Whoa, cinema DTS preservations? I certainly wasn't expecting that!
I was going to point out the necessity of reducing the surround channels by 3 db and low pass filtering them at 80 hz for the LFE content, but I'm glad to see that has already been taken care of. I've heard it suggested that the first DTS laserdiscs did not always successfully adapt theatrical mixes to the home environment, because they forget to adjust the surround and LFE levels and simply ported over the versions calibrated for movie theatre acoustics, so it is likely that this will more accurately represent the sound of the original mix than the LD.
Out of curiosity, is the LFE low pass supposed to happen before or after the surround attenuation? It wouldn't do to have the bass consistently too quiet throughout the film, of course. ;)
I've heard bad things about the various home video remixes of Jurassic Park, but haven't had any opportunity to study or compare them for myself. In any case, those who have heard it say the theatrical mix is far superior to any of them, but I'd be very interested in hearing more information about this in specific detail. I've never understood this incessant need for movies to be remixed for home video aside from minimal recalibration to adapt them to the acoustics of smaller listening environments. Why shouldn't we be able to hear exactly what the mixers actually heard when they were making the movie? Makes no sense to me.
About the 1997 Star Wars mix: yes, I would indeed be interested in the DTS to use for my 70mm project. I've been limited to using the 384 kbps AC3 from laserdisc, so a higher bitrate version would certainly be a good thing, if it can be managed. I only actually need the LFE and not the main channels, since that's the only part that the SE is actually used for.