It’s a tricky one, but I agree with Hal9000 that looking forwards is key. If there’s (say) a 99% chance that all the frames have now been found from the various 4K prints and UHD/Disney+ editions AND everyone is on board with switching to the new sync format, then I think it’s a really good idea. It would be a nuisance for a short time for the audio people to convert GOUT-synced tracks to the new standard, but afterwards there would be a new “gold” standard for all projects going forwards. (And in the future, the old GOUT-synced tracks would still be available for “legacy” projects such as Harmy’s current DE v2.x editions.)
However, if new frames are going to continue to be discovered every couple of years (*) OR different groups are going to adopt different sync standards, then things will get terribly messy and we probably would be better off just sticking with the GOUT standard.
(*) It is extremely unlikely that there are any more frames out there to be found, according to Team Negative 1.
Either that, or everyone’s going to get the project, and re-up it GOUT synced. That eliminates all the issues with getting the old tracks synced to the new video source. There’s already a GOUT synced version of 4k83 out there.
The only reason 4k83 wasn’t GOUT synced is TN1 wanted to use the original audio track on the release print because of how well preserved it was. There was no need to sync to GOUT for audio tracks. I don’t know why that prompted a conversation of whether or not we should jump ship to a new standard. And if someone wanted the 4k83 track synced to GOUT, they could do it. Not only that, but it would also break timing of a lot of our subtitles. IMHO it isn’t worth it, literally no one is going to notice a handful of frames.