Dynamic range in the context of Companding

An analog signal (American English) or analogue signal (British and Commonwealth English) is any signal, typically a continuous-time signal, representing some other quantity, i.e., analogous to another quantity. For example, in an analog audio signal, the instantaneous signal voltage varies in a manner analogous to the pressure of the sound waves.

In contrast, a digital signal represents the original time-varying quantity as a sampled sequence of quantized numeric values, typically but not necessarily in the form of a binary value. Digital sampling imposes some bandwidth and dynamic range constraints on the representation and adds quantization noise.

Contrast is the difference in luminance or color that makes an object (or its representation in an image or display) visible against a background of different luminance or color. The human visual system is more sensitive to contrast than to absolute luminance; thus, we can perceive the world similarly despite significant changes in illumination throughout the day or across different locations.

The maximum contrast of an image is termed the contrast ratio or dynamic range. In images where the contrast ratio approaches the maximum possible for the medium, there is a conservation of contrast. In such cases, increasing contrast in certain parts of the image will necessarily result in a decrease in contrast elsewhere. Brightening an image increases contrast in darker areas but decreases it in brighter areas; conversely, darkening the image will have the opposite effect. Bleach bypass reduces contrast in the darkest and brightest parts of an image while enhancing luminance contrast in areas of intermediate brightness.

In digital audio using pulse-code modulation (PCM), bit depth is the number of bits of information in each sample, and it directly corresponds to the resolution of each sample. Examples of bit depth include Compact Disc Digital Audio, which uses 16 bits per sample, and DVD-Audio and Blu-ray Disc, which can support up to 24 bits per sample.

In basic implementations, variations in bit depth primarily affect the noise level from quantization error—thus the signal-to-noise ratio (SNR) and dynamic range. However, techniques such as dithering, noise shaping, and oversampling can mitigate these effects without changing the bit depth. Bit depth also affects bit rate and file size.

Stray light is light in an optical system which was not intended in the design. The light may be from the intended source, but follow paths other than intended, or it may be from a source other than that intended. This light will often set a working limit on the dynamic range of the system; it limits the signal-to-noise ratio or contrast ratio, by limiting how dark the system can be. Ocular straylight is stray light in the human eye.

A Dolby noise-reduction system (Dolby NR) is one of a series of noise reduction systems developed by Dolby Laboratories for use in analog audio tape recording. The first was Dolby A, a professional broadband noise reduction system for recording studios that was first demonstrated in 1965, but the best-known is Dolby B (introduced in 1968), a sliding band system for the consumer market, which helped make high fidelity practical on cassette tapes, which used a relatively noisy tape size and speed. It is common on high-fidelity stereo tape players and recorders to the present day. Of the noise reduction systems, Dolby A and Dolby SR were developed for professional use. Dolby B, C, and S were designed for the consumer market. Aside from Dolby HX, all the Dolby variants work by companding: compressing the dynamic range of the sound during recording, and expanding it during playback.

Dynamic range compression (DRC) or simply compression is an audio signal processing operation that reduces the volume of loud sounds or amplifies quiet sounds, thus reducing or compressing an audio signal's dynamic range. Compression is commonly used in sound recording and reproduction, broadcasting, live sound reinforcement and some instrument amplifiers.

A dedicated electronic hardware unit or audio software that applies compression is called a compressor. In the 2000s, compressors became available as software plugins that run in digital audio workstation software. In recorded and live music, compression parameters may be adjusted to change the way they affect sounds. Compression and limiting are identical in process but different in degree and perceived effect. A limiter is a compressor with a high ratio and, generally, a short attack time.

The Audion is an electronic detecting or amplifying vacuum tube invented by American electrical engineer Lee de Forest as a diode in 1906. Improved, it was patented as the first triode in 1908, consisting of an evacuated glass tube containing three electrodes: a heated filament (the cathode, made out of tantalum), a grid, and a plate (the anode). It is important in the history of technology because it was the first widely used electronic device that could amplify. A low power signal at the grid could control much more power in the plate circuit.

Audions had more residual gas than later vacuum tubes; the residual gas limited the dynamic range and gave the Audion non-linear characteristics and erratic performance. Originally developed as a radio receiver detector by adding a grid electrode to the Fleming valve, it found little use until its amplifying ability was recognized around 1912 by several researchers, who used it to build the first amplifying radio receivers and electronic oscillators. The many practical applications for amplification motivated its rapid development, and the original Audion was superseded within a few years by improved versions with a higher vacuum.

Ansel Easton Adams (February 20, 1902 – April 22, 1984) was an American landscape photographer and environmentalist known for his black-and-white images of the American West. He helped found Group f/64, an association of photographers advocating "pure" photography which favored sharp focus and the use of the full tonal range of a photograph. He and Fred Archer developed a system of image-making called the Zone System, a method of achieving a desired final print through a technical understanding of how the tonal range of an image is the result of choices made in exposure, negative development, and printing.

Adams was a life-long advocate for environmental conservation, and his photographic practice was deeply entwined with this advocacy. At age 14, he was given his first camera during his first visit to Yosemite National Park. He developed his early photographic work as a member of the Sierra Club. He was later contracted with the United States Department of the Interior to make photographs of national parks. For his work and his persistent advocacy, which helped expand the National Park system, he was awarded the Presidential Medal of Freedom in 1980.

The contrast ratio (CR) is a property of a display system, defined as the ratio of the luminance of the brightest shade (white) to that of the darkest shade (black) that the system is capable of producing. A high contrast ratio is a desired aspect of any display. It has similarities with dynamic range.

There is no official, standardized way to measure contrast ratio for a system or its parts, nor is there a standard for defining "Contrast Ratio" that is accepted by any standards organization so ratings provided by different manufacturers of display devices are not necessarily comparable to each other due to differences in method of measurement, operation, and unstated variables. Manufacturers have traditionally favored measurement methods that isolate the device from the system, whereas other designers have more often taken the effect of the room into account. An ideal room would absorb all the light reflecting from a projection screen or emitted by a cathode-ray tube, and the only light seen in the room would come from the display device. With such a room, the contrast ratio of the image would be the same as the contrast ratio of the device. Real rooms reflect some of the light back to the displayed image, lowering the contrast ratio seen in the image.

Peak signal-to-noise ratio (PSNR) is an engineering term for the ratio between the maximum possible power of a signal and the power of corrupting noise that affects the fidelity of its representation. Because many signals have a very wide dynamic range, PSNR is usually expressed as a logarithmic quantity using the decibel scale.

PSNR is commonly used to quantify reconstruction quality for images and video subject to lossy compression.

High dynamic range (HDR), also known as wide dynamic range, extended dynamic range, or expanded dynamic range, is a signal with a higher dynamic range than usual.

The term is often used in discussing the dynamic ranges of images, videos, audio or radio. It may also apply to the means of recording, processing, and reproducing such signals including analog and digitized signals.

In telecommunications and signal processing, companding (occasionally called compansion) is a method of mitigating the detrimental effects of a channel with limited dynamic range. The name is a portmanteau of the words compressing and expanding, which are the functions of a compander at the transmitting and receiving ends, respectively. The use of companding allows signals with a large dynamic range to be transmitted over facilities that have a smaller dynamic range capability. Companding is employed in telephony and other audio applications such as professional wireless microphones and analog recording.

In television, film, stage, or photographic lighting, a fill light (often simply fill) may be used to reduce the contrast of a scene to match the dynamic range of the recording media and record the same amount of detail typically seen by eye in average lighting and considered normal. From that baseline of normality, using more or less fill will make shadows seem lighter or darker than normal, which will cause the viewer to react differently, by inferring both environmental and mood clues from the tone of the shadows.

Natural skylight fill is omnidirectional and diffuse, with lower rate of inverse-square fall-off than artificial sources. A common artificial lighting strategy that creates an overall appearance similar to natural fill places the fill light on the lens axis so that it will appear to cast few if any shadows from the point of view of the camera, which allows the key light that overlaps it to create the illusion of 3D in a 2D photo with the same single-source patterns typically seen with natural lighting where the sun acts as key light and the skylight as the fill. The use of centered near-axis "neutral" fill also prevents dark, unfilled voids in the lighting pattern, which can occur on faces if cheeks or brows block the fill source.

In photography, exposure range may refer to any of several types of dynamic range:

• The light sensitivity range of photographic film, paper, or digital camera sensors.
• The luminosity range of a scene being photographed.
• The opacity range of developed film images
• The reflectance range of images on photographic papers.

The exposure range of a device is usually expressed in stops, which are equivalent to ${\displaystyle \log _{2}(c)}$ where c is the medium or device's contrast ratio. For example, average Digital Video (DV) has a contrast ratio of 45:1, so its exposure range is roughly 5.5 stops. Film has an exposure range of approximately 14 stops.