Question: In what year did Kodak start using a different way of characterizing two sensors?

Answer: 2001

The ISO standard ISO 12232:2006 gives digital still camera manufacturers a choice of five different techniques for determining the exposure index rating at each sensitivity setting provided by a particular camera model. Three of the techniques in ISO 12232:2006 are carried over from the 1998 version of the standard, while two new techniques allowing for measurement of JPEG output files are introduced from CIPA DC-004. Depending on the technique selected, the exposure index rating can depend on the sensor sensitivity, the sensor noise, and the appearance of the resulting image. <hl> The standard specifies the measurement of light sensitivity of the entire digital camera system and not of individual components such as digital sensors, although Kodak has reported using a variation to characterize the sensitivity of two of their sensors in 2001 . <hl>

The ISO standard ISO 12232:2006 gives digital still camera manufacturers a choice of five different techniques for determining the exposure index rating at each sensitivity setting provided by a particular camera model. Three of the techniques in ISO 12232:2006 are carried over from the 1998 version of the standard, while two new techniques allowing for measurement of JPEG output files are introduced from CIPA DC-004. Depending on the technique selected, the exposure index rating can depend on the sensor sensitivity, the sensor noise, and the appearance of the resulting image. The standard specifies the measurement of light sensitivity of the entire digital camera system and not of individual components such as digital sensors, although Kodak has reported using a variation to characterize the sensitivity of two of their sensors in <hl> 2001 <hl>.

The standard specifies the measurement of light sensitivity of the entire digital camera system and not of individual components such as digital sensors, although Kodak has reported using a variation to characterize the sensitivity of two of their sensors in <hl> 2001 <hl> .

question: In what year did Kodak start using a different way of characterizing two sensors?, context: The ISO standard ISO 12232:2006 gives digital still camera manufacturers a choice of five different techniques for determining the exposure index rating at each sensitivity setting provided by a particular camera model. Three of the techniques in ISO 12232:2006 are carried over from the 1998 version of the standard, while two new techniques allowing for measurement of JPEG output files are introduced from CIPA DC-004. Depending on the technique selected, the exposure index rating can depend on the sensor sensitivity, the sensor noise, and the appearance of the resulting image. The standard specifies the measurement of light sensitivity of the entire digital camera system and not of individual components such as digital sensors, although Kodak has reported using a variation to characterize the sensitivity of two of their sensors in 2001.


Question: What option does the Recommended Exposure Index give manufacturers?

Answer: to specify a camera model’s EI choices arbitrarily

<hl> The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily . <hl> The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.

The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer <hl> to specify a camera model’s EI choices arbitrarily <hl>. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.

The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer <hl> to specify a camera model’s EI choices arbitrarily <hl> .

question: What option does the Recommended Exposure Index give manufacturers?, context: The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.


Question: What is another name for multi-zone metering?

Answer: pattern metering

The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. <hl> This is also the only technique available under the standard when multi-zone metering (also called pattern metering ) is used. <hl>

The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called <hl> pattern metering <hl>) is used.

This is also the only technique available under the standard when multi-zone metering (also called <hl> pattern metering <hl> ) is used.

question: What is another name for multi-zone metering?, context: The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.


Question: What distinction does the Recommended Exposure Index have?

Answer: the only technique available under the standard for output formats that are not in the sRGB color space

The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. <hl> This is the only technique available under the standard for output formats that are not in the sRGB color space . <hl> This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.

The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is <hl> the only technique available under the standard for output formats that are not in the sRGB color space <hl>. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.

This is <hl> the only technique available under the standard for output formats that are not in the sRGB color space <hl> .

question: What distinction does the Recommended Exposure Index have?, context: The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.


Question: When was the Recommended Exposure Index introduced?

Answer: 2006

<hl> The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. <hl> The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.

The Recommended Exposure Index (REI) technique, new in the <hl> 2006 <hl> version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.

question: When was the Recommended Exposure Index introduced?, context: The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.


Question: What is the only technique that can be used when multi-zone metering is used?

Answer: Recommended Exposure Index (REI) technique

<hl> The Recommended Exposure Index (REI) technique , new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. <hl> The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.

The <hl> Recommended Exposure Index (REI) technique <hl>, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.

The <hl> Recommended Exposure Index (REI) technique <hl> , new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily.

question: What is the only technique that can be used when multi-zone metering is used?, context: The Recommended Exposure Index (REI) technique, new in the 2006 version of the standard, allows the manufacturer to specify a camera model’s EI choices arbitrarily. The choices are based solely on the manufacturer’s opinion of what EI values produce well-exposed sRGB images at the various sensor sensitivity settings. This is the only technique available under the standard for output formats that are not in the sRGB color space. This is also the only technique available under the standard when multi-zone metering (also called pattern metering) is used.


Question: What year was the Standard Output Sensitivity technique introduced?

Answer: 2006

<hl> The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. <hl> Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. It is not applicable when multi-zone metering is used.

The Standard Output Sensitivity (SOS) technique, also new in the <hl> 2006 <hl> version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. It is not applicable when multi-zone metering is used.

question: What year was the Standard Output Sensitivity technique introduced?, context: The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. It is not applicable when multi-zone metering is used.


Question: What does the Standard Output Sensitivity technique apply to?

Answer: sRGB images—typically JPEG

The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. <hl> Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG —and not to output files in raw image format. <hl> It is not applicable when multi-zone metering is used.

The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. Because the output level is measured in the sRGB output from the camera, it is only applicable to <hl> sRGB images—typically JPEG <hl>—and not to output files in raw image format. It is not applicable when multi-zone metering is used.

Because the output level is measured in the sRGB output from the camera, it is only applicable to <hl> sRGB images—typically JPEG <hl> —and not to output files in raw image format.

question: What does the Standard Output Sensitivity technique apply to?, context: The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. It is not applicable when multi-zone metering is used.


Question: What is the output level measured in?

Answer: the sRGB output from the camera

The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. <hl> Because the output level is measured in the sRGB output from the camera , it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. <hl> It is not applicable when multi-zone metering is used.

The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. Because the output level is measured in <hl> the sRGB output from the camera <hl>, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. It is not applicable when multi-zone metering is used.

Because the output level is measured in <hl> the sRGB output from the camera <hl> , it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format.

question: What is the output level measured in?, context: The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. It is not applicable when multi-zone metering is used.


Question: With what type of metering can the Standard Output Sensitivity not be used?

Answer: multi-zone metering

The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. <hl> It is not applicable when multi-zone metering is used. <hl>

The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. It is not applicable when <hl> multi-zone metering <hl> is used.

question: With what type of metering can the Standard Output Sensitivity not be used?, context: The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. It is not applicable when multi-zone metering is used.


Question: With what standard is the automatic exposure control system calibrated?

Answer: ISO 2721

<hl> The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. <hl> Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. It is not applicable when multi-zone metering is used.

The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per <hl> ISO 2721 <hl> and set to the EI with no exposure compensation. Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. It is not applicable when multi-zone metering is used.

question: With what standard is the automatic exposure control system calibrated?, context: The Standard Output Sensitivity (SOS) technique, also new in the 2006 version of the standard, effectively specifies that the average level in the sRGB image must be 18% gray plus or minus 1/3 stop when the exposure is controlled by an automatic exposure control system calibrated per ISO 2721 and set to the EI with no exposure compensation. Because the output level is measured in the sRGB output from the camera, it is only applicable to sRGB images—typically JPEG—and not to output files in raw image format. It is not applicable when multi-zone metering is used.


Question: Which methods are required by CIPA DC-004?

Answer: REI or SOS techniques

<hl> The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques , and DC-008 updates the Exif specification to differentiate between these values. <hl> Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.

The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the <hl> REI or SOS techniques <hl>, and DC-008 updates the Exif specification to differentiate between these values. Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.

The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the <hl> REI or SOS techniques <hl> , and DC-008 updates the Exif specification to differentiate between these values.

question: Which methods are required by CIPA DC-004?, context: The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates the Exif specification to differentiate between these values. Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.


Question: In what year did the three EI techniques from ISO 12232:1998 largely stop being used?

Answer: approximately 2007 and later

The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates the Exif specification to differentiate between these values. <hl> Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models ( approximately 2007 and later ). <hl> As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.

The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates the Exif specification to differentiate between these values. Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (<hl> approximately 2007 and later <hl>). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.

Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models ( <hl> approximately 2007 and later <hl> ).

question: In what year did the three EI techniques from ISO 12232:1998 largely stop being used?, context: The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates the Exif specification to differentiate between these values. Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.


Question: With what cameras can earlier techniques not be used?

Answer: cameras that produce images only in JPEG format

The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates the Exif specification to differentiate between these values. Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). <hl> As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format . <hl>

The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates the Exif specification to differentiate between these values. Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on <hl> cameras that produce images only in JPEG format <hl>.

As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on <hl> cameras that produce images only in JPEG format <hl> .

question: With what cameras can earlier techniques not be used?, context: The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates the Exif specification to differentiate between these values. Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.


Question: What nation's cameras does the CIPA DC-004 apply to?

Answer: Japanese

<hl> The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates the Exif specification to differentiate between these values. <hl> Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.

The CIPA DC-004 standard requires that <hl> Japanese <hl> manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates the Exif specification to differentiate between these values. Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.

question: What nation's cameras does the CIPA DC-004 apply to?, context: The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates the Exif specification to differentiate between these values. Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.


Question: What does the DC-008 change?

Answer: the Exif specification

<hl> The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates the Exif specification to differentiate between these values. <hl> Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.

The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates <hl> the Exif specification <hl> to differentiate between these values. Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.

question: What does the DC-008 change?, context: The CIPA DC-004 standard requires that Japanese manufacturers of digital still cameras use either the REI or SOS techniques, and DC-008 updates the Exif specification to differentiate between these values. Consequently, the three EI techniques carried over from ISO 12232:1998 are not widely used in recent camera models (approximately 2007 and later). As those earlier techniques did not allow for measurement from images produced with lossy compression, they cannot be used at all on cameras that produce images only in JPEG format.


Question: What does the sensor usually determine?

Answer: lower limit of the saturation speed

where is the maximum possible exposure that does not lead to a clipped or bloomed camera output. <hl> Typically, the lower limit of the saturation speed is determined by the sensor itself, but with the gain of the amplifier between the sensor and the analog-to-digital converter, the saturation speed can be increased. <hl> The factor 78 is chosen such that exposure settings based on a standard light meter and an 18-percent reflective surface will result in an image with a grey level of 18%/√2 = 12.7% of saturation. The factor √2 indicates that there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface.

where is the maximum possible exposure that does not lead to a clipped or bloomed camera output. Typically, the <hl> lower limit of the saturation speed <hl> is determined by the sensor itself, but with the gain of the amplifier between the sensor and the analog-to-digital converter, the saturation speed can be increased. The factor 78 is chosen such that exposure settings based on a standard light meter and an 18-percent reflective surface will result in an image with a grey level of 18%/√2 = 12.7% of saturation. The factor √2 indicates that there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface.

question: What does the sensor usually determine?, context: where is the maximum possible exposure that does not lead to a clipped or bloomed camera output. Typically, the lower limit of the saturation speed is determined by the sensor itself, but with the gain of the amplifier between the sensor and the analog-to-digital converter, the saturation speed can be increased. The factor 78 is chosen such that exposure settings based on a standard light meter and an 18-percent reflective surface will result in an image with a grey level of 18%/√2 = 12.7% of saturation. The factor √2 indicates that there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface.


Question: How can the saturation speed be increased?

Answer: with the gain of the amplifier between the sensor and the analog-to-digital converter

where is the maximum possible exposure that does not lead to a clipped or bloomed camera output. <hl> Typically, the lower limit of the saturation speed is determined by the sensor itself, but with the gain of the amplifier between the sensor and the analog-to-digital converter , the saturation speed can be increased. <hl> The factor 78 is chosen such that exposure settings based on a standard light meter and an 18-percent reflective surface will result in an image with a grey level of 18%/√2 = 12.7% of saturation. The factor √2 indicates that there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface.

where is the maximum possible exposure that does not lead to a clipped or bloomed camera output. Typically, the lower limit of the saturation speed is determined by the sensor itself, but <hl> with the gain of the amplifier between the sensor and the analog-to-digital converter <hl>, the saturation speed can be increased. The factor 78 is chosen such that exposure settings based on a standard light meter and an 18-percent reflective surface will result in an image with a grey level of 18%/√2 = 12.7% of saturation. The factor √2 indicates that there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface.

Typically, the lower limit of the saturation speed is determined by the sensor itself, but <hl> with the gain of the amplifier between the sensor and the analog-to-digital converter <hl> , the saturation speed can be increased.

question: How can the saturation speed be increased?, context: where is the maximum possible exposure that does not lead to a clipped or bloomed camera output. Typically, the lower limit of the saturation speed is determined by the sensor itself, but with the gain of the amplifier between the sensor and the analog-to-digital converter, the saturation speed can be increased. The factor 78 is chosen such that exposure settings based on a standard light meter and an 18-percent reflective surface will result in an image with a grey level of 18%/√2 = 12.7% of saturation. The factor √2 indicates that there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface.


Question: What is indicated by the factor √2?

Answer: there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface

where is the maximum possible exposure that does not lead to a clipped or bloomed camera output. Typically, the lower limit of the saturation speed is determined by the sensor itself, but with the gain of the amplifier between the sensor and the analog-to-digital converter, the saturation speed can be increased. The factor 78 is chosen such that exposure settings based on a standard light meter and an 18-percent reflective surface will result in an image with a grey level of 18%/√2 = 12.7% of saturation. <hl> The factor √2 indicates that there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface . <hl>

where is the maximum possible exposure that does not lead to a clipped or bloomed camera output. Typically, the lower limit of the saturation speed is determined by the sensor itself, but with the gain of the amplifier between the sensor and the analog-to-digital converter, the saturation speed can be increased. The factor 78 is chosen such that exposure settings based on a standard light meter and an 18-percent reflective surface will result in an image with a grey level of 18%/√2 = 12.7% of saturation. The factor √2 indicates that <hl> there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface <hl>.

The factor √2 indicates that <hl> there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface <hl> .

question: What is indicated by the factor √2?, context: where is the maximum possible exposure that does not lead to a clipped or bloomed camera output. Typically, the lower limit of the saturation speed is determined by the sensor itself, but with the gain of the amplifier between the sensor and the analog-to-digital converter, the saturation speed can be increased. The factor 78 is chosen such that exposure settings based on a standard light meter and an 18-percent reflective surface will result in an image with a grey level of 18%/√2 = 12.7% of saturation. The factor √2 indicates that there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface.


Question: What can too much exposure lead to?

Answer: clipped or bloomed camera output

a clipped or bloomed camera output .

where is the maximum possible exposure that does not lead to <hl> a clipped or bloomed camera output . <hl> Typically, the lower limit of the saturation speed is determined by the sensor itself, but with the gain of the amplifier between the sensor and the analog-to-digital converter, the saturation speed can be increased. The factor 78 is chosen such that exposure settings based on a standard light meter and an 18-percent reflective surface will result in an image with a grey level of 18%/√2 = 12.7% of saturation. The factor √2 indicates that there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface.

where is the maximum possible exposure that does not lead to a <hl> clipped or bloomed camera output <hl>. Typically, the lower limit of the saturation speed is determined by the sensor itself, but with the gain of the amplifier between the sensor and the analog-to-digital converter, the saturation speed can be increased. The factor 78 is chosen such that exposure settings based on a standard light meter and an 18-percent reflective surface will result in an image with a grey level of 18%/√2 = 12.7% of saturation. The factor √2 indicates that there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface.

a <hl> clipped or bloomed camera output <hl> .

question: What can too much exposure lead to?, context: where is the maximum possible exposure that does not lead to a clipped or bloomed camera output. Typically, the lower limit of the saturation speed is determined by the sensor itself, but with the gain of the amplifier between the sensor and the analog-to-digital converter, the saturation speed can be increased. The factor 78 is chosen such that exposure settings based on a standard light meter and an 18-percent reflective surface will result in an image with a grey level of 18%/√2 = 12.7% of saturation. The factor √2 indicates that there is half a stop of headroom to deal with specular reflections that would appear brighter than a 100% reflecting white surface.


Question: Which ratios are employed to calculate noise-based speed?

Answer: the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio

The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. <hl> Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio . <hl> These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.

The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. Two ratios are used, <hl> the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio <hl>. These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.

Two ratios are used, <hl> the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio <hl> .

question: Which ratios are employed to calculate noise-based speed?, context: The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.


Question: What is the noise-based speed?

Answer: the exposure that will lead to a given signal-to-noise ratio on individual pixels

<hl> The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels . <hl> Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.

The noise-based speed is defined as <hl> the exposure that will lead to a given signal-to-noise ratio on individual pixels <hl>. Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.

The noise-based speed is defined as <hl> the exposure that will lead to a given signal-to-noise ratio on individual pixels <hl> .

question: What is the noise-based speed?, context: The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.


Question: How are the two ratios found?

Answer: subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance

The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. <hl> These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance . <hl> The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.

The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. These ratios have been <hl> subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance <hl>. The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.

These ratios have been <hl> subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance <hl> .

question: How are the two ratios found?, context: The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.


Question: What is a definition of signal-to-noise ratio?

Answer: the standard deviation of a weighted average of the luminance and color of individual pixels

The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. <hl> The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels . <hl> The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.

The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. The signal-to-noise ratio is defined as <hl> the standard deviation of a weighted average of the luminance and color of individual pixels <hl>. The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.

The signal-to-noise ratio is defined as <hl> the standard deviation of a weighted average of the luminance and color of individual pixels <hl> .

question: What is a definition of signal-to-noise ratio?, context: The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.


Question: What factors influence the noise-based speed?

Answer: the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter

The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. <hl> The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter . <hl>

The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. The noise-based speed is mostly determined by <hl> the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter <hl>.

The noise-based speed is mostly determined by <hl> the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter <hl> .

question: What factors influence the noise-based speed?, context: The noise-based speed is defined as the exposure that will lead to a given signal-to-noise ratio on individual pixels. Two ratios are used, the 40:1 ("excellent image quality") and the 10:1 ("acceptable image quality") ratio. These ratios have been subjectively determined based on a resolution of 70 pixels per cm (178 DPI) when viewed at 25 cm (9.8 inch) distance. The signal-to-noise ratio is defined as the standard deviation of a weighted average of the luminance and color of individual pixels. The noise-based speed is mostly determined by the properties of the sensor and somewhat affected by the noise in the electronic gain and AD converter.


Question: What is the range for exposure latitude?

Answer: from the saturation-based speed to the 10:1 noise-based speed

The standard specifies how speed ratings should be reported by the camera. If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. <hl> In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed . <hl> If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.

The standard specifies how speed ratings should be reported by the camera. If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. In addition, an exposure latitude can be specified, ranging <hl> from the saturation-based speed to the 10:1 noise-based speed <hl>. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.

In addition, an exposure latitude can be specified, ranging <hl> from the saturation-based speed to the 10:1 noise-based speed <hl> .

question: What is the range for exposure latitude?, context: The standard specifies how speed ratings should be reported by the camera. If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.


Question: What is another speed that can also be reported by the camera?

Answer: SOS-based speed

The standard specifies how speed ratings should be reported by the camera. If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. <hl> The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating. <hl>

The standard specifies how speed ratings should be reported by the camera. If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the <hl> SOS-based speed <hl> (explicitly as being an SOS speed), rounded to the nearest standard speed rating.

question: What is another speed that can also be reported by the camera?, context: The standard specifies how speed ratings should be reported by the camera. If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.


Question: When should the noise-based speed be used?

Answer: the noise-based speed (40:1) is higher than the saturation-based speed

The standard specifies how speed ratings should be reported by the camera. <hl> If the noise-based speed (40:1) is higher than the saturation-based speed , the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). <hl> The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.

The standard specifies how speed ratings should be reported by the camera. If <hl> the noise-based speed (40:1) is higher than the saturation-based speed <hl>, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.

If <hl> the noise-based speed (40:1) is higher than the saturation-based speed <hl> , the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400).

question: When should the noise-based speed be used?, context: The standard specifies how speed ratings should be reported by the camera. If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.


Question: Why should noise-based speed be rounded down to a lower standard?

Answer: exposure according to the lower saturation-based speed would not result in a visibly better image

The standard specifies how speed ratings should be reported by the camera. If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). <hl> The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image . <hl> In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.

The standard specifies how speed ratings should be reported by the camera. If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that <hl> exposure according to the lower saturation-based speed would not result in a visibly better image <hl>. In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.

The rationale is that <hl> exposure according to the lower saturation-based speed would not result in a visibly better image <hl> .

question: Why should noise-based speed be rounded down to a lower standard?, context: The standard specifies how speed ratings should be reported by the camera. If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.


Question: What does the standard specify?

Answer: how speed ratings should be reported by the camera

<hl> The standard specifies how speed ratings should be reported by the camera . <hl> If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.

The standard specifies <hl> how speed ratings should be reported by the camera <hl>. If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.

The standard specifies <hl> how speed ratings should be reported by the camera <hl> .

question: What does the standard specify?, context: The standard specifies how speed ratings should be reported by the camera. If the noise-based speed (40:1) is higher than the saturation-based speed, the noise-based speed should be reported, rounded downwards to a standard value (e.g. 200, 250, 320, or 400). The rationale is that exposure according to the lower saturation-based speed would not result in a visibly better image. In addition, an exposure latitude can be specified, ranging from the saturation-based speed to the 10:1 noise-based speed. If the noise-based speed (40:1) is lower than the saturation-based speed, or undefined because of high noise, the saturation-based speed is specified, rounded upwards to a standard value, because using the noise-based speed would lead to overexposed images. The camera may also report the SOS-based speed (explicitly as being an SOS speed), rounded to the nearest standard speed rating.


Question: What measures might the user "ISO" setting correspond to?

Answer: the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes

<hl> Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes . <hl> Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed]

Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to <hl> the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes <hl>. Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed]

Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to <hl> the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes <hl> .

question: What measures might the user "ISO" setting correspond to?, context: Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed]


Question: What did the 1998 version of ISO 12232 not permit?

Answer: measurement of camera output that had lossy compression

Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. <hl> Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression , it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. <hl> Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed]

Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. Because the 1998 version of ISO 12232 did not permit <hl> measurement of camera output that had lossy compression <hl>, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed]

Because the 1998 version of ISO 12232 did not permit <hl> measurement of camera output that had lossy compression <hl> , it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF.

question: What did the 1998 version of ISO 12232 not permit?, context: Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed]


Question: What types of sensitivity ratings can be specified by a camera?

Answer: REI or SOS

Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. <hl> Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS .[citation needed] <hl>

Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is <hl> REI or SOS <hl>.[citation needed]

Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is <hl> REI or SOS <hl> .[citation needed]

question: What types of sensitivity ratings can be specified by a camera?, context: Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed]


Question: What standards changed what Japanese camera makers have to specify?

Answer: CIPA DC-004

Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. <hl> Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed] <hl>

Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. Following the publication of <hl> CIPA DC-004 <hl> in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed]

question: What standards changed what Japanese camera makers have to specify?, context: Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed]


Question: In what year was CIPA DC-004 introduced?

Answer: 2006

Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. <hl> Following the publication of CIPA DC-004 in 2006 , Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed] <hl>

Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. Following the publication of CIPA DC-004 in <hl> 2006 <hl>, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed]

Following the publication of CIPA DC-004 in <hl> 2006 <hl> , Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed]

question: In what year was CIPA DC-004 introduced?, context: Despite these detailed standard definitions, cameras typically do not clearly indicate whether the user "ISO" setting refers to the noise-based speed, saturation-based speed, or the specified output sensitivity, or even some made-up number for marketing purposes. Because the 1998 version of ISO 12232 did not permit measurement of camera output that had lossy compression, it was not possible to correctly apply any of those measurements to cameras that did not produce sRGB files in an uncompressed format such as TIFF. Following the publication of CIPA DC-004 in 2006, Japanese manufacturers of digital still cameras are required to specify whether a sensitivity rating is REI or SOS.[citation needed]


Question: How man feet above sea level is Mexico City

Answer: 7,350

Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. <hl> It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres ( 7,350 ft). <hl> The city consists of sixteen municipalities (previously called boroughs).

Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (<hl> 7,350 <hl> ft). The city consists of sixteen municipalities (previously called boroughs).

It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres ( <hl> 7,350 <hl> ft).

question: How man feet above sea level is Mexico City, context: Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (7,350 ft). The city consists of sixteen municipalities (previously called boroughs).


Question: How many municipalities are in Mexico City?

Answer: sixteen

Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (7,350 ft). <hl> The city consists of sixteen municipalities (previously called boroughs). <hl>

Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (7,350 ft). The city consists of <hl> sixteen <hl> municipalities (previously called boroughs).

question: How many municipalities are in Mexico City?, context: Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (7,350 ft). The city consists of sixteen municipalities (previously called boroughs).


Question: What did they used to call the municipalities within Mexico City?

Answer: boroughs

Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (7,350 ft). <hl> The city consists of sixteen municipalities (previously called boroughs ) <hl> .

Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (7,350 ft). The city consists of sixteen municipalities (previously called <hl> boroughs <hl>).

The city consists of sixteen municipalities (previously called <hl> boroughs <hl> )

question: What did they used to call the municipalities within Mexico City?, context: Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (7,350 ft). The city consists of sixteen municipalities (previously called boroughs).


Question: What is the Spanish word for Mexico City?

Answer: Ciudad de México

<hl> Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) <hl> American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (7,350 ft). The city consists of sixteen municipalities (previously called boroughs).

Mexico City, or the City of Mexico (Spanish: <hl> Ciudad de México <hl> audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (7,350 ft). The city consists of sixteen municipalities (previously called boroughs).

question: What is the Spanish word for Mexico City?, context: Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (7,350 ft). The city consists of sixteen municipalities (previously called boroughs).


Question: How many meters above sea is Mexico City?

Answer: 2,240

Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. <hl> It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (7,350 ft). <hl> The city consists of sixteen municipalities (previously called boroughs).

Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of <hl> 2,240 <hl> metres (7,350 ft). The city consists of sixteen municipalities (previously called boroughs).

question: How many meters above sea is Mexico City?, context: Mexico City, or the City of Mexico (Spanish: Ciudad de México audio (help·info) American Spanish: [sjuˈða(ð) ðe ˈméxiko]; abbreviated as "CDMX"), is the capital of Mexico. As an "alpha" global city, Mexico City is one of the most important financial centers in the Americas. It is located in the Valley of Mexico (Valle de México), a large valley in the high plateaus at the center of Mexico, at an altitude of 2,240 metres (7,350 ft). The city consists of sixteen municipalities (previously called boroughs).


Question: How big is Mexico City's GDP?

Answer: US$411 billion

<hl> The Greater Mexico City has a gross domestic product (GDP) of US$411 billion in 2011, making Mexico City urban agglomeration one of the economically largest metropolitan areas in the world. <hl> The city was responsible for generating 15.8% of Mexico's Gross Domestic Product and the metropolitan area accounted for about 22% of total national GDP. As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America—five times as large as Costa Rica's and about the same size as Peru's.

The Greater Mexico City has a gross domestic product (GDP) of <hl> US$411 billion <hl> in 2011, making Mexico City urban agglomeration one of the economically largest metropolitan areas in the world. The city was responsible for generating 15.8% of Mexico's Gross Domestic Product and the metropolitan area accounted for about 22% of total national GDP. As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America—five times as large as Costa Rica's and about the same size as Peru's.

question: How big is Mexico City's GDP?, context: The Greater Mexico City has a gross domestic product (GDP) of US$411 billion in 2011, making Mexico City urban agglomeration one of the economically largest metropolitan areas in the world. The city was responsible for generating 15.8% of Mexico's Gross Domestic Product and the metropolitan area accounted for about 22% of total national GDP. As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America—five times as large as Costa Rica's and about the same size as Peru's.


Question: How much bigger is Mexico City's GDP's than Costa Rica's?

Answer: five times

The Greater Mexico City has a gross domestic product (GDP) of US$411 billion in 2011, making Mexico City urban agglomeration one of the economically largest metropolitan areas in the world. The city was responsible for generating 15.8% of Mexico's Gross Domestic Product and the metropolitan area accounted for about 22% of total national GDP. <hl> As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America— five times as large as Costa Rica's and about the same size as Peru's. <hl>

The Greater Mexico City has a gross domestic product (GDP) of US$411 billion in 2011, making Mexico City urban agglomeration one of the economically largest metropolitan areas in the world. The city was responsible for generating 15.8% of Mexico's Gross Domestic Product and the metropolitan area accounted for about 22% of total national GDP. As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America—<hl> five times <hl> as large as Costa Rica's and about the same size as Peru's.

As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America— <hl> five times <hl> as large as Costa Rica's and about the same size as Peru's.

question: How much bigger is Mexico City's GDP's than Costa Rica's?, context: The Greater Mexico City has a gross domestic product (GDP) of US$411 billion in 2011, making Mexico City urban agglomeration one of the economically largest metropolitan areas in the world. The city was responsible for generating 15.8% of Mexico's Gross Domestic Product and the metropolitan area accounted for about 22% of total national GDP. As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America—five times as large as Costa Rica's and about the same size as Peru's.


Question: What percent of the Mexican GDP is the metropolitan area of Mexico City responsible for?

Answer: 22%

The Greater Mexico City has a gross domestic product (GDP) of US$411 billion in 2011, making Mexico City urban agglomeration one of the economically largest metropolitan areas in the world. <hl> The city was responsible for generating 15.8% of Mexico's Gross Domestic Product and the metropolitan area accounted for about 22% of total national GDP. <hl> As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America—five times as large as Costa Rica's and about the same size as Peru's.

The Greater Mexico City has a gross domestic product (GDP) of US$411 billion in 2011, making Mexico City urban agglomeration one of the economically largest metropolitan areas in the world. The city was responsible for generating 15.8% of Mexico's Gross Domestic Product and the metropolitan area accounted for about <hl> 22% <hl> of total national GDP. As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America—five times as large as Costa Rica's and about the same size as Peru's.

question: What percent of the Mexican GDP is the metropolitan area of Mexico City responsible for?, context: The Greater Mexico City has a gross domestic product (GDP) of US$411 billion in 2011, making Mexico City urban agglomeration one of the economically largest metropolitan areas in the world. The city was responsible for generating 15.8% of Mexico's Gross Domestic Product and the metropolitan area accounted for about 22% of total national GDP. As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America—five times as large as Costa Rica's and about the same size as Peru's.


Question: Which country has about the same size GDP as Mexico city?

Answer: Peru

The Greater Mexico City has a gross domestic product (GDP) of US$411 billion in 2011, making Mexico City urban agglomeration one of the economically largest metropolitan areas in the world. The city was responsible for generating 15.8% of Mexico's Gross Domestic Product and the metropolitan area accounted for about 22% of total national GDP. <hl> As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America—five times as large as Costa Rica's and about the same size as Peru 's. <hl>

The Greater Mexico City has a gross domestic product (GDP) of US$411 billion in 2011, making Mexico City urban agglomeration one of the economically largest metropolitan areas in the world. The city was responsible for generating 15.8% of Mexico's Gross Domestic Product and the metropolitan area accounted for about 22% of total national GDP. As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America—five times as large as Costa Rica's and about the same size as <hl> Peru <hl>'s.

As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America—five times as large as Costa Rica's and about the same size as <hl> Peru <hl> 's.

question: Which country has about the same size GDP as Mexico city?, context: The Greater Mexico City has a gross domestic product (GDP) of US$411 billion in 2011, making Mexico City urban agglomeration one of the economically largest metropolitan areas in the world. The city was responsible for generating 15.8% of Mexico's Gross Domestic Product and the metropolitan area accounted for about 22% of total national GDP. As a stand-alone country, in 2013, Mexico City would be the fifth-largest economy in Latin America—five times as large as Costa Rica's and about the same size as Peru's.