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Digital Projection Projector HIGHlite 660 3D Series User Manual
Digital Projection Projector HIGHlite 660 3D Series User Manual
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Page 121
page 113 Reference Guide ASPECT RATIOS EXPLAINED Aspect ratio examples for DMD™ resolution 1080p (continued) Source: 16:9 (native resolution) Notes Aspect Ratio: Source / Fill Display / Fill & Crop Digital Projection HIGHlite 660 3D Series Rev E Februar y 2015
Page 122
page 114 Reference Guide ASPECT RATIOS EXPLAINED Aspect ratio examples for DMD™ resolution 1080p (continued) Source: 16:10 1Unused screen areas 2Cropped parts of the image Notes Aspect Ratio: Fill Display Aspect Ratio: Source Aspect Ratio: Fill & Crop 2 11 2 Digital Projection HIGHlite 660 3D Series Rev E Februar y 2015
Page 123
page 115 Reference Guide ASPECT RATIOS EXPLAINED Aspect ratio examples for DMD™ resolution WUXGA Source: 4:3 1Unused screen areas 2Cropped parts of the image Notes Aspect Ratio: SourceAspect Ratio: Fill Display Aspect Ratio: Fill & Crop Aspect Ratio: Anamorphic 2 11 1 12 Digital Projection HIGHlite 660 3D Series Rev E Februar y 2015
Page 124
page 116 Reference Guide ASPECT RATIOS EXPLAINED Aspect ratio examples for DMD™ resolution WUXGA (continued) Source: 16:9 1Unused screen areas 2Cropped parts of the image Notes Aspect Ratio: Source Aspect Ratio: Fill Display Aspect Ratio: Fill & Crop 2 1 1 2 Digital Projection HIGHlite 660 3D Series Rev E Februar y 2015
Page 125
page 117 Reference Guide ASPECT RATIOS EXPLAINED Aspect ratio examples for DMD™ resolution WUXGA (continued) Source: 16:10 (native resolution) Notes Aspect Ratio: Source / Fill Display / Fill & Crop Digital Projection HIGHlite 660 3D Series Rev E Februar y 2015
Page 126
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page 118
Reference Guide
ASPECT RATIOS EXPLAINED
Aspect ratio example: TheaterScope
The TheaterScope setting is used in combination with an anamorphic lens to restore 2.35:\
1 images packed into a 16:9 frame. Such images
are projected with black lines at the top and bottom of the 16:9 screen \
to make up for the difference in aspect ratios.
Without an anamorphic lens and without the TheaterScope setting applied, a 16:9 source containing a 2.35:1 image lo\
oks like this:
If we change the setting to...](http://img.usermanuals.tech/thumb/5761/99405/w300_projector_manual_7563_d-125.png "Page 126
page 118
Reference Guide
ASPECT RATIOS EXPLAINED
Aspect ratio example: TheaterScope
The TheaterScope setting is used in combination with an anamorphic lens to restore 2.35:\
1 images packed into a 16:9 frame. Such images
are projected with black lines at the top and bottom of the 16:9 screen \
to make up for the difference in aspect ratios.
Without an anamorphic lens and without the TheaterScope setting applied, a 16:9 source containing a 2.35:1 image lo\
oks like this:
If we change the setting to...")
page 118 Reference Guide ASPECT RATIOS EXPLAINED Aspect ratio example: TheaterScope The TheaterScope setting is used in combination with an anamorphic lens to restore 2.35:\ 1 images packed into a 16:9 frame. Such images are projected with black lines at the top and bottom of the 16:9 screen \ to make up for the difference in aspect ratios. Without an anamorphic lens and without the TheaterScope setting applied, a 16:9 source containing a 2.35:1 image lo\ oks like this: If we change the setting to...
Page 127
![Page 127
page 119
Reference Guide
FRAME RATES AND PULLDOWNS EXPLAINED
Frame Rates And Pulldowns Explained
Interlaced and progressive scan
A progressive scan is a method of updating the image by drawing all the lines of each fram\
e in a sequence. In contrast, interlaced
video alternately scans odd and even lines. In old analog TV interlacing was commonly used as a way of doubling the refresh rate w\
ithout
consuming extra bandwidth.
The following artifacts are common with interlaced video:
• edge tear...](http://img.usermanuals.tech/thumb/5761/99405/w300_projector_manual_7563_d-126.png "Page 127
page 119
Reference Guide
FRAME RATES AND PULLDOWNS EXPLAINED
Frame Rates And Pulldowns Explained
Interlaced and progressive scan
A progressive scan is a method of updating the image by drawing all the lines of each fram\
e in a sequence. In contrast, interlaced
video alternately scans odd and even lines. In old analog TV interlacing was commonly used as a way of doubling the refresh rate w\
ithout
consuming extra bandwidth.
The following artifacts are common with interlaced video:
• edge tear...")
page 119 Reference Guide FRAME RATES AND PULLDOWNS EXPLAINED Frame Rates And Pulldowns Explained Interlaced and progressive scan A progressive scan is a method of updating the image by drawing all the lines of each fram\ e in a sequence. In contrast, interlaced video alternately scans odd and even lines. In old analog TV interlacing was commonly used as a way of doubling the refresh rate w\ ithout consuming extra bandwidth. The following artifacts are common with interlaced video: • edge tear...
Page 128
page 120 Reference Guide FRAME RATES AND PULLDOWNS EXPLAINED Pulldowns - conversion into destination formats Pulldowns are a method of converting a 24p source into a different destination format by adding extra frames to the source. 2:3 (nor mal) pulldown This method is used to convert a 24p source (film) into a 60i destination (NTSC video) by adding two extra fields for every four frames, effectively increasing the frame rate to 30 fps. The frame is split into fields and then two fields are repeated...
Page 129
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page 121
Reference Guide
FRAME RATES AND PULLDOWNS EXPLAINED
2:3:3:2 (advanced) pulldown
This method is very similar to the normal pulldown. Unlike the normal pu\
lldown method, the resulting 30 fps video sequence contains only one
frame containing fields from two different source frames.
The advantage of this method is that it is easier to reverse, if necessa\
ry.
Original film,
24 fps Field 1 (odd)
Field 2 (even)Resulting video,
30 fps
Notes
The projector will use advanced
pulldown on suitable...](http://img.usermanuals.tech/thumb/5761/99405/w300_projector_manual_7563_d-128.png "Page 129
page 121
Reference Guide
FRAME RATES AND PULLDOWNS EXPLAINED
2:3:3:2 (advanced) pulldown
This method is very similar to the normal pulldown. Unlike the normal pu\
lldown method, the resulting 30 fps video sequence contains only one
frame containing fields from two different source frames.
The advantage of this method is that it is easier to reverse, if necessa\
ry.
Original film,
24 fps Field 1 (odd)
Field 2 (even)Resulting video,
30 fps
Notes
The projector will use advanced
pulldown on suitable...")
page 121 Reference Guide FRAME RATES AND PULLDOWNS EXPLAINED 2:3:3:2 (advanced) pulldown This method is very similar to the normal pulldown. Unlike the normal pu\ lldown method, the resulting 30 fps video sequence contains only one frame containing fields from two different source frames. The advantage of this method is that it is easier to reverse, if necessa\ ry. Original film, 24 fps Field 1 (odd) Field 2 (even)Resulting video, 30 fps Notes The projector will use advanced pulldown on suitable...
Page 130
page 122 Reference Guide APPENDIX A: LENS PART NUMBERS Appendix A: Lens Part Numbers Throw ratios Lens extension (±2%)Throw distance rangePart number 0.77 : 1 fixed lens80 mm (3.2 in)1.3 - 2.5 m (4.3 - 8.2 ft)110-808 1.16 : 1 fixed lens54 mm (2.1 in)1.4 - 6.2 m (4.6 - 20.3 ft)110-809 1.45 - 1.74 : 1 zoom lens24 mm (1.0 in)1.8 - 9.3 m (5.9 - 30.5 ft)110-803 1.74 - 2.17 : 1 zoom lens02.2 - 11.8 m (7.2 - 38.7 ft)110-804 2.17 - 2.90 : 1 zoom lens02.7 - 15.4 m (8.9 - 50.5 ft)110-805 2.90 - 4.34 : 1 zoom...