Projector Christie Vista S5 User Manual

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Using a 5:4 Screen with “S” Models
With one exception, XGA images will—
by default—resize to fill an SXGA screen
with “S” models. The exception
(illustrated in Figure 2.7) is that video
signals will retain their aspect ratio—fill
the screen by increasing Vertical Stretch
to slightly expand the image to the top and
bottom edges of the screen. For details,
see 3.6, Adjusting the Image.
Using a 4:3 Screen with “S” Models
If you are using a 4:3 screen with “S” models (which produce 5:4 images), images
will—by default—slightly overlap the screen vertically. To remedy, reduce Vertical
Stretch so that the “too tall” 5:4 image no longer spills over the top or bottom of the
screen (Figure 2.8). This control eliminates the need for simply moving the projector
farther from the screen, which would result in black borders for all sources. See 3.6,
Adjusting the Image.
NOTE: The Vertical Stretch adjustment may soften the image slightly, but is not
noticeable in most cases.
Figure 2.8. Using a 4:3 Screen for a mix of 5:4 and 4:3 sources (“S” models)
The high brightness output of this projector is certainly well suited for locations
where ambient lighting is less than optimum for projection, yet there are still many
simple things you can do to optimize your installation.
Visiting a movie theater can give you an idea of what makes an ideal projection
environment. Walls, floors and furnishings are dark and matte finished. A projection
room should not have white reflective ceilings or non-directional lighting such as
fluorescent lights. The white ceiling spreads light, making the room appear brighter.
Keep lighting and reflections to a minimum.
If it is not possible to eliminate fluorescent lights, consider using incandescent spot
lighting or parabolic reflectors (egg crates) to direct light down to the floor. Light
dimmers or rheostats allow further control.
Outside windows are undesirable in any projection room. A small crack between
curtains on a sunny day can wash out a projected image. If you do have windows,
make sure that window coverings are opaque and overlapping — some window
coverings are designed to provide up to 100 percent blockage of outside light.
Ideally, the material should have a matte finish.
Figure 2.7. Adjusting a 4:3 Video
Image
Ideal Room Lighting 
						

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To minimize the effects caused by unwanted light from door and aisle ways,
carefully choose the position of your projector and screen. Figure 2.9 shows an
installation where poor screen placement allows too much unwanted light to enter the
screen. In Figure 2.10, screen and the projector are positioned so that unwanted light
is minimized.
Figure 2.9. Poor Screen Placement
Figure 2.10. Better Screen Placement
Even with all lighting removed it is still possible that room reflections within the
room can slightly degrade the image. Light from the projection screen should be
absorbed by the ceilings, walls and floors so that it will not be reflected back to the
screen. Again, keep reflective surfaces to a minimum.
Here are some other considerations and tips which can help you improve your
installation:
• Ventilation is an important factor when preparing a projection room. The ambient
temperature should be kept constant and below 35°C (95°F). Keep the projector
away from heating and/or air conditioning vents. Changes in temperature can
cause drifts in the projector circuitry which may affect performance.
• Keep the projector away from devices which radiate electromagnetic energy such
as motors and transformers. Common sources of these are slide projectors,
speakers, power amplifiers, elevators, etc. Other Considerations
 
						

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• For rear screen applications, less space is required if a mirror is used to fold the
optical path.
• Choose the right screen size for the application:
◊ As screen size increases, magnification increases and reduces brightness.
Select a screen size which is appropriate for the venue, but not larger
than that required.
◊ Installing a large screen in a small room is similar to watching television
close up; too large a screen can overpower a room. A good rule of thumb
is to be no closer than 1.5 times the width of the screen.
◊ Larger screens require greater attention to lighting conditions.
• When laying out the projection room, consider positioning the projector and
screen in a manner which will achieve maximum audience coverage and space
efficiency. For example, placing the screen along the larger wall in a rectangular
room will reduce audience coverage. Figure 2.11 shows two examples of how
audience coverage is maximized.
Figure 2.11. Screen Locations for Maximum Audience Coverage
Installation type, screen type, and lighting all affect where the projector is positioned.
In addition, both throw distance (the distance between the projector and screen) and
vertical position (the height of the projector in relation to the screen) must be
determined for every new installation. Both depend on the screen size and lens type
you are using. Make sure that the room can accommodate the required position of the
projector for the chosen screen size.
Throw distance is the distance between the projectors front feet and the screen. For
any installation, an accurate throw distance must be determined in order for the
image to be of the right size for your screen–the farther the projector is from the
screen, the larger the image.
NOTE: If your projector is tilted in relation to the screen, as is sometimes the case
for large venues or elevated installations, throw distance still represents the smallest
measurement between the screen and front feet.
2.3 Projector
Position and
Mounting
Throw Distance 
						

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Throw distance is roughly equal
to the horizontal width of the
screen multiplied by the type of
lens you are using. For example,
if you are using a 0.8:1 lens,
proper throw distance will be
approximately 0.8 
x the screen
width. Once you know your
screen size and lens, you can
estimate throw distance needed
(see example in Figure 2.12).
IMPORTANT: For proper
placement in an installation,
always refer to the throw distance formula and/or graph for your lens as listed in
Appendix E. Keep in mind that due to lens manufacturing tolerances for lens focal
length, actual throw distance can vary ±5% between lenses described as having the
same throw ratio.
THE VERTICAL POSITION of the projector in relation to the screen also depends on the
size of the screen and the lens type. Correct vertical position helps ensure that the
image will be rectangular in shape rather than keystoned (having non-parallel sides)
and that image focus and brightness both remain optimized.
In addition, vertical position of the image can be offset—that is, moved up or done—
either by turning the top knob on the front of the projector (the one nearest to the IR
sensor) in non-motorized projectors, or through software in motorized projectors.
Offsets range up to 130%, depending on the specific lens, whether it is motorized or
not, what amount of zoom is in effect and whether or not you are also offsetting
horizontally.
See Table 2.1 for the maximum percentage of the image that can be displayed above
or below the center of each type of motorized lens. These image offsets are also
illustrated in Figure 2.13.
NOTE: Shown are approximate motorized offset ranges —manual offsets may differ.
Table 2.1. Maximum % of Image Offset from Lens Center
Lens TypeMax. Recommended Image Offset
✻ 0.8:1×91%Ø100%
1.2:1×104%Ø100%
1.5 - 2.2:1×128%Ø100%
2.2 - 4:1×128%Ø100%
✻ 2.5 – 4:1×123%Ø100%
4-7:1×130%Ø100%
✻ 4-7:1×114%Ø100%
✻  NOTE: VistaGRAPHX lens. Threaded lens adapter required.
Motorized ZOOM feature is not available for VistaGRAPHX lenses.
The 0.8:1 lens is not recommended for use in “S” models.
Figure 2.12. Estimating Throw Distance
(SEE APPENDIX E)
Vertical & Horizontal
Position 
						

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Figure 2.13. Maximum Vertical Offsets
Continued… 
						

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Figure 2.13. Maximum Vertical Offsets, Continued (ALL LENSES)
NOTES: 1) If you cannot raise or
lower the image enough using
mechanical vertical offsets, try
adjusting V-Position in the Size
and Position menu (see 3.6,
Adjusting the Image). 2) If the
image becomes keystoned or
exhibits uneven brightness, the
projector may simply be too high
or low in relation to the screen. 3) Recommended offset ranges can be exceeded,
however this may affect image quality. 4) Simultaneous horizontal and vertical offset
limits the adjustment range of each.
THE HORIZONTAL POSITION of the image can be offset—that is, shifted left or right
of lens center—either by turning the bottom knob on the front of the projector (the
knob farthest from the IR sensor) in non-motorized projectors or through software in
motorized projectors. The maximum horizontal offset for lenses that can be installed
in this projector is shown in Figure 2.14. This value expresses the maximum
percentage of the image that can be projected to one side of the lens center (roughly
77%, depending on the lens). 
						

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Figure 2.14. Maximum Horizontal Offsets (ALL LENSES)
For typical front or rear floor mounts, mount the projector on a
secure table or cart. Take care with a mobile cart—avoid
sudden stops, excessive force and uneven surfaces that may
cause the projector and cart combination to overturn.
The table or cart should be reasonably level. Fine adjustments to the projector level
can be made by adjusting the height of the projector legs; refer to 2.7, Leveling for
details.
Special Mounting
Note that projector can be rotated and mounted at any vertical angle—i.e., you can
tilt the face of the projector up or down as much as desired for your installation. The
side-to-side tilt, however, must not exceed 15° (see Figure 2.15). This limit ensures
that the arc lamp in the projector operates properly and safely. Always make sure that
exhaust air from the projector does not vent towards the lens, otherwise you may
detect heat waves in your projected image.
Figure 2.15. Horizontal and Vertical Tilt Ranges
You must use the proper ceiling mount fixture or stacking kit for your projector. For
more information, contact your dealer.
Mounting 
						

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In rear screen applications where space behind
the projector is limited, a mirror may be used
to fold the optical path. See right. The position
of the projector and mirror must be accurately
set—if considering this type of installation, call
your dealer for assistance.
The rear panel of the projector provides standard input panels to which you may
connect a variety of sources. See Figure 2.16–the lower left area (
INPUT 1) typically
accepts an RGB signal from an external RGB source, or it can also be used for YPbPr
signals or additional video sources. The upper right panel–the Video Decoder
Module–accepts only composite video at 
INPUT 3 or S-video at INPUT 4 from devices
such as VCRs, laser disk players or DVD players. There are also several optional
interfaces available for connecting other sources at 
INPUT 2. Such an option installs in
the upper left area, just below the audio connectors (if present). For any input,
including the optional inputs, audio with loop through connects at the audio input
panel located between the license label area and 
INPUT 2 (audio is standard on Vista
only).
NOTES: 1) Audio connectors are standard on Vista models only. 2) For all
connections to the projector, use only high-quality shielded cables.
Figure 2.16. Rear Connector Panel
Folded Optics
2.4 Source
Connections 
						

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INPUT 1 provides 5 BNCs (connectors) for linking to a variety of sources, typically to
an RGB source such as VGA, SVGA, XGA, Mac, PowerMac, DEC, Sun, SGI and
others. This projector supports multiple sync types with RGB signals: sync-on-green,
composite sync, and separate H & V syncs.
NOTE: Depending on the source, you may need a custom adapter cable with BNC
connectors at the projector end and a different type of connector at the other (such as
a 15-pin D connector for computer sources). Contact your dealer.
Connect the 
SYNC BNC input(s) first. Then connect the red, green and blue source
outputs to the 
RED, GREEN, and BLUE BNCs on the INPUT 1 panel. If the source uses
sync-on-green, only the red, green, and blue connections are required. If the source
provides a composite sync output, connect it to the 
SYNC input labeled HOR/COMP. If
the source provides separate horizontal and vertical sync outputs, connect horizontal
sync to the 
SYNC input labeled HOR/COMP and connect vertical sync to SYNC input
labeled 
VERT. See Figure 2.17.
NOTES: 1) If for some reason the projector fails to recognize as an RGB signal,
specify this Color Space option within the Image Settings menu. See 3.6, Adjusting
the Image. 2) To connect YPbPr signals–such as from DVD or analog HDTV sources–to
INPUT 1, use the red, green and blue BNCs as described in YPbPr Signals later in this
section.
Figure 2.17. Connecting RGB Input
AUDIO for INPUT 1 (STANDARD ON VISTA ONLY): To control audio levels in an audio/visual
system, connect pre-amplified (line level) audio inputs to the 
“IN 1” left and right
channel audio inputs located near the top left corner of the rear input panel. Then
connect external audio amplification equipment to audio 
“OUT” for sound output.
Audio connection cables require standard RCA type phono plugs. RGB Si
gnals  
  
						

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Connect a YPbPr signal (component video) to INPUT 1 as shown in Figure 2.18.
Figure 2.18. Connecting YPbPr Signal
NOTES: 1) If, for some reason, the projector fails to recognize a YPbPr signal,
specify this Color Space option within the Image Settings menu. See 3.6, Adjusting
the Image. 2) Do not connect digital component signals (known as YCbCr) to 
INPUT
1
. Use the appropriate digital interface installed at INPUT 2.
AUDIO for INPUT 1 (STANDARD ON VISTA ONLY): To control audio levels in an audio/visual
system, connect pre-amplified (line level) audio inputs to the 
“IN 1” left and right
channel audio inputs located near the top left corner of the rear input panel. Then
connect external audio amplification equipment to audio 
“OUT” for sound output.
Audio connection cables require standard RCA type phono plugs. YPbPr Signal

(COMPONENT VIDEO)