary Settings are calibrated for the site (see above), use the Color Adjustments by X,Y or 
Color Saturation menu to further refine each projector’s fundamental colors so that the hue and intensity of 
each color appears the same from one display to another. Once matched, you will have created a single new 
shared range of colors or “color gamut” that all of your projectors can produce. This palette—named User 1, 2, 
3 or 4—can be applied or disabled for a source at any time throughout a bank of adjacent displays, simplifying 
both the setup and maintenance of a “seamless” wall.
1. Set up and optimize all projector settings. You can ignore color temperature, since you will be redefining 
color performance in this procedure, but do optimize each projector in every other aspect. Closely align all 
screen edges.
2. Assign projector numbers to make communications easier. Use desired keypad.
3. Use the same lamp mode for all projectors, and do the following:
• Set Select Color Adjustment to “Max Drives”
• Display a full white test pattern
• Adjust lamp power and Optical Aperture until adjacent white fields appear the same brightness.