Dynamic range - WikiHQ

Dynamic range (abbreviated DR, DNR, or DYR) is the ratio between the largest and smallest measurable values of a specific quantity. It is often used in the context of signals, like sound and light. It is measured either as a ratio or as a base-10 (decibel) or base-2 (doublings, bits or stops) logarithmic value of the ratio between the largest and smallest signal values.

Electronically reproduced audio and video is often processed to fit the original material with a wide dynamic range into a narrower recorded dynamic range for easier storage and reproduction. This process is called dynamic range compression.

Human perception

{| class="wikitable floatright" style="width:auto; line-height:1.5em; text-align:right;"

|+ Power ratios and their equivalent decibels and stops (integer values in bold)

! scope="col" | Factor (power)

! scope="col" | Decibels ()

! scope="col" | Stops ()

|1 || 0 || 0

|2 || 3.01 || 1

|3.16|| 5 || 1.66

|4 || 6.02 || 2

|5 || 6.99 || 2.32

|8 || 9.03 || 3

|10 || 10 || 3.32

|16 || 12.0 || 4

|20 || 13.0 || 4.32

|31.6|| 15 || 4.98

|32|| 15.1 || 5

|50 || 17.0 || 5.64

|100 || 20 || 6.64

|1,000 || 30 || 9.97

|1,024 || 30.1 || 10

|10,000 || 40 || 13.3

|100,000 || 50 || 16.6

|1,000,000 || 60 || 19.9

|1,048,576 || 60.2 || 20

|100,000,000 || 80 || 26.6

|1,073,741,824 || 90.3 || 30

|10,000,000,000 || 100 || 33.2

The human senses of sight and hearing have a relatively high dynamic range. However, a human cannot perform these feats of perception at both extremes of the scale at the same time. The human eye takes time to adjust to different light levels, and its dynamic range in a given scene is actually quite limited due to optical glare. The instantaneous dynamic range of human audio perception is similarly subject to masking so that, for example, a whisper cannot be heard in loud surroundings.

A human is capable of hearing (and usefully discerning) anything from a quiet murmur in a soundproofed room to the loudest heavy metal concert. Such a difference can exceed 100 dB which represents a factor of 100,000 in amplitude and a factor of 10,000,000,000 in power. The dynamic range of human hearing is roughly 140 dB, varying with frequency, from the threshold of hearing (around −9 dB SPL at 3 kHz) to the threshold of pain (from 120 to 140 dB SPL

A human can see objects in starlight or in bright sunlight, even though on a moonless night objects receive one billionth (10−9) of the illumination they would on a bright sunny day; a dynamic range of 90 dB. Change of sensitivity is achieved in part through adjustments of the iris and slow chemical changes, which take some time.

In practice, it is difficult for humans to achieve the full dynamic experience using electronic equipment. For example, a good quality liquid-crystal display (LCD) has a dynamic range limited to around 1000:1, and some of the latest CMOS image sensors now have measured dynamic ranges of about 23,000:1. Paper reflectance can produce a dynamic range of about 100:1. A professional video camera such as the Sony Digital Betacam achieves a dynamic range of greater than 90 dB in audio recording.

Audio

Audio engineers use dynamic range to describe the ratio of the amplitude of the loudest possible undistorted signal to the noise floor, say of a microphone or loudspeaker. Dynamic range is therefore the signal-to-noise ratio (SNR) for the case where the signal is the loudest possible for the system. For example, if the ceiling of a device is 5 V (rms) and the noise floor is 10 μV (rms) then the dynamic range is 500000:1, or 114 dB:

<math display=block>20 \times \log_{10} \left(\frac{\rm 5\,V}{10 \, \mu \mathrm{V\right) = 20 \times \log_{10}(500000) = 20 \times 5.7 = 114 \,\mathrm{dB}</math>

In digital audio theory the dynamic range is limited by quantization error. The maximum achievable dynamic range for a digital audio system with Q-bit uniform quantization is calculated as the ratio of the largest sine-wave rms to rms noise is:

Digital audio with undithered 20-bit quantization is theoretically capable of 120 dB dynamic range, while 24-bit digital audio affords 144 dB dynamic range. Multiple noise processes determine the noise floor of a system. Noise can be picked up from microphone self-noise, preamp noise, wiring and interconnection noise, media noise, etc.

Early 78 rpm phonograph discs had a dynamic range of up to 40 dB, soon reduced to 30 dB and worse due to wear from repeated play. Vinyl microgroove phonograph records typically yield 55-65 dB, though the first play of the higher-fidelity outer rings can achieve a dynamic range of 70 dB.

German magnetic tape in 1941 was reported to have had a dynamic range of 60 dB, Ampex tape recorders in the 1950s achieved 60 dB in practical usage, Practical considerations of acceptable distortion levels in microphones combined with typical practices in a recording studio result in a useful dynamic range of 125 dB.

Since the early 1990s, it has been recommended by several authorities, including the Audio Engineering Society, that measurements of dynamic range be made with an audio signal present, which is then filtered out in the noise floor measurement used in determining dynamic range. This avoids questionable measurements based on the use of blank media, or muting circuits.

The term dynamic range may be confusing in audio production because it has two conflicting definitions, particularly in the understanding of the loudness war phenomenon. related to crest factor, whereas the European Broadcasting Union, in EBU3342 Loudness Range, defines dynamic range as the difference between the quietest and loudest volume, a matter of macro-dynamics.

Electronics

In electronics dynamic range is used in the following contexts:

Specifies the ratio of a maximum level of a parameter, such as power, current, voltage

In audio and electronics applications, the ratio involved is often large enough that it is converted to a logarithm and specified in decibels. In modern recording, this range is often limited through dynamic range compression, which allows for louder volume, but can make the recording sound less exciting or live.

The dynamic range of music as normally perceived in a concert hall does not exceed 80 dB, and human speech is normally perceived over a range of about 40 dB. The unedited version of the digital photo is to the left, while the shadows have been pushed heavily in Photoshop to produce the final image on the right. The better the dynamic range of the camera, the more an exposure can be pushed without significantly increasing noise.

Photographers use dynamic range to describe the luminance range of a scene being photographed, or the limits of luminance range that a given digital camera or film can capture, or the opacity range of developed film images, or the reflectance range of images on photographic papers.

The dynamic range of digital photography is comparable to the capabilities of photographic film and both are comparable to the capabilities of the human eye.

There are photographic techniques that support even higher dynamic range.

Graduated neutral density filters are used to decrease the dynamic range of scene luminance that can be captured on photographic film (or on the image sensor of a digital camera): The filter is positioned in front of the lens at the time the exposure is made; the top half is dark and the bottom half is clear. The dark area is placed over a scene's high-intensity region, such as the sky. The result is more even exposure in the focal plane, with increased detail in the shadows and low-light areas. Though this does not increase the fixed dynamic range available at the film or sensor, it stretches usable dynamic range in practice.
High-dynamic-range imaging overcomes the limited dynamic range of the sensor by selectively combining multiple exposures of the same scene in order to retain detail in light and dark areas. Tone mapping maps the image differently in shadow and highlights in order to better distribute the lighting range across the image. The same approach has been used in chemical photography to capture an extremely wide dynamic range: A three-layer film with each underlying layer at one hundredth (10−2) the sensitivity of the next higher one has, for example, been used to record nuclear-weapons tests.

Consumer-grade image file formats sometimes restrict dynamic range. The most severe dynamic-range limitation in photography may not involve encoding, but rather reproduction to, say, a paper print or computer screen. In that case, not only local tone mapping but also dynamic range adjustment can be effective in revealing detail throughout light and dark areas: The principle is the same as that of dodging and burning (using different lengths of exposures in different areas when making a photographic print) in the chemical darkroom. The principle is also similar to gain riding or automatic level control in audio work, which serves to keep a signal audible in a noisy listening environment and to avoid peak levels that overload the reproducing equipment, or which are unnaturally or uncomfortably loud.

If a camera sensor is incapable of recording the full dynamic range of a scene, high-dynamic-range (HDR) techniques may be used in postprocessing, which generally involve combining multiple exposures using software.

{|class="wikitable plainrowheaders"

|+ Dynamic ranges of common devices

! scope="col" | Device

! scope="col" | Stops

! scope="col" | Contrast ratio

! scope="col" | Optical density

! scope="row" | Glossy photograph paper

| 7 (7–)

| :1 (:1:1)

| ()

! scope="row" | Typical cellphone camera

| ~10

| varies

! scope="row" | Negative film (Kodak VISION3)

| 13

| :1:1

! scope="row" | High-end DSLR camera (Nikon D850)

| 14.8

| >:1

| >

Notes

References

External list

Audible dynamic range (online test)