Digital Projection Projector HIGHlite Laser II 3D Series User Manual

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Reference Guide
SCREEN REQUIREMENTS
Fitting the image to the screen
It is important that your screen is of sufficient height and 
width to display images at all the aspect ratios you are 
planning to use.
Use the conversion chart to check that you are able 
to display the full image on your screen. If you have 
insufficient height or width, you will have to reduce the 
overall image size in order to display the full image on 
your screen.
14:3 = 1.33:1
W = H x 1.33, H = W x 0.75
216:10 = 1.6:1 
(native aspect ratio for WUXGA projectors)
W = H x 1.6, H = W x 0.625
31.66:1 (Vista)
W = H x 1.66, H = W x 0.6
416:9 = 1.78:1 
W = H x 1.78, H = W x 0.56
51.85:1 (Flat)
W = H x 1.85, H = W x 0.54
62.35:1 (Scope)
W = H x 2.35, H = W x 0.426
Notes
Screen width
1234 567 89 10
Screen height
1 2 3 4 5 67
8 9 10
123456 
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SCREEN REQUIREMENTS
Positioning the screen and projector
For optimum viewing, the screen should be a flat surface 
perpendicular to the floor. The bottom of the screen should 
be 1.2 m (4 feet) above the floor and the front row of the 
audience should not have to look up more than 30° to see 
the top of the screen.
The distance between the front row of the audience and 
the screen should be at least twice the screen height and 
the distance between the back row and the screen should 
be a maximum of 8 times the screen height. The screen 
viewing area should be within a 60° range from the face of 
the screen.
Notes
 The projector should be installed 
as close to the power outlet as 
possible.
  The power connection should be 
easily accessible, so that it can 
be disconnected in an emergency.
  Ensure that there is at least 30 
cm (12 in) of space between the 
ventilation outlets and any wall, 
and 10 cm (4 in) on all other 
sides.
  Do not install the projector close 
to anything that might be affected 
by its operational heat, for 
instance, polystyrene ceiling tiles, 
curtains etc.
 The image can be flipped for rear 
projection (see  Setup menu in the 
Operating Guide ) and displayed 
without the need for extra mirrors or 
equipment.
  However, you must ensure that 
there is sufficient distance behind 
the screen for the projector to be 
correctly located.
  Rear installation is generally more 
complicated and advice should be 
sought from your local dealer before 
attempting it. 
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POSITIONING THE IMAGE
Positioning The Image
The normal position for the projector is at the centre of the screen. Ho\
wever, you can set the projector above or below the centre, or to one side, 
and adjust the image using the Lens shift feature (known as rising and falling front) to maintain a geometrically correct image.
Notes
 For more information on shifting 
the lens, see Lens control  in the 
Operating Guide .
 Whenever possible, position the 
projector so that the lens is centered 
for the highest quality image.
Shifting the lens up (rising front)
Centered lens
Shifting the lens down (falling front) 
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POSITIONING THE IMAGE
Any single adjustment outside the ranges specified on the following page may result in an unacceptable level of distortion, particularly at the 
corners of the image, due to the image passing through the periphery of \
the lens optics.
If the lens is to be shifted in two directions combined, the maximum ran\
ge without distortion will be somewhat less, as can be seen in the 
illustrations below.
Notes
 For more information on shifting 
the lens, see Lens control  in the 
Operating Guide .
Full horizontal or vertical shift Combined shift is reduced 
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POSITIONING THE IMAGE
Maximum offset range
The maximum offset range available with no distortion or vignetting is dependent on wh\
ich lens is used. Shifting the lens beyond its 
undistorted limits may be physically possible, however you may experienc\
e some vignetting or distortion.
vertical 
(pixels)
horizontal 
(pixels)
vertical 
(frame)
horizontal 
(frame)
0.77 : 1 and 1.16:1 fixed lens±240±96±0.2±0.05
all zoom lens±720±288±0.6±0.15
Notes
 For more information on shifting 
the lens, see Lens control  in the 
Operating Guide 
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ASPECT RATIOS EXPLAINED
Aspect Ratios Explained
The appearance of a projected image on the screen depends on a combinati\
on of the following:
• The DMD™ resolution is WUXGA with a 1920 x 1200 resolution, corresponding to an aspect ratio of 16:1\
0
• The aspect ratio of the input signal: usually 4:3, 16:9 or 16:10
• The value of the Aspect Ratio setting of the projector:
• 16:9, 4:3, 16:10 and 5:4 stretch the image to the selected aspect ratio. 16:9 leaves black bars at the top and bottom of the screen 
(letterboxing effect); 4:3 and 5:4 leave black bars at the sides of the screen (pillarboxing).
• TheaterScope is a special setting used in combination with an anamorphic lens, an op\
tional accessory. It removes letterboxing from a 
2.35:1 source packed into a 16:9 frame.
• 4:3 Narrow is a special setting used in combination with an anamorphic lens, an optional accessory. It squeezes 4:3 content so that the 
intended aspect ratio is displayed on screen when projected through an a\
namorphic lens.
• Source shows the image with its original aspect ratio, not using the whole scr\
een if the DMD™ aspect ratio does not match. The image 
is scaled to fit either the full width or height of the screen.
Notes 
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ASPECT RATIOS EXPLAINED
Aspect ratio examples
Source: 4:3
Source: 16:9
Source: 16:10 (native)
Notes
Aspect Ratio: Source / 16:9Aspect Ratio: 16:10
1
1
Aspect Ratio: Source / 16:10
Aspect Ratio: Source / 4:3Aspect Ratio: 16:10
11
1Unused screen areas 
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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 TheaterScope, the black lines will disappear but the image will stretch vertically t\
o reach the top and bottom of 
the DMD™:
An anamorphic lens will stretch the image horizontally, restoring the original 2.35 ratio:
NotesNotes
Black margin – part of the source
Black margin – part of the source 
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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 frame 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 without 
consuming extra bandwidth.
The following artifacts are common with interlaced video:
• edge tear (combing)
The image lands between two fields and blurs. This is commonly observed when viewing rapid lateral movement.
• aliasing (stair-stepping)
The texture of the image becomes populated with unrealistic patterns. Aliasing occurs because of differences between the original frame 
rate and the destination format.
• twitter
The image shimmers, for example when showing rolling credits. This happens when the image contains thin horizontal lines that only 
appear in one field.
Frame rates of  image sources
Original	analog	films are made at 24 fps and the whole frame is projected at once. To eliminate flicker and create an impression of 
continuous movement, the projector blades divide the images so that the \
viewer sees 48 frames per second.
Interlaced video scans odd lines, then even. Two fields are blended into one image. NTSC video (60i) is 29.97 fps, or 59.94 fields per 
second.
24p video is progressive but without the benefit of projector blades dividing the images, so it looks jumpier on playback than film. 24p is the 
optimal format for projects that are finished on film.
30p is optimal for projects finished on video. It has fewer strobing issues than 24p in video playback.
Notes 
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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 for every four original frames as 
shown in the illustration below.
Notes
Original film, 
24 fps Field 1 (odd)
Field 2 (even)Resulting video, 
30 fps 
Digital Projection HIGHlite Laser II 3D Series 
Rev A August 2016