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Christie Projector Roadie HD+35K User Manual

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    							Section 3: Operation
    Roadie HD+35K User Manual3-65020-100340-02 Rev. 1  (01-2010)
    3.10.8 How Old is My Lamp? 
    When a new lamp is installed and its serial number recorded by 
    selecting Change Lamp in the Lamp menu, the lamp timer 
    resets to 0 and begins logging time for the new lamp. This tally 
    appears in both the 
    Lamp menu (see right) and the Status menu.
    To review the number of hours logged for previous lamps, consult 
    the 
    Lamp History menu.
    3.10.9 When to Replace the Lamp
    If the Lamp Message check box has been enabled in the Lamp 
    menu (recommended), an expiry message appears upon power-up 
    when the lamp has reached its defined Lamp Limit. The lamp 
    should be replaced.
    The Lamp Limit setting should never exceed the lamp’s lifetime warranty by more than 20%, as an old lamp 
    becomes increasingly fragile and more prone to sudden failure or even explosion, which can be damaging as 
    well as dangerous. These maximum limits depend on the lamp size. See Ta b l e  3 . 7
    .
    3.11 Status Menu
    The read-only Status menu lists a variety of details about the standard and optional components currently 
    installed in the projector. Refer to the 
    Status menu for versions of hardware and software installed, the type 
    (size) of lamp defined in projector memory, its current, voltage and 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.
    Scroll the full 
    Status menu using the UP ARROW and DOWN ARROW. Use the LEFT ARROW and the RIGHT ARROW 
    for page up/down.
    3.12 Using Multiple Projectors
    When an installation requires multiple projectors, you can use the RS-232 and/or RS-422 serial ports to daisy 
    chain the units together and control the group with a single keypad, remote 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 
    PROJ key as desired to limit responses to an individual projector. Or you may prefer that each projector in an 
    installation stands alone and responds only to a unique transmission protocol from its own remote.
    Alternatively, you may want to add projectors to an Ethernet network. 
    NOTE: Refer back to Section 3.8 Adjusting System Parameters and Advanced Controls for complete 
    information about communicating with multiple projectors.
    Table 3.7 When to Replace the Lamp
    Lamp (kW)Replace BEFORE:
    2.0 3000 hours
    3.0 2000 hours
    4.5 600 hours
    6.0 600 hours 
    						
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    Section 3: Operation
    3.12.1 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. This matching is typically done in conjunction with brightness 
    uniformity and edge blending.
    Preliminary Calibration
    As a final part of the manufacturing process, 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 (refer 
    back to Figure 3-18
    ). Upon installation at a site, however, 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. Or you may be renting a projector in which the colors were changed for use at its previous site, but 
    are not ideal for yours.
    The good first step in achieving such consistency is to use a color meter to measure the native primary colors-
    red, green, blue, and white-as they appear at the screen and 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 that can alter the 
    final color characteristics on-screen, and will improve color accuracy and consistency in a group of projectors. 
    It ensures a good starting point for further customizing and matching.
    To return to the factory-set color primaries, such as when a projector is moved to different site, you must access 
    the Service menu (password-protected). Select the 
    Reset to Factory Defaults? option in the Color 
    Primaries
     secondary menu. Then repeat the calibration process describe above, if desired, and continue with 
    matching of colors. 
    NOTE: Using the Service menu to set the projectors primary colors as described above is not a requirement for 
    color matching, and is rarely necessary.
    Color Adjustment Procedure
    Once the Color Primary Settings are calibrated for the site (see above), use the Color Adjustments by X, Y 
    menu to further refine each projectors fundamental primary 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 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 defining a 
    new color palette, but do set up each projector in every other aspect. Closely align all screen edges.
    2. Assign projector numbers to make communications easier. Use a wired remote.
    3. Use the same lamp mode for all projectors, and do the following:
    •Start SelectColor Adjustment to Max Drives.
    • Display a full white test pattern.
    • Adjust lamp power until white fields appear the same brightness.
    4. Display the Color Adjustments by X, Y menus for all projectors. Each menu shows the x/y coordinates 
    defining the Max Drives color gamut for this projector. Write down the values shown in one (any) of the 
    displays. Refer to Figure 3-38
    .  Or use Copy From to copy these into a User gamut for this projector. 
    						
    							Section 3: Operation
    Roadie HD+35K User Manual3-67020-100340-02 Rev. 1  (01-2010)
     Figure 3-38   Jot Down a Set of "Max Drives" X/Y Values
    (NOTE: MAGENTA, CYAN, AND YELLOW ARE NO LONGER USED)
    5. In each projector, select a User color adjustment (1-4) to enable Color Adjustments by X, Y changes. 
    Then enter your recorded x/y values into each menu.
     Figure 3-39   Copy X/Y Values into All Projectors
    NOTE:
      MAGENTA, CYAN, AND YELLOW ARE NO LONGER USED. 
    						
    							3-68Roadie HD+35K User Manual020-100340-02 Rev. 1   (01-2010)
    Section 3: Operation
    6. In each projector, judge by eye and adjust x/y 
    coordinates slightly in the following manner:
    • To match reds, decrease  Red X until full field red 
    screens match. 
    • To match greens, decrease Green Y until full field 
    green screens match.
    • To match blues, increase both Blue X and Blue Y 
    until full field blue screens match.
    NOTE: For speed, enable the Auto Color Enable check 
    box. Each color coordinate you select  automatically 
    triggers a full field display of the corresponding color.
    These coordinate adjustments move the three color points closer together (refer back to the chromaticity 
    chart shown in Figure 3-18
    ) to establish a shared gamut attainable by all projectors in your group. Adjust 
    only as necessary to ensure the resulting color palette is as large as possible. When done, you may need to 
    adjust lamp power slightly.
    7. All screens should now be color-matched. Apply this new User gamut to a source at any time by 
    selecting it in the Select Color Adjustment list accessed in the 
    Advanced Image Settings menu.
    Using the Color Saturation Menu for Color Matching
    You may prefer to use the Color Saturation menu to match colors across multiple screens. In the three Color 
    Adjustment secondary menus (Red, Green, Blue-see right), set all main values to 100 and the secondary 
    values to 0. Then judge by eye and adjust the slidebars as needed. Note that adjustments here define new x/y 
    coordinates in the Color Adjustments by X, Y menu.
    For best results, the Color Adjustments by X, Y menu should be used first. 
     Figure 3-40   Color Matching Using Color Saturation Menu 
    						
    							Section 3: Operation
    Roadie HD+35K User Manual3-69020-100340-02 Rev. 1  (01-2010)
    3.12.2 Achieving Brightness Uniformity
    What is Brightness Uniformity? 
    When used to refine screens already matched for their primary colors (refer to Section 3.12.1 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.
    • 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.
    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. Adjust the primary colors as described in the Matching Colors in Multiple Screens 
    procedure (above) 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 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. Make 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 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 projector.
    •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 sliderbars. White Uniformity slidebar values may not always 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 reaches 0 first, causing the slidebar to stop earlier 
    than expected.
    •Judge by eye or use a meter. Good brightness uniformity can be achieved with either technique.
    General Setup
    1. Adjust primary colors (refer to Section 3.12.1 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. 
    						
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    Section 3: Operation
    2. Enable the Uniformity Enable check box. This  
    enables access to the uniformity controls and applies 
    the settings to your image.
    3. 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 shown to the right.
    4. In either Color Adjustment menu, select a color. 
    5. Then:
    • If you have created a User 1 color gamut (recommended) for a 
    well-matched wall, select User 1 and continue to Step 6.
    • 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!
    6. In the 
    White Uniformity menu, set the Overall 
    output level to 50.0 and all remaining slidebars 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.
    7. Adjust Color (level of red/green/blue) in 8 Zones
    NOTE: At this point, ignore menu colors and the brightness of individual zones.
    8. 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 2b.  
    						
    							Section 3: Operation
    Roadie HD+35K User Manual3-71020-100340-02 Rev. 1  (01-2010)
    9. 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, adjust the colors in the 
    Left Uniformity menu (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.
     Figure 3-41   Match Zones to Center Color Temperature
    10. Repeat the color adjustment of sides and corners for each edge of the screen that does not yet match the 
    center.
    NOTE: Each corner is adjustable in either of its two adjacent side menus. 
    11. When done, all areas of a given screen should match. Repeat Steps 2a and 2b for all remaining screens.
    12. Adjust 
    LIGHT OUTPUT in 8 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 (see Figure 3-36). 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. 
    						
    							3-72Roadie HD+35K User Manual020-100340-02 Rev. 1   (01-2010)
    Section 3: Operation
     Figure 3-42   Match Zones to Center Light Output
    13. Re-adjust Color Temperature (level of red/green/blue) in 8 Zones.
    • Return to Step 7 and, if necessary, fine tune the zones so that they all still exhibit a single color 
    temperature.
    Canceling Brightness Uniformity
    If you do not want to use or apply Brightness Uniformity settings, clear the Uniformity Enable check box at 
    the top of the 
    Brightness Uniformity menu.
    3.12.3 Edge Blending 
    Christie Edge Blending is an innovative set of software functions that can quickly and easily blend 
    whitelevels along the edges of multiple adjacent projected images to create a single seamless larger image.
    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). This area runs along the edge of the projectors 
    internal DMDs (display area); it cannot be located on interior pixels.
    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 disappear as illustrated in Figure 3-43
    . 
    						
    							Section 3: Operation
    Roadie HD+35K User Manual3-73020-100340-02 Rev. 1  (01-2010)
     Figure 3-43    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. It should be noted that the requisite tiling of the image 
    (with data repeated along internal edges that will overlap) must be correctly handled by your source.
    Flat Blends vs. Warped Blends
    Flat Blend. It is important to remember that the projectors 
    standard edge blending controls affect the outer edges of 
    the projectors display panel, and that each blend is 
    consistent along its length. The standard 
    Edge Blending 
    menu controls can blend multiple flat full-panel displays  if 
    they have no keystoning or optional warping applied.
    Warped Blends. When using the optional Christie TWIST module for warping images on to curved screens, 
    work with its separate Christie TWIST PC application to create more specialized blends required. Such a blend 
    can vary along its length to compensate for curves. Once downloaded to the projector, simply apply the desired 
    custom user blend by selecting it in the Blending Enable drop-down list.
    Edge blending software controls are located in the 2-page 
    Edge Blending secondary menu which you can  
    access via the 
    Configuration menu > Geometry and Color menu, and select Edge Blending. The More 
    option opens the second page of the 
    Edge Blending secondary menu.
    Main Functions
    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. Slidebar values 
    represent the number of 8-pixel steps used for the blend. For example, a setting of 3 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).
    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-gray (refer to Figure 3-44
    ). 
    Requires Christie TWIST 
    						
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    Section 3: Operation
    • Decreasing the Blend Shape setting slows the rate of change so that more of the region appears mid-
    gray. For most applications, this subtle control is best left close to 50.
     Figure 3-44  "Shape" Examples
    •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.
     Figure 3-45   "Midpoint" Examples
    •Show Blending Overlap turns your defined blend width area to solid gray so that two adjacent images can 
    be seamlessly aligned simply by overlapping their gray bars, if needed. Toggle the Show Blending Overlap 
    OFF to reactivate the blend effect. 
    						
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