Projector Christie Vista S5 User Manual

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The video decoder input panel provides simultaneous connection of both a composite
video source (
INPUT 3) and an S-Video source (INPUT 4).
If connecting a composite video source, use the Composite BNC connector or the
RCA phono jack at 
INPUT 3–do not use both as inputs. See Figure 2.19.
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 3” 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.
NOTE: If you want to loop a composite signal through to another projector or
display device, see Video Loop Through later in this section.
Figure 2.19. Connecting Composite Video
Composite Video 
						

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The video decoder input panel provides simultaneous connection of both a composite
video source (
INPUT 3) and an S-Video source (INPUT 4).
If connecting an S-Video source, use the 4-pin mini DIN connector or the Y and C
BNC connectors (luma and chroma) at 
INPUT 4–do not use both as inputs. See Figure
2.20.
Figure 2.20. Connecting S-Video
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 4” 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.
NOTE: If you want to loop an S-video signal through to another projector or display
device, see Video Loop Through below. S-Video
 
						

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To loop a single incoming video signal input (connected at the video decoder)
through to another projector or display device, use the empty connector(s) adjacent to
this same input as described below.
Composite Video Loop Through
CONNECTIONS: See Figure 2.21. From your source, connect a composite video signal
to 
INPUT 3 using either the small phono plug or the adjacent BNC. Connect a second
cable from whichever 
INPUT 3 connector is free to one of the composite video inputs
of the next display device or projector. Continue this looping method for each
projector, using either the phono plug or the adjacent  BNC as input into 
INPUT 3,
then using the other connector as an output (i.e., loop through). Whether you use the
BNC or the phono plug as input or output depends on the type of cable you have on
hand and what type of connectors are on each end. If desired, connect one audio signal
to any projector as usual (audio is standard on Vista models only).
VIDEO TERMINATION: In Image Settings / Video Options control, make sure “Video
Termination” is checked for the final projector only. All other projectors must have
this option unchecked in order for the signal to continue. For other types of display
devices in the chain, typically a “Hi-Z” switch position is needed.
Figure 2.21. Connections for Composite Video Loop Through
Video Loop Through 
						

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S-Video Loop Through
CONNECTIONS: See Figure 2.22. From your source, connect an S-video source signal
to 
INPUT 4 using either the 4-pin mini DIN or the 2 adjacent BNCs labeled Y and C.
Connect a second cable from whichever 
INPUT 4 connector is free to one of the S-
video inputs of the next display device or projector. Continue this looping method for
each projector, using either 4-pin mini DIN or the 2 adjacent BNCs as input into
INPUT 4, then using the other connector(s) as an output (i.e., loop through). Whether
you use 4-pin mini DIN or the 2 adjacent BNCs as input or output depends on the
type of cable you have on hand and what type of connectors are on each end. If
desired, connect one audio signal to any projector as usual (audio is standard on Vista
models only).
VIDEO TERMINATION: In the Image Settings / Video Options control, make sure
“Video Termination” is checked for only the final projector. All other projectors must
have this option unchecked in order for the signal to continue. For other types of
display devices in the chain, typically a “Hi-Z” switch position is needed.
Figure 2.22. Connections for S-Video Loop Through 
						

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If you want to use an extra video source in addition to the video source(s) connected at
INPUT 3 or INPUT 4 connect either a Composite or S-Video source to INPUT 1 as shown in
Figure 2.23. Do not connect both types here simultaneously. NOTE: For additional video
inputs, install an optional Composite/S-Video Input Module at 
INPUT 2.
Figure 2.23. Connecting an Extra Video Source to Input 1
Optional modules from Christie allow you to increase your total number of inputs
and/or accommodate different signal types, whether analog or digital. Any one of
these modules can be installed in the area labeled 
INPUT 2. They include:
• RGB 500 Input Module
• RGB 400 Active Loop Thru Input Module
• RGB 400 Buffered Amplifier Input Module
• Composite/S-Video Input Module
• PC250 Analog Input Module
• Serial Digital Input Module
• Digital HDTV Input Module
• DVI Input Module 
(originally DVI / DFP Input Module)
Alternatively, the analog interfaces (i.e., non-digital) can be installed in a Marquee
Case/Power Supply or Marquee Switcher, if desired, for use with the projector.
NOTES: 1) Audio ports on optional interfaces are non-functional. Use the
projector’s audio connectors labeled 
IN 2 (standard on Vista only). 2) Optional
digital interfaces cannot be used in a Marquee Case/Power Supply or Switcher. 3)
Connect analog HDTV signals directly to 
INPUT 1 or to any “RBG” input module
installed at 
INPUT 2— the optional HDTV Input Module used in earlier Christie
projector models is not needed or recommended . 4) See Appendix F, Optional Input
Modules for a brief description of each interface. Extra Video

– COMPOSITE OR S-VIDEO
Optional Inputs 
						

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You may wish to use one or more external Marquee Signal Switchers or a third party
switcher in order to significantly increase the number of sources you can select. If
you are using a Marquee Signal Switcher, connect the switcher’s RGB output to
INPUT 1 and connect an RS-232 serial communication cable between the switcher and
the projector serial port labeled 
SWITCHER (see Figure 2.24). The switcher
communication link (permanently set at 9600 baud) enables you to access inputs
connected to the switcher in the same manner as those connected directly to the
projector. For most other third-party switchers, connect and access sources according
to the documentation provided with that switcher. Use high-quality shielded cables.
NOTE: Make sure any Marquee Signal Switcher connected directly to the projector
is set as “Switcher #1”. If it is not, unplug the switcher and turn the thumbwheel to
“1” before plugging back in and connecting to the projector and/or network.
Figure 2.24. Connecting a Marquee Signal Switcher
If you are using more than one Marquee Signal Switcher, daisy-chain the RS-232
switcher inputs/outputs together to form a complete network of inputs accessible
from the projector (you can network up to 9 switchers), and connect Switcher #1 to
the projector as shown in Figure 2.24. In addition, connect the RGB output from each
switcher to its matching slot on switcher #1–for example, connect the RGB output
from switcher #2 to slot #2 on switcher #1, and the RGB output from switcher #3 to
slot #3 on switcher #1. Note that slots used in this manner on switcher #1 are no
longer recognized as inputs to the projector–if you select a slot location that is
connected to another switcher’s RGB output, the projector will display the “no input
signal” error message. Connectin
g a switcher
Connecting Multiple
Switchers 
						

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Plug the projector’s high-current line cord into the line input socket located in the
lower right corner of the rear panel of the projector, then plug the 3-pronged end of
the line cord into a grounded AC outlet. Input voltage to X3/X4/S3/S4 models must be
capable of 100-240 VAC. For all other models, it must be 200-240 VAC. Use the
proper power source and the high-current rated line cord provided. See Section 5,
Specifications for all power requirements.
 WARNING 
Do not attempt operation if the AC supply and cord are
not within the specified voltage and power range.
 Caution for Shutdowns: Once the projector is turned off (Powe r *), the lamp
cooling fans will continue to run for approximately five minutes to ensure that the
projector and lamp have sufficiently cooled, at which point the fans will
automatically shut off. To avoid thermal stress that can lead to premature lamp
failure, never unplug the line cord while the lamp cooling fans are running, and
never unplug to power down.
The projector is set up at the factory for use in a front screen, floor mount orientation.
If your initial installation is ceiling mount or rear screen, displayed images may be
upside down and/or reversed. To correct, you must change the image orientation
from within the Menu
Preferences menu (you may
prefer to do this before
physically installing the
projector in its final
position/orientation).
In the Menu Preferences
Menu, highlight and select
the Image Orientation pull-
down list. Select from Rear,
Inverted Rear, Front or
Inverted Front according to
your intended installation.
See Section 3, Operation for
further information.
For most installations, the
lens surface of the projector
is parallel to the screen—this
prevents major keystoning of
the image (i.e., an image
with non-parallel sides). In
addition, the projector must
be kept level from side-to-
side in order for the lamp to
function safely. To make small corrections to the projectors level, rotate each leg as
necessary to raise or lower. For angled installations, see “Special Mounting” under
2.3, Projector Position and Mounting earlier in this section.
2.5 Power
Connection
2.6 Operating
Orientation
2.7 Leveling
Figure 2.25. Adjusting the Feet Height 
						

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Once the projector is properly set up and producing an image, you are ready to make
quick lens adjustments. Refer to 3.3, Using the Keypad and 3.4, Navigating the
Menus if you are unfamiliar with using the keypad and menu system.
NON-MOTORIZED: If you have a zoom lens installed, turn the textured ring of the lens
barrel to decrease or increase the size of the image at the current throw distance.
MOTORIZED: If you have a zoom lens installed, press Lens to display the Lens Control
menu. Select the “Zoom” option (
) and adjust image size as desired with  or
. Refer back to Figure 2.1.
 WARNING 
Keep fingers away from the lens opening when
operating the motorized zoom function.
NON-MOTORIZED: Near the lens opening, turn the lens focus tab until the image is as
sharp as possible.
MOTORIZED: Press Lens to display the Lens Control menu. Adjust image clarity as
desired with 
 or . Refer back to Figure 2.1.
NOTES: 1) Initially, your image may be so blurry you cannot recognize the “Focus”
menu option. Remember that 
Lens activates the “Focus” control (#1)— from here,
press 
 or  to adjust. 2) If focus is not uniform throughout the image, bore
sight is likely poor. Contact your dealer for service.
Lens offsets move the lens and image. Try to achieve the desired overall image
position and best brightness while maintaining a rectangular image. If the brightness
looks uneven, or the edges do not look perfectly straight, the projector may not be in
the optimal position for your screen. See 2.3, Projector Position and Mounting for
full details. Lens offset ranges are also listed on page 5-1.
NON-MOTORIZED: To relocate the image, turn either or both of the front knobs
adjacent to the lens. The top knob “Vertical” will raise or lower the image, the
bottom knob “Horizontal” will shift the image left or right.
MOTORIZED: Press Lens to display the Lens Control menu. Select either lens offset
option (
 or ) and move the image as desired with  or . Refer back to
Figure 2.1.
Other display adjustments are available through keypad commands and on-screen
menus—refer to Section 3, Operation.
NOTE: Requires motorized lens.
Once you’ve defined lens settings for the current display, you can automatically
recall these positions whenever you use this channel. This Intelligent Lens System
TM
(ILSTM) function is particularly useful if you are working with a variety of source
types that may differ in size and/or aspect ratio, since the custom lens settings you’ve
chosen for any channel will be quickly and accurately applied whenever you use that
channel.
ENABLING ILS TM : In the Lens Control menu, enable the “Intelligent Lens System”
option (highlight it and press 
Enter). This will add the 4 lens positions—focus, zoom,
2.8 Zoom, Focus &
Lens Offset
Zoom
Focus
Lens Offset
Intelligent Lens SystemTM
(ILSTM) 
						

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horizontal and vertical offset—to the current channel settings recorded in projector
memory (see 3.5, Using Inputs and Channels if you are unfamiliar with channels).
The lens will then automatically reposition itself according to these lens settings each
time you use this channel. The ILS
TM is a global function—any lens settings you
subsequently define for other channels will also be recalled whenever you use those
channels.
You can still change lens settings as usual when the ILS
TM is enabled. Changes will be
recalled the next time you use the channel.
DISABLING ILS TM : To use consistent zoom, focus, and offset settings for all channels,
delete the “Intelligent Lens System” checkmark (highlight the option and press 
Enter).
The lens will not move until you adjust one of its settings.
Operating Tips for Lens Settings and ILS
TM
NOTE: Accurate ILSTM performance requires a calibrated lens mount. Calibrate after
installation of a lens, and repeat if the lens is moved or bumped. See Section 3.
When defining the focus, zoom, horizontal offset and vertical offset slidebar settings
for a given channel, keep in mind the following considerations for optimized ILS
TM
performance:
• The lens mount must be calibrated.
• When decreasing (
), values are always even (1004-1002-1000-etc.).
• When increasing (
), values are always odd (1001-1003-1005-etc.).
• Lens movements begin slowly and subtly before reaching full speed—changes
may not be evident on screen until after a second or two of 
 or .
• When holding 
 or , lens movement gradually accelerates.
• As with any setting, you can directly enter a value using the numbers on the
keypad, if desired. Press 
Enter before and after.
• Because of how gears function, movement to an even value is always
approached from a higher value, even if the direction of lens movement must
reverse to do this. Likewise, an odd value is approached from a lower value.
This protocol helps ensure ILS
TM  accuracy. In general:
◊ If decreasing to an odd value, movement will reverse its approach.
◊ If increasing to an even value, movement will reverse its approach.
• To make small adjustments for ILS
TM recall, always maintain the current odd or
even status for the new value—this will prevent the lens from reversing at a
point very near to the requested setting and settling in the area of extra travel
known as the “backlash” zone, an area which is not recognized by the ILS
TM .
For accurate tweaking of an odd setting, press 
. If even, press .
FOR EXAMPLE: If the current setting is 1001 and you enter 1002, the lens must
move slightly beyond the requested setting before quickly reversing back
down to 1002. Although 1002 will appear in the menu, the physical location of
the lens will not be accurately recalled by the ILS
TM.
Instead, if you need to slightly increase a current odd setting (such as 1001),
either press 
 as often as necessary or go to a nearby odd setting (1003,
1005, etc.) rather than switching to an even setting (1002, 1004, etc.). This
technique will prevent the lens from reversing and settling in the backlash
zone. 
						

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• Try to release the  or  key before reaching a desired lens setting, then
continue as necessary with small incremental adjustments in the same
direction. If you “overshoot” slightly, do not reverse and “tweak” into place
unless you have overshot beyond the backlash zone (which can vary from 10
to 600 increments, depending on the function). Otherwise, the ILS
TM function
will not recognize the final “tweaked” value when you return to this channel,
and lens performance will appear inaccurate. In general, use small
“incremental” fine-tuning only if the direction of lens movement has not
changed during an adjustment. See Figure 2.26.
Alternatively, simply enter a new position to reverse direction. For example, if
the current setting is 2000, enter 2001 to start moving up—then press 
. If
current setting is 2001, enter 2000 to start moving down—then press 
.
Figure 2.26. Lens Settings and the ILSTM
• When adjusting lens offsets, slidebar values will not reach extremes of 0 or
9999. This is normal and does not mean that corresponding lens mount
movements failed to reach their physical extremes.
NOTE: Communication software is required for serial control. Contact your dealer
for details.
You may wish to use equipment other than the keypad for controlling the projector or
for performing other special functions. Such equipment—such as most personal
computers—requires a serial interface for sending and receiving communications
through the serial ports on the projector. Note that there are two different types of
serial communication ports on this projector as described below.
RS-232 Ports
From most computers, connect an 
RS-232 serial communication cable between the
computer and the projector serial port labeled 
RS-232 IN—this 9-pin D connector port
is located near the bottom center of the projectors rear control panel (see Figure
2.27). Then set the projector baud rate to match that of the computer (changing the
baud rate is described in 3.7, Configuring System Parameters.
NOTE: Refer to Appendix D for complete cable wiring details.
2.9 Serial Port
Connections
If using a computer