Projector Christie Roadie 25k User Manual

							 SPECIFICATIONS 
 
Roadie 25K User’s Manual 6-5 
7 kW 3-Phase Ballast (38-814001-01) 
Nominal Voltage per φ  208 VAC (N. America / Japan) 
 400 VAC (Europe) 
Nominal Operating Range   200-230 ± 10% (N. America / Japan) 
   380-415 ± 10% (Europe) 
Line Frequency  50-60 Hz nominal 
Inrush current (max.) 
note: excluding lamp 
						

							SPECIFICATIONS 
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Roadie 25K User’s Manual 
Temperature  -25C to 65°C (-13°F to 149°F) 
Humidity (non-condensing)  0% to 95%  
 
NOTES: 1) Excludes lens, cabling, extractor. 2) All weights subject-to-change 
 Shipping Weights 
Projection Head Ballast FredFrame 
360 lb (163 kg)  145 lb (66 kg)  153 lb (70kg) 
Installed Weight 
Projection Head Ballast FredFrame 
260 lb (118 kg) 110 lb (50 kg) 105 lb (48 kg) 
See page 6-7: 
Standard Dimensions (W x L x H)| 25.6” x  49.0” x  20” (65 cm x 124.5 cm x 50.8 cm) 
Size with Anamorph (W x L x H ) 
(incl. anamorphic lens mount & lens) 25.6” x  64.6” x  20” (65 cm x 164.1 cm x 50.8 cm) 
 
See Figure 5.1 on the following page.  Non-O
perating Environment
 Weight & Size  
						

							 SPECIFICATIONS 
 
Roadie 25K User’s Manual 6-7 
 
  
						

							SPECIFICATIONS 
6-8 
Roadie 25K User’s Manual 
 Projection head with “brick” Rental/Staging remote keypad 
Lamp ballast (7 kW) 
Heat Extractor (50/60 Hz) 
Lamp 
(choices shown on page 8-4) 
1 primary zoom lens, high-brightness 
(see  below) 
Cabling kit
 and misc. assembly hardware 
Roadie 25K User’s Manual 
 
Standard High-Brightness Lenses 

						

							Appendix A 
Glossary 
 
 Roadie 25K User’s Manual A-1 
This appendix defines the specific terms used in this manual as they apply to this projector. Also included are other 
general terms commonly used in the projection industry as well as in the digital cinema projection industry. 
A frame sequence used to map 24 fps film to 30 fps video (or 24/1.001 to 30/1.001 
fps) in which every second film frame is represented by three video fields instead of 
two, the third being a repeat of the second. This leads to a set of ten video fields for 
each four film frames. 
The time—inside one horizontal scan line—during which video data is present. 
Non-cinema program material such as concerts, plays, sporting events, and 
potentially corporate training or conferencing, presented in theatres in addition to 
motion picture exhibition. 
The ability of a screen to reflect ambient light (i.e., light within a room from a source 
other than the projector) in a direction away from the line of best viewing. Curved 
screens usually have better ambient light reflection than do flat screens. 
Having or requiring a linear distortion, generally in the horizontal direction. 
Anamorphic lenses can restore a ‘scope’ (CinemaScope) or ‘flat’ format film frame 
to the correct wide-screen appearance by increasing its horizontal proportion. The 
Roadie 25K uses a 1.25x scope anamorphic lens option only. 
The American National Standards Institute is the organization that denotes the 
measurement standard for lamp brightness. 
A print made from the cut original (camera) negative with proposed final color 
timing and soundtracks, furnished by the printing lab to the producer for acceptance 
of image and sound before screenings and manufacturing begin. A check print is 
similar, but is made from the internegative. A blacktrack answer print has no 
soundtracks. 
The ratio of the width of an image to its height, such as the 4:3 aspect ratio common 
in video output. Also expressed as decimal number, such as 1.77, 1.85 or 2.39. The 
larger the ratio or decimal, the wider and “less square” the image.  
The process, tools, and working environment by which content elements and 
functions are compiled, formatted, coordinated, and tested for presentation on target 
systems. Comment: Authoring in the context of digital cinema does not necessarily 
result in inseparably married or muxed content components. Rather, reference is 
made to a virtual answer print, the elements of which may subsequently be 
subdivided or combined, encrypted in whole or part, and packaged in various ways   3:2 Pulldown 

 Active Line Time 
 Alternative Content 
 Ambient Light Rejection 
 Anamorphic 
 ANSI 
 Answer Print 
 Aspect Ratio 
 Authoring  
						

							GLOSSARY 
A-2 
Roadie 25K User’s Manual 
for distribution of the title, a version of the title, or an update for revision of the title 
in the field. 
A system used in a theatre projection booth that responds to cues, commands or relay 
switches and then controls various elements of presentation, such as: 

						

							GLOSSARY 
 
Roadie 25K User’s Manual A-3 
The range of colors allowed in a specific system, as defined within a triangular area 
located on the CIE color locus diagram whose corners are the three primaries defined 
in the system. Also known as color space. 
A change in the tint of a white field across an image. 
The coloration (reddish, white, bluish, greenish, etc.) of white in an image, measured 
using the Kelvin (degrees K) temperature scale. Higher temperatures output more 
light. 
See YCbCr or YPbPr. 
The output of video tape players and some computers, characterized by 
synchronization, luminance and color signals combined on one output cable. 
The degree of difference between the lightest and darkest areas of the image. 
The alignment of the red, green, and blue light elements of a projected image so that 
they appear as a single element. In this projector, convergence can be adjusted by 
Christie service personnel only. 
A projection screen which is slightly concave for improved screen gain. Curved 
screens usually have screen gains which are greater than 1 but viewing angles much 
less than 180
°. Curved screens are not recommended for use with this projector. 
Digital Cinema Distribution Master. A file or collection of files formatted for 
exhibition and comprised of all the components of the title. A reference size of about 
200 GB per title is likely. 
The Display Data Channel VESA standard enables communication between PCs and 
monitors, and is based on E-EDID protocol. 
Digital Micromirror Devices
 used in this projector for processed red, green, and 
blue color data. 
Digital Source Master. A title’s native source files in acquisition format, edited to 
create the distribution master and for reformatting for NTSC, HDTV, DVD, etc., and 
potentially archived. 
The Digital Visual Interface standard signal supplies analog or digital RGB, sync, 
I
2C, and clock information to the processing electronics in the projection head. 
The sharpness of a display from a video source. 
A type of rear-projection screen which spreads the light striking it. Screen gain is 
typically less than 1 but audience viewing angles are increased. Rarely used in 
cinema. 
Professional public presentation of theatrical content by electronic means, 
particularly emphasizing projectors whose image source is digital data. Also known 
as d-cinema and (rarely) e-cinema. 
Also known as digital scaling. The process of averaging pixel information when 
scaling (resizing) an image up or down. When reducing the size of an image, adjacent 
pixels are averaged to create fewer pixels. When increasing the size of an image,   Color Gamu
t 
 Color Shift 
 Color Temperature 
 Component Video 
 Composite Video 
 Contrast (ratio) 
 Convergence 
 Curved Screen 
 DCDM 
 DDC 
 DMD 
 DSM 
 DVI 
 Detail 
 Diffused Screen 
 Digital Cinema 
 Digital Interpolation  
						

							GLOSSARY 
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Roadie 25K User’s Manual 
additional pixels are created by averaging together adjacent pixels in the original 
smaller image. 
The maximum frequency of the pixel clock. Also known as pixel clock rate. 
The Enhanced Extended Display Identification Data standard, established by VESA, 
enables properties (such as resolution) of a display device to be detected by the 
display card in a controlling device such as a PC. The PC, in turn, can then output in 
a matching format to fill the display. Some sources used with the projector are VESA 
E-EDID reported. 
The intensity of visible light per square foot. 
The luminance (brightness) which results from one foot-candle of illumination falling 
on a perfectly diffuse surface. 1 fL = 3.423 candela per square meter (cd/m
2). Note 
that SMPTE RP 98 calls for theatre screen luminance of 12 to 22 fL; 16 +/- 2 fL (55 
+/- 7 cd/m
2) is the open gate target according to SMPTE 196M. For cinema 
applications, xenon lamp wattage is approximated to achieve this level using 12 W/ft2 
x (screen height squared) or 5 W/ft2 of total ‘scope image area, for matte screens and 
typical lenses. 
The frequency at which complete images are generated. For non-interlaced signals, 
the frame rate is identical to the vertical frequency. For interlaced signals, the frame 
rate (also known as field rate) is one half of vertical frequency. 
The ability of a screen to direct incident light to an audience. A flat matte white wall 
has a gain of approximately 1. Screens with gain less than 1 attenuate incident light; 
screens with gain more than 1 direct more incident light to the audience but have a 
narrow viewing angle. For example: An image reflecting off a 10 gain screen appears 
10 times brighter than it would if reflected off a matte white wall. Curved screens 
usually have larger gain than flat screens. 
General Purpose Input Output, used for remote control of a limited number of 
programmable functions by direct signal or dry-contact connection. 
Grass Valley Group (formerly part of Tektronix). More specifically, the .gvg file 
format used for compressed video, audio, and timecode stream transfer in the Profile 
video server products, proposed for standardization by SMPTE and as a primary 
component of MXF. Initially implemented on Fibre Channel using FTP with TCP/IP 
but extensible to XTP or other protocols. Previously called GXF: General Exchange 
Format. 
High-bandwidth Digital Content Protection protocol of keys and encryption helps 
prevent DVI source material from being copied. 
High-definition Television (1035, 1080 and 1125 lines interlace, and 720 and 1080 
line progressive formats with a 16:9 (i.e. 1.77) aspect ratio. 
The frequency at which scan lines are generated, which varies amongst sources. Also 
called horizontal scan rate or line rate. 
The difference between the center of the projected image and the center of the 
projector lens. For clarity, offset is often expressed as the maximum percentage of the   Dot Clock 

 E-EDID 
 Foot-candle 
 Footlambert 
 Frame Rate 
  Gain or Screen Gain 
 GPIO 
 GVG 
 HDCP 
 HDTV 
 Horizontal Frequency 
 Horizontal Offset  
						

							GLOSSARY 
 
Roadie 25K User’s Manual A-5 
image that can be projected to one side of the lens center without degrading the 
image quality. 
A circular area of a screen where the image appears brighter than elsewhere on the 
screen. A hot spot appears along the line of sight and moves with the line of sight. 
High gain screens and rear screens designed for slide or traditional movie projection 
usually have a hot spot. 
A physical connection route for a source signal, described by a 2-digit number 
representing 1) its switcher/projector location and 2) its slot in the switcher/projector. 
In this projector, sources connected at a switcher must be selected at the switcher 
rather than the projector. 
Signal sent from a source device to the projector. 
A device, such as the Dual SD/HD-SDI Module, that accepts an input signal for 
display by the projector. 
A method used by video tape players and some computers to double the vertical 
resolution without increasing the horizontal line rate. If the resulting frame/field rate 
is too low, the image may flicker depending on the image content. 
A distortion of the image which occurs when the top and bottom borders of the image 
are unequal in length. Side borders both incline in or out, producing a “keyhole” 
shaped image. It is caused when the lens surface is not parallel to the screen. 
A Christie software feature where internal samples of light in a projector guide the 
precise position of the lamp along 3 axes—vertical, horizontal and distance to lens—
so that lamp performance and output is maximized. Not available in all models. 
The reproduction of the horizontal and vertical size of characters and/or shapes over 
the entire screen. 
When light from a projector is incident on a screen, the light reflects from the screen 
such that the angle of reflection equals the angle of incidence. The Line of Best 
Viewing is along the line of reflection. 
A Christie software feature where samples of output light from a projector trigger 
automatic adjustments in the lamp ballast power in order to maintain a constant light 
output over time. Also known as brightness tracking. Not available in all models. 
The method of feeding a series of high impedance inputs from a single video source 
with a coaxial transmission line in such a manner that the line is terminated with its 
characteristic impedance at the last input on the line. 
The unit of measure for the amount of visible light emitted by a light source. Rarely 
used in cinema applications, but common in most other projection applications. 
The signal representing the measurable intensity (comparable to brightness) of an 
electronic image when the image is represented as separate chrominance and 
luminance. Luminance also expresses the light intensity of a diffuse source as a 
function of its area; measured in lumens or candles per square foot (1 lumen per 
square foot = 1 footlambert). SMPTE RP 98 calls for a luminance of 12 to 22 
footlamberts for theatre screens. See: Footlambert.   Hot S
pot 
 Input 
 Input Signal 
 Interface Module 
 Interlace 
 Keystone 
 LampLOC 
 Linearity 
  Line of Best Viewing 
 LiteLOC   
 Loopthrough 
 (Loopthru) 
 Lumen 

 Luminance  
						

							GLOSSARY 
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Roadie 25K User’s Manual 
The amount of visible light per square meter incident on a surface. 
1 lux = 1 lumen/square meter = 0.093 foot-candles 
Descriptive data about the format of the content—i.e., “data about data”. Upon 
receiving metadata, digital cinema projectors will know the correct aspect ratio of 
the image, and the sound processor will know the correct format of the audio, all 
without effort on the part of the person setting up the show on a particular projector. 
A 525-line resolution video output format of some video tape and disc players. There 
are two types of NTSC (National Television Standards Committee) video: NTSC 
3.58 and NTSC 4.43. NTSC 3.58 is used primarily in North America and Japan. 
NTSC 4.43 is less commonly used. 
Alternative program material such as concerts, plays, sporting events, and potentially 
corporate training or conferencing, presented in theatres in addition to motion picture 
exhibition. 
Audio played in a theatre, generally from a CD, when the cinematic presentation is 
not running, such as during intermissions and prior to the start of film presentation. 
The non-unicode method of encoding produces a concise character set of 256 alpha-
numeric characters typically used in for ASCII messaging in most Western 
languages. Virtually all projector functions can be executed remotely via non-unicode 
(default) or unicode messaging—this is auto-detected. See also unicode. 
A type of rear-projection screen which re-directs light through the screen to increase 
image brightness in front of the screen. Screen gain is usually greater than 1 but 
audience viewing angles are reduced. Rarely used in cinema applications. 
PAL (Phase Alternating Line) video is a 50 Hz standard with 768 x 576 resolution. It 
is found on some video tape and disc players used primarily in Europe, China and 
some South American and African countries. 
Projector Configuration File, or Presentation Control File. A small file created by the 
content owner or installer that controls the presentation of the elements and data 
subdivisions constituting a single version of a title. The human readable component 
may identify the name of the title, its owner, its length, event points, and other 
attributes. The PCF specifies color space, target color gamut, gamma (a.k.a. 
“degamma”), aspect ratio and image position settings. It does not include screen 
masking (cropping) information. A d-cinema presentation or feature uses a PCF. 
The smallest discernible element of data in a digital image. 
The phase of the pixel sampling clock relative to incoming data. 
The frequency of the pixel sampling clock, indicated by the number of pixels per 
line. 
A small file or script typically created by the exhibitor or installer that specifies the 
sequence of presentation of programs, including features and trailers. 
The equipment in a digital cinema theatre which delivers previously recorded signals 
in real time to the playback system. The playout may also receive, store, and process 
these signals prior to delivering them.   Lux 
 Metadata 
 NTSC Video 
 Non-cinema 
 Non-Sync 
 Non-unicode 
 Optical Screen 
 PAL Video 
 PCF 
 Pixel (picture element) 
 Pixel Phase 
 Pixel Tracking 
 Play List 
 Playout