Yes, Bill, all that is correct theoretically, however noise floor
issues may play a bad role in this respect. In order to aproach to a
full 16-bit potential, Nikon has to warrant by hardware design noise to
be kept very low, otherwise it will "eat up" all the extra-bit benefit.
I have no LS-50 neither LS-5000, still using my "oldy" LS-40, but
frankly I doubt Nikon has coped so well with this issues to provide a
real 16-bit advantage over their 12/14bit machines . Perhaps they
managed to squiz about effective 13-14 bit, but extremely quite (from
noise standpoint) hardware design is required in order to enjoy full
16-bit performance.
Regards, Alex
--- <wbgilloolyjr@charter.net> wrote:
> 16-bit vs 12-bit does not necessarily mean greater dynamic range,
> though
> the LS-5000 has more than the V (not enough to be explained by the
> extra
> bits). Mostly what greater bit-depth gives you is finer gradations
> between steps. 12-bits gives you 4096 steps from black to white,
> 16-bit
> gives you 65536 steps (so each 12-bit step is represented by 16
> 16-bit
> steps. Finer gradation of tones means that you'll get less
> posterization.
>
> Mr. Bill
>
>
> Berry Ives wrote:
> >
> > I don't need high volume capability, so the LS-50 is fine for me.
> I don't
> > know if the 16-bit vs 12-bit depth makes much difference in
> practice, but
> > theoretically it provides greater potential for dynamic range to be
> > recorded. Maybe someone else would care to say more about this.
>
>
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