Projector Christie Roadster S4 User Manual

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Generally, set at 50 (default) to apply no
keystone—if your projector is positioned
with its lens surface parallel to the
screen, images will be rectangular. If
images are too narrow at the bottom,
increase keystone. If images are too
narrow at the top, reduce keystone.
The keystone control may be limited
when Size is just slightly greater than
1000. In general, work with image size,
stretch and keystone controls as necessary for your application.
Plug & Display (EDID)
NOTE: Requires optional DVI Input Module. Disabled for all other inputs.
By default, the Plug & Display option detects an incoming digital flat panel video
signal and displays it in the native resolution of your
projector. If you have additional daisy-chained projectors,
they will display in this resolution as well. If you want to
use a different resolution (for example, your graphics card
may not support the current resolution), select a different
Plug & Play setting from the list.
Tiling Setup
See 3.10, Using Multiple Projectors (Tiling Setup section).
Use options in the two-page Image
Settings menu to alter your image in
ways that do not affect its size or
position. Changes made to the Image
Settings menu are applied
immediately and are saved when you
exit the menu (press 
Exi t or Menu).
Options not available for your
projector model appear dimmed and
are disabled.
Contrast
(
SHORT CUT: Press Cont and adjust the
slidebar.)
“Contrast” increases or decreases the
perceived difference between light
and dark areas of your image (0-100).
If contrast is set too high, the light
parts of the image lose detail and
clarity. If set too low, the light areas
will not be as bright as they could be
and the image will be dim. Start low and increase so that whites remain bright but are
not distorted or tinted, and that light areas do not become white (i.e., are “crushed”).
For best results, keep close to 50.
Image Settings
Figure 3.16. Image Settings Menu 
						

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Brightness
(
SHORT CUT: Press Bright and adjust the slidebar.)
“Brightness” increases or decreases the amount of black in the image (0-100). Start
high and decrease so that dark areas do not become black (i.e., are “crushed”).
Conversely, high brightness changes black to dark gray, causing washed-out images.
For best results, keep close to 50.
Pixel Phase
(SHORT CUT: Press Pixel and adjust the slidebar.)
See description in Size and Position section, above.
Detail
(
SHORT CUT: Press  and adjust the slidebar.)
”Detail” adjusts the sharpness of a video image. Use 
 and  until the display
is as sharp as desired, keeping in mind that any increase in detail above 3 (default)
will also introduce a certain degree of noise in the image. Set below 3 to filter the
signal and remove noise from a noisy source. Keep at 3 to apply no detail.
Color Space
This option determines how the color components of an input
signal are decoded for accurate color in the display. Selecting a
color space option is useful only for analog signals connected to
INPUT 1 or INPUT 2. Although the color space for such a signal
is automatically determined by the projector, in some circumstances you may wish to
override this and manually set a different color space.
NOTE: For digital signals or for signals connected to 
INPUT 3 or INPUT 4, the color
space function is entirely automatic and the pull-down list disabled.
• Select 
RGB unless you are using component video at INPUT 1 or 2.
• Select YPbPr (Video) with a standard definition televised signal (SDTV)
• Select 
YPbPr (HDTV) with a high definition televised signal (HDTV).
NOTE: When certain RGB signals are first connected, the projector may not initially
recognize them as RGB and will incorrectly decode their color information as YPbPr
(video). These signals can include:
• RGB signals in NTSC, PAL, SECAM frequency ranges
• Scan-doubled sync-on-green
• Scan-quadrupled sync-on-green
For these signals, change the Color Space to RGB, which will define a new channel
for future use. 
						

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Color Setup
Select this submenu to work with
aspects of color—adjust for
saturation and overall hue in video
signals, or adjust gamma or
temperature in any signal.
COLOR — “Color” adjusts the
color saturation level or the
amount of color in a video image. When set to “0’ the image appears black and
white, and when set too high the colors appear overpowering and unrealistic. Use
 and  to adjust “Color” until the desired saturation level is displayed. For a
shortcut to “Color” slidebar, press 
Color at any time.
TINT — “Tint” adjusts color hue to obtain true color reproduction of NTSC video
signals or HDTV signals. Use 
 and  until the desired balance or red-to-green
is displayed in your image. It is best to adjust tint while displaying an external test
pattern—otherwise, it is recommended that tint remain at its default setting. For a
shortcut to “Tint” slidebar, press 
Tint at any time.
SELECT COLOR TEMP —  “Select Color Temp” applies either a
preset color temperature (3200K, 5400K, 6500K or 9300K) or
any previously “User” defined color temperature. Color
temperatures are measured in degrees Kelvin and represent the
“coloration” (reddish or bluish) of the whites displayed by the
projector—the lower the temperature, the more reddish the
whites; the higher the temperature, the more bluish the whites.
NOTE: The custom temperatures “User” or “Interpolated
Color” can be defined in the Color Temperature Setup menu.
Until defined, these custom choices all default to 6500K. See 3.8, Configuring
System Parameters.
INTERPOLATED COLOR — Use this option if you need a specific color temperature
that lies somewhere between one preset color temperature and another. Adjust the
slidebar to define a new temperature which will be interpolated from the neighboring
presets (for example, 7841 is interpolated from 6500 and 9300). This slidebar is
disabled unless you have a source connected and have selected “Interpolated Color”
in the “Select Color Temp” pull-down list.
GAMMA — NOTE: Gamma does not normally require adjustment and is intended for
experienced users only.
The Gamma option affects the shape of the curve determining
what gray shades are available for a given amount of signal
input between minimum (black) and maximum (white).
Different curves can improve performance for certain kinds of
source input and applications. Generally the best gamma curve
is one that produces maximum contrast, brightness and color
performance for the current signal and ambient lighting
conditions. 
						

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DEFAULT (default) –  This setting provides good black levels and high contrast
under optimum viewing conditions for virtually all types of images, including
video, HDTV and computer graphics.
ENHANCED – This setting elevates middle gray levels compared to “Default”, and
provides a more gradual rolled-off transition to maximum white. Together, these
differences can improve the appearance of many kinds of images.
HIGH AMBIENT – This setting elevates low gray levels compared to the “Default”
and “Enhanced” settings. In high ambient light conditions, details can be seen in
the dark parts of an image that would otherwise be difficult to perceive.
PAL/SECAM – This setting results in a darker image with higher contrast. The
gamma curve more closely matches the official standard for PAL and SECAM
video signals.
LINEAR – This setting is a straight, linear transition from black to white. For
normal source signals, it results in a picture of low contrast with highly elevated
low- and mid- level grays. It should be used only with sources that have their
own pre-applied gamma control.
COLOR TEMPERATURE SETUP —  Use the Color Temperature Setup submenu to
apply, alter, add, or copy a color temperature, or if you want to use an unaltered
factory default color temperature.. This menu is duplicated in other locations.
By default, the projector can utilize any of four calibrated factory-set color
temperatures: 3200, 5400, 6500 or 9300 (expressed in degrees Kelvin). For most
applications, these temperatures will display accurate and realistic colors from a
variety of sources. They can be selected at any time from the “Select Color Temp”
list in the Color Setup submenu.
However, if you require extra color temperatures, you can also add up to five custom
color temperatures—four “User” and one “Interpolated Color”—by defining them
within the Color Temperature Setup menu (each defaults to 6500K until then). Any
“User” or “Interpolated Color” temperature created here is immediately applied, or it
can be selected at any time from the Color Setup menu as usual, regardless of your
source or channel. Use of the Color Temperature Setup menu is described below.
NOTE: For best results, use an internal grayscale test pattern when working with
color temperature.
Figure 3.17. Color Temperature Setup Menu 
						

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SELECT COLOR TEMP – See Figure 3.17. Upon opening the Color Temperature
Setup menu, the current temperature appears as the top option. You can change to
a different color temperature here as desired, just as in the Image Settings menu.
Note that selecting a “User” color temperature, enables the “White Level”
options in the Color Temperature Setup—you can adjust them as desired to
define or change a “User” color temperature (see “White Levels”, below).
Likewise, selecting “Interpolated Color” here activates the “Interpolated Color”
slidebar for defining or changing an interpolated color temperature for a
connected source.
INTERPOLATED COLOR – Select this option if you need a specific color
temperature that lies somewhere between one preset color temperature and
another. Adjust the slidebar to define a new temperature which will be
interpolated from the neighboring presets (for example, 7841 is interpolated from
6500 and 9300). It can be used any time and appears as a 4-digit temperature
when in use. NOTE: This option is disabled unless you have a source connected
and have selected “Interpolated Color” in the “Select Color Temp” pull-down
list.
WHITE LEVELS –These 3 controls are adjustable only if a “User” choice is
selected (in which case “User 1, 2, 3 or 4” appears at the top of the Color
Temperature Setup menu). Their current values are shown for the active color
temperature. Changing a white level here changes the drive (contrast) for that
color, essentially creating a new color temperature that is “warmer” or “cooler”
etc. For maximum overall brightness, always keep at least one white level at
100. When you are satisfied with the new “User” temperature, it can be used
immediately upon exit or it can be selected from either the Image Settings menu
or the Color Temperature Setup menu as usual. You can re-define a “User” color
temperature at any time using the Color Temperature Setup menu.
COLOR ENABLE – Select which color or colors you want to see, useful while
working with color temperature white levels.
COPY FROM – Use this option to replace the currently selected “User” color
temperature setup with that of another. This function can be particularly useful as
a starting point for a new “User” color, or for accessing an unaltered factory
default. It is disabled for all color temperatures except “User”. See Figure 3.18.
Figure 3.18. “Copy From” 
						

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To create a starting point: To set a starting point for a new custom user color
temperature, select a user temperature, then highlight “Copy From” and select a
temperature that is similar to what you want. Adjust white levels from there as
desired.
To use a factory default: The preset color temperature setups (3200K, 5400K,
6500K and 9300K) can be altered from within the password-protected Service
menu only—note that although such an
alteration changes the setup and
appearance for a preset, it does not
change its name. If you suspect that you
are using a preset temperature that has
been altered and you want instead to use
the original factory-calibrated color
temperature without clearing the entire
projector memory, you can use the
“Copy From” option in the Color
Temperature Setup menu to set up a
“User” temperature with settings from a
permanent factory preset:
1. Select the “User” color temperature
you wish to update at the top of the Color Temperature Setup menu, such as
“User 2”.
2. From the “Copy From” list, select the matching temperature labeled “Factory”
(such as “Factory 5400K”). These are the calibrated color temperatures set at
manufacture—they remain intact for the life of the projector.
3. The setups for the “User” color temperature you selected at the top of the
Color Temperature Setup menu will now be updated/replaced by those for the
permanent factory calibrated temperature you selected in the “Copy From”
list. Again, a “User” temperature can be altered at any time, if desired.
Video Options
Not applicable to graphics sources.
VIDEO STANDARD — The projector
automatically detects the video standard
present and displays the name of this
standard here. Press 
 to view or
select a different video standard from a
complete list available to the projector
(some will appear disabled, depending on the current incoming signal). Selecting a
specific standard forces the projector to process the signal according to this standard.
NOTE: This option should remain set at “Auto” for all instances EXCEPT: 1) a poor
quality input signal or 2) a black-and-white video signal. In order to detect and
display such signals, select the relevant standard.
INPUT VIDEO BLACK — This control compensates for incoming elevated black levels–
called “setup”–that are present in certain video signals, and ensures that blacks on
screen are neither crushed (i.e., with dark gray appearing black) nor excessively
elevated (i.e., with black appearing dark gray). By default, the projector automatically
determines the correct setting according to the type of incoming video signal:
Figure 3.19. Presets and
“Factory” Presets 
						

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• 0 IRE – For DVD output with “enhanced black”, SECAM, most PAL
standards, and Japanese NTSC.
• 
7.5 IRE – For most NTSC video signals.
For some types of video, you can override the setting. The control is disabled for other
types of video (and all graphics sources). Generally, if black appears crushed when
brightness = 50, choose “0 IRE”. If black appears excessively elevated, use “7.5 IRE”.
VCR – This control determines to what degree the projector tolerates signal
disturbances. The correct setting is automatically determined and set according to the
type of incoming source signal–for instance, there should be a checkmark for all
VCR sources. The VCR option may require a change from its auto setting in very
rare circumstances only, such as if you are having difficulty switching between two
unusual and almost identical VGA computer sources. Otherwise, it is not necessary
to change this option.
VIDEO TERMINATION — Enter a checkmark
to terminate the video inputs 3 and 4 (75
S). The input should be terminated unless
the signal loops through (continues) to
another projector or display device, in
which case only the last projector in the
chain should be terminated.
ENABLE DECODER AGC – The “automatic gain control” affects decoded video images
only. Enter a checkmark (default) for most decoded video sources—this activates the
AGC circuit to ensure properly bright images. Delete the checkmark if a decoded
video image exhibits strange color artifacts such as stripes in highly saturated colors,
indicating an incompatibility between this source and the AGC.
DECODER LUMA DELAY – This control affects any incoming composite or S-video
signal, delaying the luma signal (intensity) in relation to the chroma (color). In the
image, increasing the luma delay will move luma (seen as a shadow where colors
overlap) to the right slightly, with colors remaining in place. Decreasing this delay
will move the shadow slightly to the left. If necessary for your current source, adjust
so that no shadows occur with adjacent colors.
Input Levels
NOTES: 1) It is recommended that only experienced users use the Input Levels
submenu— the projector automatically optimizes input levels for all but the most
unusual of sources. 2) Before attempting an input level adjustment, check that overall
contrast and brightness settings are near 50 and that color temperature is properly
set up on an internal grayscale test pattern. 3) There must be at least one white pixel
present in the image for proper “Auto Input Level” function. Leave this control off. 
						

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Good RGB or input
levels—that is, the
drives and blacklevels
for each of the three
colors, red, green and
blue—ensure that
images from analog
sources other than
decoded video have
maximum contrast
without crushing black
or white. By default
(and in an “Auto Setup”
from the Main menu), the projector automatically determines the best input levels by
monitoring image content and adjusting the controls appropriately—further
adjustment is typically not required to obtain proper blacks or whites. NOTE: This
automatic adjustment requires at least 1 white pixel in the image. Without a white
pixel, input levels may produce skewed colors, particularly in non-video images.
However, for a very unusual source exhibiting overly high blacklevels (most often
caused by a noisy source that causes blacklevel spikes), an experienced user may
prefer to use the Input Levels menu (see Figure 3.20). These adjustments, which are
actually a calibration process to compensate for differences in sources and cabling,
enables an experienced user to perfect the source image input levels. Note that Input
Levels are of limited use with digital signals, but offer some ability to tweak poorly
mastered source materials.
AUTO INPUT LEVEL – Keep off for virtually all sources (default). Temporarily enter a
checkmark only if you are an experienced user and you have an unusual source that
you feel needs further color temperature and/or input level adjustment. After entering
a checkmark, wait for the six values to stabilize, then delete the checkmark and exit.
BLACKLEVELS AND DRIVES - To check your image and adjust these controls:
1. Make sure overall Contrast and Brightness are both set to near 50.
NOTE: Not required for “Auto” adjustment.
• 
Cont = 50 (approx.)
• 
 = 50 (approx.)
2. Check the color temperature setup using an internal grayscale test
pattern, adjusting as desired to obtain a neutral grayscale. NOTE: Not
required for “Auto” adjustment.
3. Make sure you are using an analog source not connected to 
INPUT 3 or
INPUT 4, as Input Levels are not applicable for digital sources or sources
going through the decoder. A grayscale is recommended.
4. If the blacks and/or whites appear OK, input levels do not need
adjustment. If black levels are too high (and/or whites are too low, which
is rare), you likely have a noisy source that is producing skewed input
levels. Continue with Step 5.
5. Temporarily enable “Auto” in the Input Levels submenu. Wait for all 6
values to stabilize. Alternatively, do not use “Auto”—reduce blacklevels
manually instead. Judge by eye and change one or more of the six levels
as necessary to obtain proper blacks and whites. You may want to see
Figure 3.20. Input Levels Submenu 
						

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only a certain color while adjusting—use the “Color Enable” option
(described below).
6. Delete the “Auto” checkmark and leave the Input Levels menu.
IMPORTANT: Do not use Input Levels to adjust color temperature. This will
distort Contrast and Brightness functions as well as color temperature.
CLAMP TIP – This option (full name sync tip clamping) can brighten the image
produced from certain high resolution, high frequency graphic sources. Enter a
checkmark if the image appears unusually dim, if there are horizontal streaks across the
image, or if there is significant color drift. Delete the checkmark if the image is either
sufficiently bright or overly bright.
NOTE: The sync tip clamping option is not used for video sources or any RGB source
with sync information on the video (e.g., sync-on-green).
COLOR ENABLE – Select which color or colors you want to see, useful while working
with color temperature white levels or input levels.
NOTES: 1) Input levels apply for the current source only, but for any color
temperature used. 2) Assuming that color temperature has been set up based on the
internal test patterns, you can then set up input levels for a given source so that it
matches the color temperature of the internal test patterns.
PEAK DETECTOR – The Peak Detector is fast method of defining individual input
levels, and may improve the accuracy of input levels set by the Auto Input level
function. Enabling the Peak Detector activates a special operating mode that detects
only pixels that are considered black or white—all other levels are displayed as a
mid-level gray. When used with a 16-step grayscale pattern, where the black and
white bands are known to be at the edges of the image, you can watch these isolated
areas while adjusting individual blacklevels and input drives as necessary. Images
from this source will then display correct blacks and whites without crushing.
See Figure 3.21.
1) Display a 16 level grayscale test pattern from the desired external source, and
enter a checkmark in the Peak Detector checkbox. NOTE: The “Peak Detector”
will initially render the grayscale as a uniform gray field before adjustment.
2) Display one primary color (use Color Enable to select).
3) For the current color, adjust its corresponding “Blacklevel” slidebar just until a
single band of black appears at one edge of the screen. This band represents the
first band of the grayscale pattern, which should be 100% black. Do not adjust
too far.
4) With the same color still active, adjust its corresponding “Input Drive” slidebar
just until a single band of white appears at the opposite edge of the screen. This
band represents the last band of the grayscale pattern, which should be 100%
white. Do not adjust too far.
5) Go back and check the black band—adjust the blacklevel slidebar if necessary.
Adjustments are related, so you may have to go back and forth until both bands
are just optimized.
6) Repeat Steps 2-5 with the other two remaining primary colors. When each
primary color shows one optimized black band and white band, the input levels 
						

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for this source are correctly set. Upon exiting the Input Levels menu, the Peak
Detector checkbox will clear.
Figure 3.21. Adjusting Input Levels Using the Peak Detector
(RED EXAMPLE SHOWN)
Processing Mode
This control determines the
projector’s processing route for
the incoming signal.
1. 
AUTO (default):  The
projector will
automatically select
the correct processing mode according to what input signal it detects.
Use “Auto” unless you want or need to override its performance and
apply a specific mode instead.
2. 
VIDEO: Performs 15 kHz NTSC/PAL video de-interlacing, regardless of
signal type. Note that this option utilizes 8-bit processing.
3. 
GRAPHICS / HDTV: Performs basic de-interlacing and scaling, regardless
of signal type. Note that this option utilizes 8-bit processing.
4. 
MINIMUM DELAY: Not used in this projector.
5. 
ADVANCED 10-BIT (ADP): Uses 10-bit processing instead of the standard
8-bit processing provided in the projector, resulting in smoother and
clearer details in video images. This feature requires installation of
optional internal hardware—the Advanced Digital Processing Module—
and is disabled unless this module is present. It activates full source-to-
screen 10-bit processing for a digital video source, typically connected
via the optional Serial Digital Input Module or the Digital HDTV Input
Module (
INPUT 2). Images from analog signals (INPUT 1, 3 or 4) will also
be noticeably improved, however these signals are first converted with 8-
bit processing before routing through the ADP module.
Motion Filter
This control is most useful for smoothing out moving
images from interlaced sources. In most cases the
proper Motion Filter setting is automatically
determined according to the type of incoming source
signal. However, if your source is noisy and/or
inconsistent you may wish to “force” a setting to ensure
stable processing for this source—if desired, override