Wolf Cinema Projector Dcx 1500fd User Manual

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Whenever you install a new lamp in the projector, 
access  the Lamp  menu  to  record  the  lamp  serial 
number  in  the  projector’s  memory.  You  can  also 
choose a lamp mode for regulating power and light 
output,  change  Iris  size,  and  access  other  read-
only  information  pertaining  to  past  and  present 
lamps.
laMP  hoURs  (read-only)  shows  the  number 
of  hours  logged  on  the  current  lamp.  Whenever 
you  record  a  new  lamp  serial  number  this  value 
automatically  resets  to  “0”,  where  it  begins  to 
log  time  for  the  new  lamp.  This  information  also 
appears in the  Information menu. 
laMP  s/n (read-only) is the serial number recorded for the current lamp. When you install a new 
lamp and enter its serial number, the number will appear here. 
Enter  a  checkmark  for  LAMP  MESSAGE  to  enable  a  warning  message  that  will  appear  upon 
power-up	 when	the	lamp	 has	reached	 the	specified	 lamp	limit	and	should	 be	replaced.	 Delete	
the checkmark to prevent display of this message — instead, when your lamp expires, only the 
status display messages on the back of the projector will provide the visual warning to replace 
the lamp.
noTes:  1)  It  is  recommended  that  the  Lamp  Message  checkbox  remain  enabled.  2)  When  a 
lamp warning message appears, press 
Exit to temporarily cancel the message. The message 
will continue to appear upon power-up until you install a new lamp.
Set  laMP  lIMIT to the number of hours you expect to log on the current lamp before replacing 
it. This will trigger a lamp message on-screen (if enabled).
noTes:  1)  If  you  change  modes  over  the  life  of  a  lamp,  the  lamp  limit  you  originally  expected 
may no longer be possible.  2) Turning the lamp on and off reduces lamp life significantly, as do 
other factors.  3) It is recommended that Lamp Limit not exceed the expected lamp life, otherwise 
a lamp could become dangerously fragile with overuse.
Set  which  laMP  MoDe  you  want  to  use  in  order  to  control  the  light 
output.  You  can  choose  to  run  the  lamp  as  bright  as  possible  (i.e., 
always  using  maximum  power  —  this  is  the  default  upon  power  up) 
or	 you	 can	power	 the	lamp	 with	a	specific	 wattage	 appropriate	 for	the	
installed	 lamp	or	you	 can	set	a	specific	 intensity	 (brightness)	 to	maintain.	 Although	there	are	
exceptions, generally higher light output or higher power settings can s\
horten lamp life.
Use the lamp mode that best suits your brightness needs. For example, in a tiled application you 
may  want  to  precisely  match  brightness  levels  between  adjacent  images  —  judge  by  eye  and 
set each individual  lamp Power setting as necessary. Or if you want images to be as bright as 
possible — choose  Max brightness. Always keep in mind that higher lamp power settings can 
shorten lamp life.
Section	3	►	Operation
1. 
2.
3.
4.
5.
6.
7
8. Lamp Message
Lamp Limit
Lamp Mode Power
Intensity Iris
Lamp History
Change Lamp
3.8  Working with the 
lamp 
						

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Lamp modes are described below:Max  brightness:
•   The lamp will always burn as brightly as possible, driven by 100% of the 
power  level  rating  for  the  installed  lamp  (see  Section  6,  Specifications).  Keep  in  mind 
that  the  “maximum  brightness”  for  any  lamp  gradually  diminishes  with  age  —  images  will 
become dimmer over time. Its current output level appears in the “Intensity” option (not in 
lumens).
Intensity:
•  	Brightness	 will	remain 	close	 to	a	specified	 level	for	as	long	 as	possible.	 Once	
you  select  this  option,  enter  a  number  representing  the  intensity  level  (brightness)  you 
wish to maintain — the projector will automatically adjust power as needed to maintain this 
intensity as closely as possible. Note that the intensity value is a correlation only and does 
not represent an actual lumens level. See “ Intensity” below.
Power: 
•  The	power	 supplied	 to	the	 lamp	 will	remain	 at	your	 specified	 wattage	level.	Once	
you  select this option,  enter the number  of watts representing  the power  level  you wish  to 
maintain. See “ Power” below.
PoWeR  –  This  slidebar  and  number  indicates  how  many 
watts are applied to the lamp. You can apply anywhere from 
approximately 60-65% of the maximum power intended for the installed lamp up to 100% of the 
lamp  rating.  Set  for  the  number  of  watts  as  desired,  keeping  in  mind  that  lower  power  levels 
produce  dimmer  images.  When  in  either  Power  or Max brightness  modes,  the  power  level 
remains  constant.  Specifying  a  maximum  power  level  here  is  the  same  as  operating  in  Max 
brightness mode.
noTe: Power level can be set only if the lamp is in  Power mode.
InTensITY – This value and slidebar represents the current 
brightness of your lamp, decreasing over time when you are 
operating  in  Max brightness	 mode	or	at	a	specific	 Power  level.  When  you  are  operating  in 
“Intensity”  mode  this  value  remains  at  the  original  “Intensity”  setting  chosen  and  cannot  be 
adjusted.
noTe:  The number shown for “intensity” is not the actual lumen output, but rather a correlated 
value only — 1246 may represent 3500 lumens, for example.
To  use  “Intensity”  mode,  judge  by  eye  (or  use  a  meter)  and  set  the  level  as  desired  for  your 
application. Over time, the projector will automatically increase the power supplied to the lamp 
as needed to maintain the chosen intensity as closely as possible.
hoW  long Can I MaInT aIn bRIghTness? Software can maintain your “Intensity” setting 
until  the  required  power  reaches  the  maximum  rating  for  the  lamp.  The  lower  the  setting,  the 
longer it will take to reach this threshold and the longer you can maintain the desired brightness. 
Keep in mind that once the lamp power reaches its maximum wattage (see “Power”, above), this 
tracking is no longer possible. At this point, the lamp will gradually begin to dim as usual, even 
though your original “Intensity” value will still appear in the menu. To resume accurate tracking, 
reduce the intensity setting so that the resulting “Power” value is less than its maximum — the 
lower the intensity, the longer it can be maintained.
Section	3	►	Operation 
						

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For example, a 1000 watt lamp can be driven at no more than 1000 watts. To produce desired 
brightness at the screen, a new lamp would likely need less than this maximum rating — perhaps 
812 watts (example only). Over time, however, the lamp will require more and more current in order 
to generate the desired light, until eventually the lamp wattage reaches its 1000-watt maximum 
and the lamp power automatically levels off. At this point, the tracking function terminates (i.e., 
the power level stabilizes) and the lamp will begin to dim normally. Either reduce your “Intensity” 
setting or replace the lamp.
Do not lower the “Intensity” so much that the corresponding “Power” value reaches its  minimum 
— the intensity setting will be inaccurate and cannot be maintained. For best results in achieving 
uniform  intensity  amongst  tiled  images,  choose  an  “Intensity”  setting  that  enables  all  lamps  to 
operate at less than the maximum number of watts available in your projector but high enough to 
keep the corresponding lamp power above its minimum. See “ Power”, above.
noTes:  1)  Lamps  become  more  stable  over  time,  thus  a  specific  intensity  is  more  easily 
maintained  as  the  lamp  ages.  2)  Intensity  can  be  set  only  if  the  lamp  is  in  “Intensity”  mode  3) 
Intensity cannot exceed the output of Max Brightness mode.
IRIs  –  The  IRIS  inside  the  projector  controls  the  diameter  of  the 
light beam passing through the system. With a fully open aperture 
(slidebar  default  of  “0”),  the  maximum  amount  of  light  passes 
through  for  maximum  brightness  in  your  images.  Increase  the 
slidebar  setting  to  reduce  the  aperture  diameter  and  maximize 
contrast ratio instead.
laMP  hIsToRY – This read-only option lists the lamps most recently installed 
and  recorded  in  the  projector.  Lamp  History  automatically  updates  whenever 
you record a new lamp serial number — the new lamp is added to the bottom 
of the list.
Use Change laMP to record the serial number for a newly installed lamp:
In the  Lamp S/N window, use the number text entry keys to record the new lamp serial number 
and press again to accept the change. See  Using Slidebars and Other Controls if you need help 
entering  the  number.  Once  entered,  the  new  lamp  serial  number  will  be 
added  to  the  Lamp 
History menu 
and the  Lamp Hours timer will reset to “0”.  Lamp Mode and Lamp Limit remain as 
they were for the previous lamp and can be changed at any time. See Figu\
re 3.19.
Section	3	►	Operation
Iris
Figure 3.19. Recording the New Lamp Serial Number
Iris 
						

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noTe: Enter  a  serial  number  only  if  you  have  just  installed  a  new  lamp.  This  will  help  ensure 
that lamp timer is not reset on an old lamp and that the number of hours logged on the lamp will 
be accurate.
IMPoRT anT: Always record the serial number of a NEW lamp.
When  a  new  lamp  is  installed  and  its  serial 
number recorded by selecting “Change Lamp” 
in  the  Lamp  menu,  the  lamp  timer  resets  to 
“0” and begins logging time for the new lamp. 
This tally appears in both the  Lamp menu (see 
right) and the Information menu.
To  review  the  number  of  hours  logged  for 
previous  lamps,  consult  the  Lamp  History 
menu.
If  the  “Lamp  Message”  checkbox  has  been 
enabled  in  the  Lamp  menu  (recommended), 
an expiry message will appear upon power-up 
when	 the	lamp	 has	reached	 its	defined	 “Lamp	
Limit”. The lamp should be replaced.
The  “Lamp  Limit”  setting  should  not  exceed  the  expected  lamp  life,  as  an  old  lamp  becomes 
increasingly fragile and more prone to sudden failure. 
The  read-only  Information  menu  lists  a  variety  of  details  about  the  standard  and  optional 
components  currently  detected  in  the  projector.  Refer  to  the  Information  menu  for  versions  of 
hardware  and  software  installed,  the  type  (size)  of  lamp,  the  hours  logged  in  total  and  for  a 
specific	 period	(such	as	a	rental	 period),	 and	for	your	 projector	 model	name	and	serial	 number.	
In addition, the  Information	menu	identifies	 the	current	 channel,	 its	location,	 its	frequencies	 and	
other details.
Scroll the full Information menu using 
  . Use 
  for page up/down.
Section	3	►	Operation
how old is My lamp
When to Replace the lamp
Iris
Information Menu 
						

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Section	3	►	Operation
WhaT Is WhITe fIelD UnIfoRMITY?  
•	 No	area	of	the	screen	appears	more	red,	green	or	blue	than	another	
•	 No	area	of	the	screen	appears	brighter	than	another
•	 Color	and	light	output	from	one	screen	closely	matches	adjacent	screens
  Before You Begin
Read through the entire procedure before attempting to adjust White Field Uniformity controls, 
and keep in mind the following checklist of prerequisites and guidelines\
: 
  aDjUsT ColoRs  fIRsT — Always adjust the primary colors as described in the “Matching 
Colors  in  Multiple  Screens”  procedure  (above)  before  attempting  to  work  with  White  Field 
Uniformity. This ensures that primary colors, color temperature, and maximized light output 
are all well matched from one screen to another. These matches are needed before you can 
achieve good White Field Uniformity results.
  RUn  laMP  foR 100  hoURs —	Light	 output	 and	White	 Field	Uniformity	 can	vary	 significantly	
during	 the	first	 100	 hours	 of	lamp	 use.	For	best	 results	 with	new	 lamps,	 either	set	up	White	
Field Uniformity after this period, or do an initial setup and re-check \
at 100 hours
  seT  laMP  PoWeR  —  Ensure  that  each  “Lamp  Power”  setting  is  as  high  as  possible  for 
your  application  while  still  maintaining  a  good  overall  match  of  light  output  from  screen-
to-screen.  By  nature,  achieving  a  uniform  brightness  will  require  a  slightly  reduced  overall 
brightness—this reduction will help ensure that you have enough range of adjustment when 
examining  brightness  variables  more  closely  from  screen-to-screen,  and  will  help  prevent 
premature “maxing out” when trying to match to a certain color, zone or projector.
  Use  a  “UseR”  ColoR  TeMPeRa TURe  —  Always  adjust  White  Field  Uniformity  for  a 
User	 color	 temperature	 defined	when	you	matched	 primary	colors,	and	continue	 to	use	 it	
for all sources displayed on the wall. Your other color temperatures will not necessarily be 
matched from screen-to-screen.
  WhITe UnIfoRMITY  slIDe baRs — White Uniformity slide bar values may not reduce to 
“0”.	 Each	 slide	bar	adjusts	 overall	light	output	 in	a	specific	 screen	zone,	but	the	value	 shown	
represents  the  current  setting  for  green  in  this  zone.  When  other  “hidden”  values  (red  or 
blue) are lower than green, during adjustment in the White Uniformity menu their values will 
reach	“0”	first,	causing	the	slide	
bar	

to	stop	earlier	than	expected.
  jUDge  bY eYe  oR Use  a MeTeR — Good White Field Uniformity can be achieved with 
either.
3.9   achieving White 
field Uniformity 
						

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Section	3	►	Operation
sTeP 1: geneRal seTUP
1a)  Adjust primary colors (see Matching Colors in Multiple Screens) to ensure matched overall 
color temperatures and light output between screens.
 IMPORTANT 
Double-check that all WHITES and LIGHT OUTPUT are well-matched.
1b)  Enable the White Field Uniformity checkbox. 
This  will  enable  access  to  the  uniformity 
controls  and  will  apply  the  settings  to  your 
image.
1c)  Select the 13-Point test pattern for display. This pattern 
provides nine screen “zones” with 13 targets.
foR  besT ResUl Ts: Rather than examining the CENTER 
of  each  zone  when  assessing  White  Field  Uniformity 
adjustments  focus  on  extreme  EDGES  as  indicated  in  the 
illustration at right.
1d)  In either Color Adjustments menu, select a “User” color. Then:
If you have created a “User 1” color gamut (recommended) for a well-matched wall, continue 
•	
to Step 1e.
If  you  prefer  maximum  brightness  rather  than  a  particular  color  temperature,  select  “Max 
•	
Drives”.
IMPoRT anT: Do not change User 1 Color Adjustment in color-matched applications!
1e)  In the  White Uniformity menu, set the “Overall” output level to  50.0 and all remaining slide 
bars to  0.0. This decreases the light output just enough throughout the screen so that any 
color level can then be increased later 
as necessary for matching light output 
from zone-to-zone. Do not exceed  50.0 
for  “Overall”—a  higher  level  will  likely 
interfere  with  achieving  White  Field 
Uniformity and is not recommended.
  Ensure  that  overall  light  output 
remains well matched from one screen 
center  to  the  next.  Where  necessary, 
increase  or  decrease  Lamp  Power 
slightly to recover center matches.
1.
2.
3.
4.
5.
6.Uniformity Enable
Test Pattern
Left Uniformity
Right Uniformity Top Uniformity
Bottom Uniformity
White Field Uniformity
Off
9.
0. Color Temp Adjust
Lamp
7.
8.
Top Uniformity
Color Adjustment by X,Y
Figure 3.20. Test Pattern 
						

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Section	3	►	Operation
sTeP 2: aDjUsT ColoR (leVel of ReD/gReen/blUe) In eIghT zones
noTes:  1)  At  this  point,  ignore  the  brightness  of  individual  zones.  2)  Always  ignore  menu 
colors.
2a)  On each screen, compare the color temperatures in the eight target zones (four edges and 
four corners) to that of the color temperature of the center. Compare using a  white	field	only,	
and take note of any areas that do not match the center. Also decide if any screen exhibits 
a more obvious color shift than other screens — begin with this scree\
n in Step  2b. 
2b)  Return to the  White Field Uniformity menu. Beginning with the screen that exhibits the most 
obvious  color  shift(s),  for  each  edge  that  exhibits  a  noticeably  different  color  temperature 
from the center, select the corresponding  Uniformity adjustment menu — Left, Right, Top or 
Bottom. For example, if any part of the left side is too blue, too red or too green, go to the 
Left Uniformity menu and adjust the colors (i.e., change their light output) until all portions of 
the	 left	side	 closely	 match	the	center	 color	temperature.	 Adjust	an	edge	 first	(focusing	 on	its	
center), and then adjust its corners. See Figure 3.21.
Repeat the color adjustment of sides and corners for each edge of the screen that does not yet 
match the center (note that each corner is adjustable in either of its two adjacent “side” menus). 
When done, all areas of a given screen should match. Repeat Steps  2a & 2b for all remaining 
screens.
sTeP  3: aDjUsT lIghT oUTPUT In eIghT zones
3a)  For each screen, compare the light output of each  edge and  corner to that of the  center. If 
any  of  the  areas  differ,  use  the  White  Uniformity  menu  to  match  edges  and  corners  to  the 
center  as  described  below  (see  Figure  3.22).  Begin  with  the  screen  exhibiting  the  most 
obvious variations in light output.
Adjust 
•	 edge White Uniformity	 first—note	that	each	 edge	 adjustment	 also	affects	 the	rest	 of	
the screen slightly. Keep all edges just slightly lower than the center light output rather than 
matching  light  output  precisely.  Otherwise,  it  may  not  be  possible  to  brighten  the  corners 
(typically the dimmest areas of the screen) enough. I.e., the best uniformity is a compromise 
between the brightest and darkest areas of the screen.
Adjust 
•	 corner White Uniformity last—each corner adjustment affects only this quadrant. 
Repeat for each screen. 
•	
Figure 3.21. Match Zones to Center Color Temperature 
						

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Section	3	►	Operation
Figure 3.22. Match Zones to Center Light Output
sTeP 4: ReaDjUsT ColoR TeMPeRa TURe (leVel of ReD/gReen/blUe) In eIghT    
  zones
noTes:  1)  At  this  point,  ignore  the  brightness  of  individual  zones.  2)  Always  ignore  menu 
colors.
4a)  Return to Steps  2a & 2b	and,	 if	necessary,	 fine-tune	the	zones	 so	that	 they	 all	still	 exhibit	 a	
single color temperature.
CanCellIng WhITe fIelD UnIfoRMITY
If you do not want to use or apply White Field Uniformity settings, delete the checkmark from the 
“Uniformity Enable” checkbox at the top of the  White Field Uniformity menu.
Edge Blending  is an innovative set of software functions that can quickly and easily blend white 
levels along the edges of multiple adjacent projected images to create a single seamless larger 
image.
Wha T Is a blenD?
In simple terms, a blend appears as a gradient strip along an 
edge  of  a  projected  image.  It  is  darkest  along  the  extreme 
edge  of  the  image,  and  lightens  nearer  to  the  rest  of  the 
image (see right).
hoW  aRe blenDs UseD?
In  multiple-projector  walls,  complementary  blends  between 
neighboring images can compensate for the extra “brightness” 
or intensity where these edges overlap. By controlling blend 
width and other properties, you can achieve uniformity across 
the  group  of  images.  Visible 
overlaps will disappear:
Figure 3.23. Edge Blending Concept
3.10  edge blending 
						

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Section	3	►	Operation
For best results, use the same projector model and type throughout your display wall. In addition, 
avoid high-gain screens whenever possible—the optical performance of such screens demands 
minimal image offset, thus projectors must be located very close to one another.
Edge blending software controls are located in the two-page Edge Blending submenu—access 
via  Display  Setup  menu,  then  go  to  the  Geometry  and  Color  menu  and  select Edge  Blending. 
The More option opens the second page of the  Edge Blending submenu.
MaIn fUnCTIons
Use  Edge  Blending  controls  to  set  the  precise  width, shape  and midpoint   you  need  to  blend 
overlapping edges together smoothly. blend Width
•   determines  how  much  area  is used for blending  along  an overlapping  edge. 
Slide bar values represent the number of eight-pixel steps used for the blend. For example, 
a	 setting	 of	“eight”	 creates	 a	blended	 edge	24	pixels	 wide.	A	setting	 of	“0”	 signifies	 no	
blending. For best results in most applications, use a blend width of 16-48 steps (128-384 
pixels).
  Ranges: 0-80 horizontal, 0-60 vertical.
  blend  shape
•    determines  the  rate  of  roll-off 
across  the  blend  width,  i.e.  how  quickly  the 
white  levels  across  the  blend  change  from 
light  and  dark.  Increasing  the  Blend  Shape 
setting accelerates the rate of change at both 
extremes so that less of the region appears 
mid-gray  (see  Figure  3.24).  Decreasing  the 
Blend Shape setting slows the rate of change 
so that more of the region appears mid-gray. 
For  most  applications,  this  subtle  control  is 
best left close to 50. 
 
blend  Midpoint
•    determines  the  white  level 
at  the  blend  midpoint  (the  point  equidistant 
between the beginning and end of the blend). 
Increasing the  Blend Midpoint  setting creates 
a blend that appears brighter than the rest of 
the  image.  Decreasing  the  Blend  Midpoint 
setting  creates  a  blend  that  is  darker  than 
the rest of the image. A setting of 50 means 
the  midpoint  is  approximately  50%  black—
for  best  results  in  most  applications,  keep 
fairly close to this default.
Figure 3.25. “Midpoint” Examples Figure 3.24. “Shape” Examples
 
  
						

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show blending
•  	Overlap	 turns	your	defined	
blend  width  area  to  solid  gray  so  that,  if 
needed,  simply  overlapping  the  gray  bars 
can  seamlessly  align  two  adjacent  images. 
Toggle  the  Show  Blending  Overlap  off  to 
reactivate the blend effect.
 
  noTe:  Blending  Overlap  appears  as 
Reserved when Wolf WARP is installed.
oTheR fUnCTIons 
For  convenience,  the  Edge  Blending  submenu 
also  includes  related  options  for  enabling  a 
specific	 color	and/or	 test	pattern,	 or	for	 working	
with colors or the lamp. Such functions duplicate 
those provided elsewhere in the menu system.
eDge blenDIng PRoCeDURe
noTe:  Before attempting to work with edge blending software functions, you must  1) physically 
align  the  projectors/images  by  correctly  overlapping  the  displays  from  your  intended  external 
source, and 2) Match colors and White Field Uniformity.
IMPoRT anT: For a shared edge, all  Blend procedures and settings should be identical on BOTH 
projectors.
Start	with	two	projectors.	Display	full	white	field	test	pattern	from	both.
1. 
In the 2.  Edge Blending  submenu, enable  Edge Blending by entering a checkmark in the top 
checkbox.
SET STARTING POINTS FOR ADJUSTMENT:
3. 
Set all blend widths to 0.
•	
Go to “More” and set everything in the 
•	 Edge Blending (2) menu to 50.
Section	3	►	Operation
 
Figure 3.27. Set Starting Points for Each ProjectorFigure 3.26. Blend Areas