Runco Vx 3c Projector User Manual

							While there are many different ways to connect your source equipment to your VHD
Controller, the examples shown above are the most common and are recommended by
Runco.
• COMPOSITE VIDEO INPUT:
Composite video is the most common type of signal used, but is also the lowest in picture
quality. Many sources have outputs that are limited to composite video, such as most VCR’s
and some camcorders; others such as Laser Disc players actually produce slightly better
results when using composite video. While the VHD Controller has an excellent decoder for
composite video, it is recommended that composite video be used only if necessary.
• S-VIDEO INPUT
S-video is the second-best type of signal that can be used, but is MUCH better than compos-
ite video. Using such sources as Satellite receivers, high-quality VCRs and DVD players (with
no component output) will produce a MUCH cleaner and sharper signal. Decoder artifacts
that are associated with composite video (dot crawl and ‘rainbows’) are non-existent when
using S-video.
• COMPONENT INPUT
Component video is the best type of signal that can be used. The most common sources that
use component outputs are DVD players, and it is highly recommended that component be
used when possible. Component video goes one step beyond S-video in picture quality; chro-
ma (color) information is more resolved and the overall picture appears more well-defined.
• PASS-THROUGH
This input is used to ‘pass-through’ any high-definition or computer signals that do not require
processing. The signal by-passes the VHD Controller’s processing and is sent directly to the
projector. The pass-through may be used for COMPONENT outputs from a DTV decoder, a
progressive-scan DVD player or RGB outputs from a computer.
6-9
Quick Set-up Guide
Connection Examples
Computer or
DTV decoderDVD Player
Sattelite
receiver or
SVHS playerVCR, Laser
disc player,
camcorders
Projector
Phast or 
Crestron
12v Fuse
Mask ScreenRS-232 IN
VH BGR
Pass-through
Pb
Pr Y
RUNCO
RS-232 OUT S-VIDEOCOMPOSITE
VX-3c 
Projector 
						

							6-10
To get started using your VHD Controller and projector, follow these sim\
ple steps:
1.Ensure all sources that you are using are properly connected to the VHD
Controller. This is something your Runco dealer has probably already don\
e for
you; if not, please refer to the ‘Connection Examples ’ and the owners manuals of
each appropriate source as necessary.
2.Turn on all sources. If a A/V receiver is being used to switch the video\
, ensure 
that is also turned on.
3.Turn on the VHD Controller. Make sure the Main Power switch (pg. 6-6) \
is ON,
then press the power button on the front of the controller (or the powe\
r button on
the remote). Ensure the red LED lights up on the front of the unit.
4.Turn on the projector.
5.With the left or right buttons on the front panel or remote, select the \
desired
source. You may also do this by going through the menu (see pg. 6-12).\
6.Select the desired aspect ratio by using the up and down buttons on the \
front
panel or the remote. You may also do this by going through the menu. For\
 an
explanation of Aspect ratios, please refer to pg. 6-16.
QUICK SET-UP GUIDE
Getting Started 
						

							6-11
QUICK SET-UP GUIDE
Overall Functional Description
The VHD Controller’s purpose is twofold. First, it provides aspect ratio control and
can do so on either a WIDESCREEN or a standard 4:3 screen. Second, it provides
a clean, progressive signal to the projector. 
The processing the VHD Controller uses is called SCALING. Scaling is simply a
way of taking a signal, ‘digitizing’ it, then converting it to any of a number of resolu-
tions. It is by manipulating the algorithms of the scaling process that we are able to
not only produce properly-configured aspect ratios, but to provide the most effective
scan rate for the projector it will be used with.
An INTERLACED signal is the type of signal that comes from all consumer sources
(with the exception of DTV decoders and computers). DVD players, Laser Disc
players, and VCRs are all examples of source equipment that have interlaced out-
puts. An interlaced signal is simply described as this:
240 lines (even)
Second 1/60th of a second240 lines (odd)
First 1/60th of a second
An NTSC picture is made of approximately 480 lines. Images are drawn 60 times a sec-
ond, but in an interlaced system, only half the lines are drawn each ‘pass’. Therefore, it
takes two ‘passes’ to actually complete the picture. On the first 1/60th
of a second, all of
the ‘ODD’ lines are drawn, then the ‘EVEN’ lines the next 1/60th
of a second.  This is also
called ‘480i’, where 480 is the total number of lines of resolution, and ‘i’ means interlaced.
A PROGRESSIVE signal, however, draws all 480 lines each 1/60th
of a second, not
half and half like an interlaced signal. A ‘line doubler’, for example, outputs a 480-line
progressive signal (also known as 480P). The line doubler takes the first field (odd
lines), and stores them in memory, then takes the second field (even lines) and does
the same. Then, all 480 are output at once, and then the same frame is repeated.
The VHD Controller starts off as a line doubler by ‘de-interlacing’ the signal. Then,
the 480p signal is scaled to appropriate resolution, and then output to the projector.
It is Runco’s high-quality scaling process as well as its de-interlacing that provides
the clean, resolved image that you see from your VX-3c projector. It is also how the
processor can provide aspect ratio control.
In the next chapter, the individual menu items will be described in detail. Overall, the
VHD Controller has a number of useful functions aside from the scaling and de-inter-
lacing described above. It has typical picture controls, including COLOR (saturation),
TINT (hue), BRIGHTNESS (black level), SHARPNESS, CONTRAST (ratio of white to
black) and other picture enhancements such as LUMA and CHROMA ENHANCE. 
						

							6-12
The main menu (shown above) includes two sections: Source Selection/ Picture
quality adjustments and Functional adjustments. Pressing MENU on the front panel
or on the remote control will bring up the main menu.
In the menu shown above, Composite video is selected as the current source. This
is indicated by an arrow to the left of ‘COMPOSITE’ in the menu. If S-video were
selected, for example, the arrow would then be to the left of ‘S-video’. 
To select a source, there are two options. First, using the main menu, you can
highlight the desired source with the up or down arrows (front panel or remote),
then press enter. The VHD Controller will immediately switch to the desired source.
The second option is to simply press the LEFT or RIGHT buttons on the remote or
front panel (see page 4) while there are no menus on screen.
Note: 
There will be no on-screen display when the PASS-THROUGH is used. If you
are using the PASS-THROUGH and wish to change sources, simply press the
left or right buttons on the remote or front panel.
MENU DESCRIPTION AND NAVIGATION
Main Menu
MAIN MENU
>
COMPOSITE        ADJUST
S-VIDEO
COMPONENT
PASS-THROUGH
ASPECT RATIO
PASS-THROUGH SETUP
Source selection and
picture quality adjustments
Sets masking parameters for 
screens with masking capabilities. Aspect ratio selection 
						

							Aspect Ratioallows selection of one of the three aspect ratios provided by the
processor. You have two options for selecting an aspect ratio: First, highlight
ASPECT RATIO on the main menu, then press ENTER. Then select the desired
aspect ratio, and again press ENTER. The second option is to simply press the UP
or DOWN arrows on the remote or front panel. Doing this will toggle you through
the three choices- Anamorphic (16:9), Letterbox and Standard (4:3). For more infor-
mation on aspect ratios, please refer to page 6-16.
Pass-Through Setup: This is only used with screens with masking capability.
When Pass-Through is selected as the source, the screen masking should be set for
the appropriate source. For example, on 4:3 screens, there should be no masking
for computer sources, but Top/Bottom masking should be activated when watching
DTV (anamorphic) sources. You may select either RGB HDTV (anamorphic), YUV
HDTV (anamorphic), or computer (4:3).
6-13
MENU DESCRIPTION AND NAVIGATION
Picture Quality Adjustments
Picture quality adjustments are those that change the various parameters of the
image, such as COLOR (saturation level) and BRIGHTNESS (black level), among
others. Typically, these adjustments should be made only once (during initial calibra-
tion) and then left alone. However, if it is necessary to make any adjustments, per-
form the following procedure:
In the example above, note that COMPOSITE is the active source. This is indicated
by an arrow to the left of the word ‘COMPOSITE’. To make adjustments, highlight
the active source (composite in this case) and press ENTER.
Note:
Pressing ENTER after highlighting a different source will switch you to that
source instead of making picture quality adjustments.
MAIN MENU
>
COMPOSITE        ADJUST
S-VIDEO
COMPONENT
PASS THROUGH
ASPECT RATIO
PASS-THROUGH SETUPTINT
COLOR
BRIGHTNESS
CONTRAST
SHARPNESS
LUMA ENHANCE
CHROMA ENHANCE
VCR MODE 
						

							6-14
After pressing ENTER, the picture quality menu will appear (the menu to the right
of the main menu above). To adjust a certain function, highlight it with the or
DOWN buttons, and press ENTER. The following will then appear on-screen (we’ll
use COLOR as an example):
MENU DESCRIPTION AND NAVIGATION
COMPOSITE
COLOR:    0
AGC ENABLED
To Change the value of the function (Color in this case), simply press the UP button to increase the
value, and the DOWN button to decrease the value. For COLOR and CONTRAST, to turn AGC on or
off, press the ENTER button.
• TINT
Also  known as ‘HUE’. Decreasing this will give the picture a ‘redder’ tint, increasing it gives the pic-
ture a ‘greener’ feel. This is actually a ratio of one color vs. another (red, green or blue), so making
the picture ‘greener’ for example, is actually affecting all three colors. It is recommended that this
function stay about mid-range.
• COLOR
Also known as ‘SATURATION’. Decreasing this will decrease the amount of color in the image (it will
be black and white if it is decreased all the way), Increasing this will add color to the image. This is
typically best at about mid-range, but increasing it a little will add more vibrance to the colors.
However, if it is increased too high, the picture will look very unnatural.
The ‘AGC enabled/disabled’ function should normally be left in ‘AGC Disabled’. If, however, you are
using an unstable source and are having color level fluctuations in the image, you may try to use
‘AGC Enabled’ to see if it helps. 
• BRIGHTNESS
This actually controls the black level of the picture- not the overall light output! If this is set too low,
then there will be no detail in the dark areas of the image. If it is set too high, then the picture will
appear ‘washed out’. This is normally set using a ‘PLUGE’ test pattern; if this has already been cali-
brated it should not be adjusted (for best results). 
• CONTRAST
This is the ratio of brightest whites to the darkest scenes. Basically, this increases the ‘white level’ of
the image. While it will increase the light output to a certain extent it could also cause ‘clipping’ if it is
increased too high. This appears as a loss of definition in the brightest scenes, where the whites
appear to ‘bleed together’. 
The ‘AGC enabled/disabled’ function should normally be left in ‘AGC Disabled’. If, however, you are
using an unstable source and are having brightness (light output) level fluctuations in the image, you
may try to use ‘AGC Enabled’ to see if it helps.  
						

							• SHARPNESS
This controls the ‘high-frequency’ detail of the image. The more sharpness is
increased, the more detail is added into the picture. However, if it is increased too
much, it will also increase ‘noise’ in the picture as well as other types of artifacts.
This may be set to personal preference; midrange is factory-preset.
• LUMA ENHANCE
This is similar to the sharpness control, but it does not boost the frequencies all
over the picture. Instead, this is more like an ‘edge enhancement’ that makes transi-
tions between objects more or less defined. The edges of a building, for example,
may appear more or less defined depending on the setting of LUMA ENHANCE.
This affects areas of the image that do not have much color.
The LOW and HIGH FREQUENCIES setting on the bottom of the LUMA
ENHANCE adjustment window are for different sources; it should be set to LOW
FREQUENCIES if a lower quality source is used (VCRs), and HIGH FREQUEN-
CIES if a good quality source like a DVD player is used. To select HIGH or LOW
FREQUENCIES, use the ENTER button.
• CHROMA ENHANCE
This is basically the same as LUMA ENHANCE, but affects the color edges.It helps
remove the watercolor look of NTSC images. Use low frequency for VCRs and
cable and high frequency for DVDs.
6-15
MENU DESCRIPTION AND NAVIGATION 
						

							6-16
An ‘aspect ratio’ is simply the ratio of the width vs. the height of the screen. For
example, the current aspect ratio standard is 4:3 (or 1.33:1), where the image is 4
units wide and 3 units tall.
Aspect Ratios
First, the Basics
4 units wide
3 units tall
All of our ‘regular’ televisions are this aspect ratio. You have probably noticed that
occasionally you’ll watch a movie that does not fill the screen vertically. This is
because the movie was filmed in WIDESCREEN (letterbox), and the result is ‘black
bars’ above and below the image:
Obviously, watching a movie like this does not lend itself to a truly cinematic experi-
ence! This is why Runco invented the first-ever multiple aspect-ratio projection sys-
tem back in 1991, so true movie-lovers can watch actual widescreen (letterbox)
movies on a WIDESCREEN!
A WIDESCREEN can be a number of aspect ratios; many movies are either 1.85:1
or 2.35:1, and HDTV is always 1.78:1 (16:9). The way we create a widescreen (or
LETTERBOX) aspect ratio is to take a full 4:3 image, then ‘blank’ (or cut off) the top
and bottom so the displayed image is in a widescreen format. For movies recorded
in ‘letterbox’, there would be no information above and below the screen anyways,
so we’re not losing any of the picture. However, if you were to watch standard tele-
vision broadcast this way, you would lose some information (see next drawing). 
						

							As you can see, our screen in this example is a 1.85:1 ratio. The dashed lines
show the area that we ‘blanked’. If you recall, watching a letterbox movie on a 4:3
screen gave us black bars; therefore with letterbox movies, we’re not losing any
information!
The ‘other’ type of widescreen is called ‘ANAMORPHIC’. The image is still a
widescreen format, but instead of ‘blanking’ the top and bottom, we simply reduce
the overall height of the image:
6-17
Blanked (cut off)
areas Active image area
(Actual screen area)
As a result, all objects will be ‘short and fat’ (like the circle above), right? Well, not if
you’re using software that is anamorphic. Most (but not all) DVD movies have an
anamorphic option.
ASPECT RATIOS 
						

							VHD CON\bROLLER
\fenu
12v Fuse
Mask Screen RS-232 IN
VH BGR Pass-through
Pb
Pr
YRUNC
O
RS-232 OUT
S-VIDEOCOMPOSITE
3.5
17.45
17
17.45
17
1
6
3.5
16
3.5
6-18
DIMENSIONS
Front Panel
Side
Rear Panel
To p