Wolf Cinema Projector Dcx 1000fd User Manual
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3-38 WhITe fIelD UnIfoRMITY — sUbMenU Corrects for shadows caused by short throw or anamorphic lenses. eDge blenDIng — sUbMenU The Edge Blending submenu provides a range of controls for smoothing together the overlapping bright edges of multiple adjacent projected images to create a single larger “seamless” image. These controls, which primarily affect white levels, are typically used in conjunction with mechanical lens blinders (optional), which are installed on the front of the projector and which primarily affect black levels. There is a centerline (both horizontal and vertical) in the Edge Blending test pattern. The intersection of these lines is the true center of the projector’s display area. noTe: 1) There is a centerline (both horizontal and vertical) in the Edge Blending test pattern. The intersection of these lines is the true center of the projector’s display area. ColoR aDjUsTMenTs bY x/Y anD ColoR TeMP aDjUsT — sUbMenUs noTes: 1) For defining or changing a User 1, 2, 3, or 4 color performance or “gamut”. Sometimes known as Comprehensive Color Adjustment™. 2) Factory-defined primary color levels, which ensure a specific color performance from projector-to-projector, can be calibrated in the Service menu only. If you suspect alteration of these defaults, the factory settings can be recovered with selection of “Reset to Factory Defaults?” in the Color Primary Settings submenu accessed via the Service menu (password-protected). From the factory, the projector can utilize any of the three pre-defined color performance settings identified at right (default=Max Drives), or colors can be driven on the basis of color temperature. For most applications, one of these gamuts will produce accurate and realistic colors from a variety of sources. They can be applied at any time in the Advanced Image Settings menu (“Select Color Adjustment”), and are not adjustable. Section 3 ► Operation
3-39 DefInIng “UseR” ColoR gaMUTs: In some cases, you may find that none of the pre- defined “Select Color Adjustment” options exactly suit your needs. For example, you may require a unique color gamut (range) for a single projector or application, or you may need to precisely match colors across multiple adjacent displays. In such cases, use the Color Adjustments by X,Y or Color Temp Adjust submenu to define the precise hue of each primary color component (red, green, blue, and white) used to generate the millions of colors produced in displays. You can create up to four custom color gamuts (User 1, 2, 3, or 4) with these \ adjustments. Note that the two menus differ only in their user interface, so use whichever menu best suits your needs and application. A color meter can help with adjustments. Color Adjustments by X,Y • — Enter known x/y coordinates from the chromaticity graph. Color Temperature Adjustment • — Adjust color slide bars and judge image color by eye or meter. A user-defined color “adjustment” can be applied by selecting it in the Advanced Image Settings menu (“Select Color Adjustment”). Section 3 ► Operation ColoR aDjUsTMenT bY x,Y: Use this submenu if you want to create, alter or copy a color gamut (i.e., “color adjustment”). Controls in this menu define the precise hue of each primary color component (red, green, blue, and white) used to generate the millions of colors produced in displays. The x/y coordinates for each color define its location on the standard CIE chromaticity graph (see Figure 3.17)—changing either or both of these numbers will change the hue of the color, and relocate the “triangle” for possible colors. For example, changing the x/y coordinates for red may move the color closer to orange or closer to violet, which will in turn affect all displayed colors having a red component. Adjust the slide bars or enter new specific coordinates as desired to define or change up to four “User” color gamuts needed for your environment and applications. Apply at any time in the Advanced Image Settings menu. Color Adjustments by X,Y Select Color Adjustment Red XRed Y Green X Green Y Blue XBlue Y White X White Y Auto Color Enable Color Enable Copy From Color Temperature 1. 2. 3. 4. 5. 6. 7. 8. 9. 0.User2 0.655 0.341 0.332 0.575 0.093 0.320 0.330 Red Max Drives 0.144 6521
3-40 Section 3 ► Operation Color Temp Adjust noTe: Keep new x,y coordinates within the original color gamut triangle shown \ here. ColoR TeMP aDjUsT : Use this submenu if you do not have specific color coordinates in mind and will simply judge color performance by meter. Like the Color Adjustment by X,Y submenu, each color control actually defines new x/y coordinates for that color and changes its hue — it is just a different interface. Adjust the hue of each primary color (red, green, blue, and white) by using more or less of it in relation to the other colors. noTe: A Color Temp Adjust adjustment defines the corresponding x/y coordinates shown in the Color Adjustment by X,Y submenu. These x/y coordinates will remain stable for this User gamut until they are changed again via either menu. Values displayed in the Color Temp Adjust menu, however, will likely fluctuate as you use the projector, and will be different when you return to this menu at some point in the future. These floating changes do not affect the x/y coordinates or gamut. Figure 3.17. Chromaticity Diagram (without Yellow Notch Filter)
3-41 TesT PaTTeRn Choose the desired internal test pattern to display, or select OFF to turn off a test pattern. Alternatively, use the Test key for cycling through test patterns. noTe: There is a centerline (both horizontal and vertical) in the Edge Blending test pattern. The intersection of these lines is the true center of the projector’s display area. System Configuration DIagnosTICs/CalIbRa TIon Section 3 ► Operation Diagnostics and Calibration Test Pattern Grey Level Freeze Image Color Enable Odd Pixel Adjustment Peak Detector Level Detector Level Value Aspect Ratio Overlay Lamp Tracking Calibration LVS Calibration Automatic LVS Lens Calibration 1. 2. 3. 4. 5. 6. 7. 8. 9. 0.Grid 512 White 512 Calibrate Lamp Tracking Full Calibration blaCK eDge blenDIng — sUbMenU Black Edge Blending is a feature that eliminates the differences between black levels when edge blending multiple projectors. The Black Edge Blending submenu provides many controls to allow the edges of adjacent images to be smoothly overlapped creating a “seamless” image. Edge blending smoothes white levels, and if edge blending is not in use, Black Edge Blending is disabled. Black Edge Blending provides a simple solution for uneven black levels, without the need for external hardware, by matching up black level hues with a “target area” hue (the intersection of the center lines), and adjusting the overlaps (edges) surrounding the target area. noTes: 1) There is a centerline (both horizontal and vertical) in the Black Edge Blending test pattern. The intersection of these lines is the true center of the projector’s display area. 2) Adjust white levels before adjusting black levels. 3) Blinders are recommended for fixed installations. DefaUlT ColoR aDjUsTMenTs — sUbMenU Refer to System Configuration – Geometry and Color, Color Adjustments by X,Y for description. lens VaRIsCoPe™ (l Vs™) — sUbMenU LVS™ provides the ability to recall focus and zoom settings specific to each source input. Custom lens settings you’ve chosen for any source will be quickly and accurately applied when you select a source that has already been calibrated. Place a checkmark in the checkbox to enable LVS™. If no calibration has previously been done you may be prompted to do a full calibration. If a motion calibration has been done, you will be prompted to complete a reference calibration. If both calibrations have been done, the checkbox will be checked and LVS™ enabled. If LVS™ is enabled, a reference calibration will be done on power up and the lens will return to the saved position of the source that is active at the time of power up or to the position the lens was located when it was powered on. Further adjustments to the zoom, focus and position will be automatically saved for source the selected source. If you switch to a source with different lens settings and switch back, the lens will automatically move to your saved settings upon return. Other sources can be used without using LVS™ . noTes: 1) See System Configuration – Diagnostics/Calibration, LVS Calibration for further details about calibration. 2) LVS™ control is a preference setting and will be retained between power cycles.
3-42 TesT PaTTeRn gReY leVel Set the desired level of grey for displaying in the full gray field test pattern. fReeze IMage Enter a check mark to freeze (stop) an image on a single frame. This diagnostic tool is useful if you need to examine in detail a still version of an incoming image that cannot be “frozen” at the source. For example, in moving images it is sometimes difficult to observe artifacts such as external de-interlacing/resizing and signal noise. Remove the checkmark to return back to normal. ColoR enable Select which color or colors you want to see. This is useful while working with color temperature, input levels or other special setup parameters. Colors can also be enabled/disabled by entering the corresponding function code listed on the back of the standard remot\ e keypad. oDD PIxel aDjUsTMenT noTes: 1) Factory-set and rarely required by user. 2) Source must be >90 MHz. When using certain RGB sources, you may need to adjust the normal gain or offset of odd pixels in relation to even pixels. This will smooth out very narrow (one-pixel wide) “checks” or vertical stripes that indicate adjacent “on” and “off” pixels. Using the Level Detector simplifies this process (see Figure 3.18): Use an external analog native-sized continuous grayscale test pattern with at least 1. 256-levels. Turn “Level Detector” on. 2. Set “Level Value” to 3. ~200. The image should now be black-and-white (or black-and-one color, if you use “Color Enable” function). Adjust 4. offset. Half of the pixels will move, the other half will not. Adjust until the two transition regions overlap. The stripe of noise will be minimized, defined 5. by the value in the slide bar. Set “Level Value” to 6. ~800. The image should now be black-and-white. Repeat Steps 4 and 5, but adjusting 7. gain. Repeat Steps 3-7 for all remaining colors. Your RGB source should now be OK. 8. Two sets of values are automatically saved with these controls — one value for Input #1, and one for Input #2 (analog). The current set of values depends on which source is in use. This enables a source to be processed correctly via two different inputs. Section 3 ► Operation Figure 3.18. Using “Odd Pixel Adjustment”
3-43 noTes: 1) Adjust offset before gain, since offset affects gain. 2) A value of 128 represents no change in normal odd pixel offset or gain. 3) Odd Pixel Adjustment eliminates “one pixel on, one pixel off” artifact only, not any type of larger artifacts. ReseRVeD No function. PeaK DeTeCT oR The “Peak Detector” is a fast method for defining individual input levels, and can improve the accuracy of input levels set by the Auto Input Level function. Enabling the “Peak Detector” activates a special operating mode for detecting 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 in which the two black and white bands are known to be at opposite edges of the image, you can watch these isolated areas while adjusting individual black levels and white levels until both bands are just visible. Images from this source will then display correct blacks and whites without crushing or washing out. noTe: If using Peak Detector with PIP, both images must have the same color space. leVel DeTeCT oR The “Level Detector” checkbox enables specific thresholds for blacks and whites — input levels that fall below a specified Level Value (see below) are displayed as black, and all others are displayed as white. It aids in Odd Pixel Adjustment. To use: Enable “Level Detector” and display a continuous grayscale. 1. Set “Level Value” to near black (such as 200). 2. Adjust Offsets to minimize area of black stripe. 3. Set “Level Value” to near white (such as 800). 4. Adjust Gains to minimize area of white stripe. 5. leVel ValUe Level Value defines the value to be used by the Level Detector in recognizing blacks and whites. See Level Detector , above. asPeCT Ra TIo oVeRla Y Selecting this option with a checkmark will overlay a number of common aspect ratio boxes on top of the source image. This is very helpful during the setup of the projector and can be turned off after desired specifications have been achieved. laMP TRaCKIng CalIbRa TIon noTes: 1) Lamp Tracking Calibration takes up to two minutes. 2) For best results, allow the projector to warm up for 15 minutes prior to calibration. Lamp Tracking Calibration defines the range of power needed to maintain lamp brightness. Select Calibrate Lamp Tracking for calibration using your projector’s unique specifications (recommended) rather than standard specifications. The projector will revert to the default back- up in the event of a power failure. Section 3 ► Operation
3-44 Section 3 ► Operation lens VaRIsCoPe sYsTeM (lVs™) CalIbRaTIon This option allows you to choose between three types of lens calibrations. Reference calibration determines a reference point that is used as a defined starting position for relative motion of the lens. All positioning is measured from this reference point. A reference calibration is lost when power is removed from the projector and will occur on every power up as long as LVS™ is enabled. A Motion calibration determines the characteristics of each motor and values are saved in the projector’s memory. If LVS™ is enabled and a motion calibration has previously been done, the projector will automatically recall these settings from memory when it’s being powered up and a motion calibration will not take place. A full calibration performs both a reference and motion calibration. aUT oMa TIC l Vs lens CalIbRa TIon When this option is selected (default) and the projector is in LVS mode, the projector will perform a lens calibration on each power-up. During calibration, the shutter will be closed and the status LED will display ‘LC’. If LVS is not selected, the ALC setting will be ignored. If, during power-up, ALC is not selected and LVS is, the last stored location from the previous LVS calibration will be assumed to be true and the lens will moved to that position upon power-u\ p if necessary. noTe: It is recommended to leave this feature disabled. The two “Option Card” entries In the Display Setup menu identify which optional input modules (a.k.a. cards) are present at InPUT 5 (Option 1) and InPUT 6 (Option 2). If either of these option slots is empty, the corresponding read-only menu entry does nothing. If there is a module installed, the corresponding menu entry may activate a submenu of further options pertaining to that module. For example, if the Dual SD/HD-SDI module is installed at InPUT 5 (Option 1). The Option 1 Card submenu provides controls for configuring the various connections on this multi-input, multi-output module. As desired for your application, you can define 1) which physical input loops through to which output, and 2) which functional input (main or PIP signal) loops through to which output. Select Automatic mode or a series of manual modes. In Automatic mode the input video payload information is read and compared to that of the SMPTE 352 standard to detect the dual link format and the primary channel. Single video input will also work in this mode without any payload information. Dual link input video which does not contain payload information must be set up manually. Select the format and which of the two channels is the primary input. System Configuration oPTIonal InPUT MoDUles Input A to C, Input B to D Input A to D, Input B to CMain to C, PIP to D Main to D, PIP to C 1. 2. 3. 4. Loop Thru Output Selection Configure Channels 1. 2. O ptio n C a r d 1 : D ua l S D /H D -S D I M o d ule Input A to C, Input B to D Automatic System Configuration ConfIgURe Channels - sUbMenU
3-45 Section 3 ► Operation PIP (Picture-in-Picture) and Seamless Switching are independent but related projector features that both utilize two image-processing paths within the projector. In the case of Picture-in- Picture, this double processing enables you to display two different images simultaneously – typically a smaller “secondary” image within a large “primary” background. In a seamless switch, the double processing essentially occurs between displays so that a full image relayed from one source can smoothly transform into a full image from another source. This change can be virtually instantaneous, or slowed as desired so that the current image appears to dissolve or “fade” into the new image. Options for enabling and controlling PIP and Seamless Switching all reside in the same menu. Note, however, that because both features utilize the projector’s double processing capability, PIP and Seamless Switching cannot be used together. For example, fading a pair of PIP images into a new display from a different source is not possible. For best PIP or Seamless Switching results, use two different signal types* as defined below. Do not mix two signals of the same type. signal Type Description (Input location) #1 5 BNCs (RGBHV or YPbPr) #2 DVI - I (analog or digital) #3 Decoded signals (Input 3, Input 4, Composite video, S-Video, or any video signal via Input 1 BNC connectors or via an analog option card). #4 Analog Option Cards #5 Digital Option Cards #6 Digital Option Cards * HD interlaced sources are not recommended for the PIP window. Other PIP or Seamless Switching tips to keep in mind include: When using two digital signals or one analog and one digital, each must be ≤ 165 • megapixels. When using two analog signals, each must be ≤ 90 megapixels. • Avoid using an interlaced source in the PIP window • Seamless switching may affect image quality in some cases • noTe: To control the primary image, access all picture controls through the Main menu. To control the secondary (PIP) image, access picture controls through the Picture-in-Picture or Switching menu. Use the first of six options in the PIP menu to enable and define how you want to use PIP. Working with PIP 1. 2. 3. 4. 5. 6. 7. 8. 9. Swap Main and PIP Image PIP Enable PIP Size & Position PIP Image Settings PIP Border Width PIP Border Color Numbers Select Main Image Image Optimization Fade Time Picture-In-Picture (PIP) 4 Red PIP Only P ic ture-in- P ic ture O ptions S witc hingO ptions ( n/a) 3.7 Working with PIP or seamless switching Table 3.5. Signal Type
3-46 Section 3 ► Operation sWaP MaIn anD PIP IMage Toggle the current picture-in-picture relationship so that the primary (main) image becomes secondary (PIP), and the secondary image becomes primary. Swapping is available only when PIP is enabled. noTe: There may be a slight delay when swapping the Primary and Secondary imag\ es. PIP enable Short cut: Press PIP on the Remote if menu not present. Toggle to display from two sources at once (Picture-in-Picture) or the primary source only. This checkbox turns the secondary source on and off. noTe: Disable PIP and Best Switching for Interlaced sources > 35kHz. PIP sIze anD PosITIon – sUbMenU Most controls in the PIP Size and Position menu adjust the PIP (secondary) image in the same fashion as their counterparts in the main Geometry and Position menu adjust the main image — see 3.5, Adjusting the Image for details. Exceptions are: PosITIon PReseTs – Set the location of the PIP (secondary) image in the display. asPeCT Ra TIo PReseTs – Choose the desired aspect ratio for your PIP pixels. Use the “Default” aspect ratio when incoming format has square pixels (most common). This ensures that the resulting PIP image maintains its intended aspect ratio. Use “Anamorphic” for NTSC signals having narrower pixels--this will stretch the pixels horizontally to regain the intended aspect ratio of the PIP image. noTe: If the image is already resized at the source it will remain that way in the PIP window. If, for example, an NTSC signal is already set to anamorphic through the Resize and Preset menu it will remain that way in the PIP window. If the NTSC signal is formatted as widescreen at the source, then the image in the PIP window will appear with black bars above and below it. PIP IMage seTTIngs — sUbMenU Adjust the PIP (secondary image) without affecting the size or position. The primary image remains unchanged. See 3.6, Adjusting the Image, for details PIP boRDeR WIDTh Set the desired line thickness for your PIP window border. PIP boRDeR ColoR Select the desired color for the PIP window border. noTes: 1) Numbers 7 and 8 on the Picture-in-Picture and Switching submenu control switching parameters. 2) Disable PIP in order to work with Seamless Switching. 3) Disable PIP and Best Switching for Interlaced sources > 35kHz. 1. 2. 3. 4. 5. 6. 7. 8. 9. 0. Position Presets Size Vertical Stretch Pixel Track Pixel Phase H-PositionV-Position Aspect Ratio Presets Advanced Size and Position PIP Size and Position Bottom Right 0.729 1.090 858 0 360 262 Letterbox
3-47 Section 3 ► Operation Working with seamless switching Seamless Switching is the ability to instantly and/or smoothly switch sources, and is controlled with options 7 and 8 in the PIP menu. To use Seamless Switching, PIP must be disabled. Tips for best source switching: Ensure a channel has been configured for each source. • Progressive digital and analog sources are recommended. • Set Image Optimization to Seamless Switching (see below). • For best results, use the same frame rate and gamma setting for each. • noTe: Avoid using two interlaced sources. IMage oPTIMIza TIon Use this setting to choose what is more important, image quality or switching between sources. Selecting Best Image Quality will ensure your image is always proper however when switching sources, the screen will go blank increasing your switching time. Smooth Switching allows for a cleaner transition between sources. The image will fade from one image to another according to the Fade Time control. Seamless Switching overrides the Frame Lock Enable settings and forces the output to run at 60Hz regardless of the input signal. Image is 100% seamless when switching sources. noTe: Disable PIP and Best Switching for Interlaced sources > 35kHz. f aDe TIMe Set how long (in seconds) it takes to gradually dissolve one image into another for a source switch when Image Optimization is set to Smooth Switching. noTe: PIP must be disabled for Fade Time to take effect. Also, the PIP window must be closed to activate it. nUMbeRs seleCT MaIn IMage Use Numbers Select Main Image to use the numeric keys #1-8 as input keys. This remapping of the keypad (see right) can be particularly useful with PIP displays, providing a convenient shortcut for changing the primary (background) image without first having to return to the Main menu. Select “Always” to use the keys in this manner all of the time, even with single displays. For normal keypad function, select Never (default). Set to When PIP Active to activate number keys only when PIP is in use. noTe: Numbers Select Main Image keypad functionality works only when menus are closed. PIP