Setting dynamic range?

ok i'm a video editor. how the heck can i set the dynamic range? its a project starting/ending in FCP, i want it to be broadcast safe, ostensibly want to limit the dynamic range to 7db (-12 to -6 or so) i theoretically understand the compressor/limiter can limit the peak here (altho i haven't really made that work) but is there an effect to bring up the bottom too? or another effect where i can do both? i'm stumped. & in dire need... thanks!

ok i'm a video editor
Nothing wrong with that
is there an effect to bring up the bottom too?
Usually that's not a good idea. How would your video look
if you brought up all the blacks to 50%. Yuck.
The idea is to increase your audio "gamma".
There are 3 types of processing for audio:
"Crushing the blacks" In audio terms that would be expanding
or gating out background noise. Room tone is great,
but if it's distracting, an expander with a low threshold (say, -40dB),
will make things sound a little cleaner.
"Boosting gamma" In audio terms that would be a light overall compression.
Set the threshold for, say, -20, and the ratio to about 4, to bring those
details up. Note that this will affect the overall perceived loudness of the track,
so typically TV commercials crank this up to get it "louder" than the show.
"Making luma broadcast safe" In audio terms, this would be limiting your
audio to never go above 0dB. For this you need a limiter, with a high
threshold, e.g. -3dB, a large compression ratio, e.g. 8, and set very fast.
Like the video broadcast safe filter, it shouldn't affect the perceived
loudess (luma) too much. You should already be in the ballpark
before you apply this safety net.
There are plug-ins which will do all three, but you can also just
combine single filters to get the same result.
Keep in mind that an audio level meter is sampling a moving target,
so that you won't see all the peaks. For that reason, it is considered
good practice to set your levels so that speech peaks around -12
(or -6 for commercial rants).
Another thing to remember is your intended audience. Are you
selling cars or telling a sensitive story?
Bottom line: get digital examples of other videos in the same genre.
Take a look at their levels. What sounds good? What fits with the genre?
Hope that helps,
Les

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Can someone pls explain what the Dynamic Range setting does?

Hello All,
In the STB's Audio menu there's an option for Dynamic Range. The available settings for Dynamic Range are None, Light, or Heavy. I'm not noticing any difference in the sound regardless of the option chosen. What is this option supposed to do?

http://en.wikipedia.org/wiki/Dynamic_range gives you a bit of a winded explantion of what it is. In a nutshell dynamic range is the difference between the quietest and loudest sound.
I beleive the dynamic range setting is designed is to help users that have a certain connections (eg HDMI) deal with fluctationing volume. Heavy compresses the highs and lows to a narrower range, light uses less compression and none of course is no change. If you have trouble hearing some channels and commercials are loud you might want to try heavy. Keep in mind that heavy distorts audio the most and none the least.
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There is a few other threads that discuss this including ....
http://forums.verizon.com/t5/FiOS-TV-Technical-Assistance/anyone-else-having-problems-with-volume-ou...
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Dynamic Range Slider

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Thanks,
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>- What is a "linear curve" in ACR? Does it mean no curve at all is applied to the RAW data, and so what we see is the actual sensor response? Or, does ACR apply a standard curve to RAW data from all cameras, even when a "linear curve" is selected? Or even yet, are there different default curves (even with "linear curve" selected) for different cameras in ACR, and what implications would this have when comparing graphs from different cameras?
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AC3 5.1 Dynamic Range Compression

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Hi Hal,
Thanks for the info. I've been doing all as you say:
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I'd trust that it's nothing to worry about, but this release will be going into thousands of homes and I want to know why this is happening before taking a chance.
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Thanks

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Hi Quinn.
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ACR Defaults and Dynamic Range

The tone curve in ACR has a profound effect on the dynamic range of the rendered image, and often this is not appreciated by users. To demonstrate the effects of the tone curve on DR, I photographed a Stouffer step wedge with the Nikon D3 and rendered the image into a TIFF with various tone curves and determined the resulting dynamic range with Imatest.
Here is the target rendered with the ACR defaults for this camera, which include a black point of 5 (downsampled and shown as a JPEG):
http://bjanes.smugmug.com/photos/422699368_FRdKT-O.jpg
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http://bjanes.smugmug.com/photos/422697342_tnUFo-O.png
By setting the black to 0, the total DR is increased to 12.3 stops and the useful photographic DR according to various quality levels is shown.
http://bjanes.smugmug.com/photos/422697338_5e8pv-O.png
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http://bjanes.smugmug.com/photos/422697332_u59B5-O.png
For convenience, the tone curves are shown together here.
http://bjanes.smugmug.com/photos/422697328_26BFV-O.gif
One might wonder why Adobe chose a default black value of 5 for the D3, since it severely limits dynamic range by rolling off the blacks. The probable answer is that the full DR can not be reproduced on screen or in print without using a tone curve that would give the image a flat and unattractive appearance. Note that the darker steps of the Stouffer wedge are not distinguishable on the screen but differences can be noted if one measures the values with the eyedropper in PS. The default setting of 5 rolls of shadows which would not be reproduced and enhances contrast in the remaining image.

>Why? Real World Camera Raw is platform agnosticaside from the fact that most all of the images contained in the book happen to come from cameras Bruce and I had/have and those are Canons. To the best of my knowledge, there is nothing in Camera Raw that is camera model dependent except for the DNG Profiles and the baseline demosiacing and noise reduction which vary camera by camera. Why should I care about the Nikon D3 specifically?
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This is demonstrated in the following screen capture using ACR defaults with an Exposure value of 0. The highlights of the target appear blown.
http://bjanes.smugmug.com/photos/423897106_wvzqw-O.png
They also appear blown using the new beta profile, which does not take the baseline exposure offset into account.
http://bjanes.smugmug.com/photos/423897066_xeHoi-O.png
Looking at the raw histogram with Rawnalize, we see that the channels are not blown:
http://bjanes.smugmug.com/photos/423898181_md3kC-O.png
And here are the actual raw values for the red, green and blue channels (highlighted) of Step 1:
http://bjanes.smugmug.com/photos/423901972_MguxL-O.png
The raw headroom in each of the color channels (as shown in the raw histogram) also has something to do with the amount of highlight recovery that is possible. I would think that these considerations would be of inerest to the readers of your Camera Raw book.

Music quality - Low Dynamic range?

It seems to me that the sound quality you get from the music store generally is way way below what you'd get from ripping the CD locally. Especially the dynamic range seems quite compressed.
Is this related to the format Apple stores the music on their servers, ie. is the 128Kbps AAC in fact transcoded from another format before being downloaded through the music store?
I just compared a 'Madonna - Live to Tell' I ripped locally with the one that came with 'The Immaculate Collection', downloaded from the store, and the difference is immence
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Am I going crazy here, or do some of you out there have the same experiences??
Thanks, cheers
S
(I should probably mention that I'm not listening to this at a $200 stereo, I spent quite an effort setting up my system, -even put in a parametric eq. (Behringer dsp-1124) to do bass management etc. etc.. I also always rip my music in 256k AAC, having encountered a couple of cases where I could hear the difference from 128 vs 256..)

Don,
You bring up some points that I've been wondering about as well. I would love to know exactly what type of media is used to import the songs into the iTMS. It's quite likely that they just use the final CD.
However, one of the interesting things I've discovered about iTunes is that it can read 24-bit files! So it is possible that the record company could use the original 24-bit master for importing into the iTMS. I strongly doubt that this is happening, but it would be great if Apple would come forward and let the consumers know how this transfer is taking place.
For my own, original music and other projects that I work on, I import the original 24-bit WAV or AIFF file(s) into iTunes. From that file, I convert it into an AAC file, for playing on my iPod, etc. It's a really cool bonus that iTunes will let you do this!!

LR dynamic Range Technic?!

hello everyone,
i came accross this video which i can't find again that shows some kind of a technic of handeling images.
and it's as follows:
taking the highlights all the way down to -100
takingthe shadows all the way up to +100
than,
move the whites up with the alt key pressed untill clipped highlights occur.
move the blacks down with the alt key pressed, untill clipped shadows occur.
now i do see what it does to the image, but i wondered if someone is familiar with this technic and can explain furthuer what can be the uses of such a technic?
thank much

ShacharOren wrote:
you said it all
And yet I could go on for days (but don't worry: I won't - or at least I'll try not to ).
Perhaps another formula which also has some redeeming qualities (oriented toward more natural results which incorporate exposure and contrast adjustments too):
* If obviously over-exposed, reduce exposure some, else pass.
* If obviously under-exposed, increase exposure some, else pass.
* If obviously overly contrasty, decrease contrast some, else pass.
* if seemingly under contrasty, pass (note: the distinction here: it's often impossible to tell if a photo is under-contrasty until blacks and/or whites are adjusted).
then
* adjust blacks
repeat.
The take-aways so far:
* you can't adjust exposure and contrast in any meaningful (or near-final) way without blacks in the ball-park, so don't try.
* you must use -contrast to knock overly contrasty shots down, lest you end up with a very unnatural looking photo.
* you don't want to use +contrast unless a shot really needs it, which you can't tell until blacks (at least) are in the ball-park.
If I've relayed the importance of not deferring blacks slider too long, then you got most of my point so far.
Now do something similar but different:
* If not occupying full (enough) dynamic range on the right, increase whites some.
* if too bright, reduce exposure.
* if still overly contrasty (or lacking in highlight/shadow detail), -highlights & +shadows.
repeat.
Conceptually:
* you don't want to rely soley on -contrast for reducing contrast, lest you end up with an anemic looking photo (that's where the -highlights +shadows comes in).
* You want to use whites slider for maximizing dynamic range without overexposing (and if you crank whites up, you may need to compensate by dropping exposure down - and in doing so, you'll reveal more highlight detail, and thus not need so much -highlights).
The astute reader will have noticed: I left +contrast out of the formula. Not sure what to say, except in my opinion, increasing contrast is more of a "fine-tuning" activity, than getting blacks/whites/exposure balanced, which is primary. In other words, once one has basic dynamic range and brightness established, they can play with increasing contrast, and/or adding clarity, and tweak the others in concert.., to finish.
PS - skewing (asymmetrical) highlight and shadow values I also consider a "fine-tuning" activity, at least for normal photos where a fairly normal result is desired.
Examples:
* if you want a brighter photo without excessive shadow brightness/detail, and with recovery of stubborn highlights, you may need:
+exposure -highlights -shadows.
But if you want a relatively dim photo but without closed-out shadows, you may need:
-exposure +highlights +shadows.
If you are after artistic effect, then forget all of this - no rules! (except maybe #5: have fun).
UPDATE:
=======
The original formula, set forth by Adobe/Eric-Chan, Lee Jay, Victoria Bampton, etc. went more like this:
* Adjust exposure as if it was the only adjustment you'd be allowed to make, until photo looks as good as possible with only exposure adjusted, then
* Adjust contrast as if it was the only remaining adjustment you'd be allowed to make, until photo looks as good as possible with only exposure and contrast adjusted, then
* Maybe adjust highlights and shadows...
* Only adjust blacks & whites if necessary to set clipping points.
Please forgive if I haven't paraphrased 100% accurately (in the interest of making a point), but the formula was known as "top-down" - and it had that name because the sliders were considered to be pre-ordered as they should be adjusted: most bang for buck at the top, and on down...
I think this formula was invented due to dependent behaviors of PV2012 sliders (e.g. you don't want to dive into +shadows before considering +exposure because exposure influences range of tones affected by shadows slider), and I also suspect it was at least partly influenced by Revel, which has same sliders as Lightroom, but without the blacks & whites. Nevertheless, such formula so does not work for me, again: YMMV.
=======
Cheers,
Rob
Message was UPDATED by: Rob Cole

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You mean VoiceOver?
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Hi All,
I have a requirement where i need to change the value set dynamically for a given Parameter. This goes as, I have a Concurrent Program with 4 parameters. First Parameter is mandatory Business group.Second Parameter is Warehouse. Based up on the First parameter the second parameters LoV's are displayed, the third and fourth parameters value sets are dependent up on the Second parameter value. Parameter 2,3,4 Value sets are Table type. So i Used .$FLEX$.Value_setname to retrive the LOV's
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The default type was SQL.
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Thanks alot for the Help!

You will probably have better luck on the eBusinesSuite forum. This is more of a setup issue when defining your LOV and program parameters than it is a SQL or PL/SQL issue.
http://forums.oracle.com/forums/category.jspa?categoryID=3
Good luck - this is an aggravating issue to work with and I wish I did have the answer for you!

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Hi,
I am using cr4e-all-in-one-win_2.0.1version.I have created .rpt file in that how to set dynamic parameters(from database) in list of values parameter property
Regards,
amol

Hi,
I am using cr4e-all-in-one-win_2.0.1version.I have created .rpt file in that how to set dynamic parameters(from database) in list of values parameter property
Regards,
amol

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