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While not a true biometric application (in the sense that it is not a real-time process), DNA always generates great interest Therefore, a discussion of one of the world s largest DNA repositories is appropriate The DNA Repository for Remains Identification along with the Armed Forces DNA Identification Laboratory make up the DoD DNA Registry The DNA Registry, a Division of the Office of the Armed Forces Medical Examiner, helps the military identify remains of soldiers killed in combat or missing in action High-velocity weapons and the lethality of the modern battlefield often destroy any chances of using fingerprints or dental records DNA, however, can almost always be used to identify remains Although most times the armed forces can identify the dead based on various records, DNA identification provides closure for the family and the biological proof of death required by life insurance companies

Why would we need two more audio formats Dolby TrueHD and DTS-HD Master Audio Don t we already have the capability for higher data rates and additional channels The short answer is Yes , but that s not enough The two additional audio formats are lossless formats, whereas the Dolby Digital, DD+, DTS, and DTS High Resolution audio are lossy formats The difference is that lossy audio codecs are much more efficient than lossless codecs In other words, they eliminate a lot of redundant information in the audio source data to achieve lower bitrates and use less disc space (see 2 for more on perceptual encoding) Lossless streams provide the highest possible quality, but can require much higher bitrates Since lossless codecs are focused on delivering the best possible quality, they have to allocate as many bits as needed and use a variable bitrate This drastically changes the production workflow compared to lossy codecs which use a constant bitrate With a constant bitrate, the content author is aware of how much bitrate is necessary for the audio streams and, as a result, can easily allocate the maximum video bitrate to be used Having the audio stream as a variable bitrate changes this situation The audio encoding has to be finished before the maximum bitrate used for the lossless audio stream can be determined After that is done, the available maximum bitrate for the video can be calculated Given that the video encoding historically happens before the audio encoding is finished, the production workflow has to adapt, taking this new requirement into consideration As one can imagine, with the production workflow getting more complicated due to the variable bitrate of the lossless audio codecs, the audio decoders are getting more complicated, as well Figures 624 and 625, presented at the end of this chapter, show block diagrams of the two lossless audio decoders There is a caveat with the support of the seven primary audio formats it is not mandatory for players to support the full number of channels and sampling resolutions (Table 614) As some of the audio features are optional in the specification, it is up to the player manufacturers to decide whether or not they want to support them The idea behind this approach is to allow manufacturers to produce differently-featured products and to differentiate themselves in the marketplace For instance, a portable player may not need to support eight audio channels or lossless audio By not having to support certain optional formats, the product can be produced easier and cheaper The content producer should be aware that in the case where optional features are used, some players may not support them and an appropriate behavior should be built into the disc.

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With all the additional channels beyond stereo, what does that mean for the living room Where should the additional two speakers in a 71 audio configuration be positioned Although there is the possibility for different positioning options, a very typical scenario is depicted in Figure 612 Besides the center speaker, the right and left speaker should be positioned at an angle of 30 degree, and the left surround and right surround speaker should be positioned at an angle of 150 degrees, respectively While this is the same configuration as a traditional 51 positioning, including the position of the LFE (low frequency effects or subwoofer speaker), the additional two speakers would be positioned as left and right surround side speakers, angled at 90 degree to the center speaker

Congressional Record, 1999 Vol 145, p S6650 US Public Law 106-246, section 112 Emergency Supplemental Act, July 13, 2000

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Now, if you believe that eight channels should be sufficient for a home entertainment system, think again Japan s national broadcaster, NHK, has already started working on systems of the future supporting up to 222 audio channels Will that, finally, be the maximum number of audio channels Probably not!

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