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Ninth.Gate.Bluray.synch
As the UHD release is getting closer...
Audio
Format : AC-3
Format/Info : Audio Coding 3
Commercial name : Dolby Digital
Duration : 2 h 13 min
Bit rate mode : Constant
Bit rate : 576 kb/s
Channel(s) : 6 channels
Channel layout : L R C LFE Ls Rs
Sampling rate : 48.0 kHz
Frame rate : 31.250 FPS (1536 SPF)
Compression mode : Lossy
Stream size : 550 MiB (100%)
Service kind : Complete Main
Dialog Normalization : -27 dB
Center mix level (cmixlev) : -3.0 dB
Surround mix level (surmixlev) : -3 dB
Dialogue normalization, average : -27 dB
Dialogue normalization, minimum : -27 dB
Dialogue normalization, maximum : -27 dB
DVHS capture had some faulty frames and those were replaced with Bluray audio
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K-Pax
Audio
ID : 2
Format : DTS
Format/Info : Digital Theater Systems
Codec ID : A_DTS
Duration : 2 h 0 min
Bit rate mode : Constant
Bit rate : 754 kb/s
Channel(s) : 6 channels
Channel layout : C L R Ls Rs LFE
Sampling rate : 48.0 kHz
Frame rate : 93.750 FPS (512 SPF)
Bit depth : 16 bits
Compression mode : Lossy
Delay relative to video : 10 ms
Stream size : 649 MiB (3%)
Language : English
Default : Yes
Forced : No
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Are any of the D-theater audios native 24bit 48.0 kHz? If they are, that would be would be an upgrade over the Cinema DTS discs since those are 16bit, 44.1hz, no?
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No, when talking about linear PCM on D-Theater tapes, it will be 48 kHz 16-Bit, not 24-Bit.
Also note that Cinema DTS isn't 16 Bit per se, but usually only decoded as such. Lossy codecs don't have that kind of immanent bit depth but may use lower precisions to store sample differences or floating point instead (like MP3, AC3, DTS, etc.). Interestingly, the dynamic range (usually at the cost of the SNR) can be higher than that of 16-Bit or even 24-Bit PCM (which is already insanely high and can't be used in real-life scenarios for audio anyway).
Technically (!), 16-Bit PCM would already be preferable to Cinema DTS, but I doubt that one will pass a blind test. Same goes for AC3 or DTS in most cases.
In short: all these formats are already "too good" to be the limited factor in practise, despite all the audiophile marketing, as to mask mixing and mastering differences so it is virtually entirely up to these two aspects to determine the quality.
Hence, one would have to compare the concrete mix of the D-Theater title in question and compare it to the Cinema DTS counterpart. Cinema DTS has - just like the optical Dolby Digital / AC3* track used on 35mm film back then - however the advantage of giving the psychological peace of mind that it was used in the cinema and thus acts like a reference.
* never came across those mixes though, would be an interesting project to preserve e.g. the AC3 of "Batman Begins" from 1992, encoded at allegedly even only 320 kbps (!) in the cinema
