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An additional feature for Blu-ray is the option for luminance (luma) keys that can be applied to PIP streams, in certain cases The luma keying is accomplished by defining an upper value for the luminance (Y) channel in the PIP metadata All the pixels with a luminance value from 0 to the upper value are rendered transparent This blends the two video streams seamlessly together However, the luma key can only be applied if the secondary video is not scaled up to full screen In the event where the secondary video is presented in full screen, the keying cannot be applied, hence all pixels are displayed fully opaque To avoid such a scenario, it is recommended to prohibit the scaling of the secondary video when luma keying is used
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Considering that the number of supported video formats for Blu-ray increased compared to DVD, the supported audio format situation is also dramatically different from DVD! While DVD supports four audio codecs (PCM, MPEG, Dolby Digital, and DTS), Blu-ray supports seven primary audio codecs PCM, Dolby Digital, Dolby Digital Plus, Dolby TrueHD, DTS, DTS-HD High Resolution, and DTS-HD Master Audio (Table 614) Why is there a need for three Dolby formats and three DTS formats The difference can be found in the details While Dolby Digital and DTS are the legacy formats from DVD, the other audio codecs are format extensions with improved quality Table 614 Supported Primary Audio Formats for Blu-ray
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Lossless Mandatory Sampling Frequency Bits per Sample Maximum Data Rate (Mbps) Maximum Channels
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Linear PCMa Dolby Digital Dolby Digital Plus Dolby TrueHDa DTS DTS-HD High Resolution DTS-HD Master Audioa
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Yes No No Yes No No Yes
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Yes Yes No Yes Yes Yes No
48/96/192 kHz 16/20/24 bits 48 kHz 48 kHz 48 kHz 48/96 kHz Compressed Compressed Compressed Compressed
276 0640 17b 1864c 1509 6d 245d
8 51 71 8 51 71 71
48/96/192 kHz Compressed
48/96/192 kHz Compressed
aSampling frequency of 192 kHz is only allowed for 2, 4, and 6-channel audio that is losslessly encoded bDolby Digital Plus is only supported for more than 51 channels The initial 51 channels are encoded with the core Dolby Digital Substream - channel 7 and 8 (if available) are encoded in Dolby Digital Plus cIt is mandatory for a player to play back Dolby TrueHD However, only the core Dolby Digital portion with up
to 640 kbps has to be supported The lossless portion of the Dolby TrueHD stream is optional for a player and may or may not be supported
dDTS-HD streams consist of a core DTS portion and an HD portion Players only need to be able to decode the DTS core of 1509 Mbps Supporting the HD portion of the stream is optional for a player and may or may not be supported
Dolby Digital Plus (DD+) is an extension of the legacy Dolby Digital format and provides two additional channels, up to 71 channels DD+ is based on the core Dolby Digital stream and only the additional two channels are encoded using the DD+ extension while the core 51 streams are still encoded with the legacy Dolby Digital Substream The situation is similar with DTS The DTS-HD High Resolution and the DTS-HD Master Audio formats are extensions to the legacy DTS format They provide up to 71 channels with higher bitrates, but still embodies the legacy DTS stream for backwards compatibility (legacy DTS only supported 51 channels) Even though this may already seem a little complicated, let s add some more confusion
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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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