You will not find this on iTunes or Netflix. It lives on private trackers (PGC, Cinematik) and hard drives passed between projectionists. If you find a version labeled "JP_35mm_DTS_Superwide_1080p," ensure it includes the 5.1 DTS WAVs, not transcoded AC3.
Warning: Watching this version will ruin the 4K disc for you. You will realize that the "grain" you hated was actually the soul of the film. You will miss the vertical space. You will miss the hiss of the analog print just before the Universal logo fades in.
The star of this specific version is the "Open Matte" presentation. For the uninitiated, Jurassic Park was shot on full-frame 35mm film but matted (cropped) in theaters to create the widescreen letterbox look. This version removes those matte bars, revealing the full 4:3 (or in this case, "Superwide" slightly cropped) image captured by the camera. You will not find this on iTunes or Netflix
The effect is immediate and transformative. While purists argue for the theatrical composition—and rightfully so, as Spielberg frames for widescreen—the open matte presentation offers a refreshing "you are there" documentary feel. You see more of the raptors' tails swishing in the tall grass; you see the rafters and ceilings of the Visitor Center. It gives the film a grander scale, filling the entire screen of a 16:9 TV with image data rather than black bars. It feels less like a cinematic stage play and more like a window into Isla Nublar.
We have to talk about the audio. "Cinema DTS" is not your home DTS-HD Master Audio track. The 1993 DTS system used a proprietary codec at 882 kbps (compared to the later 1.5 Mbps CD-ROM rate). More importantly, it was disc-based. Scene 2: The Gallimimus Stampede
The 35mm print contains only a timecode track between the optical analog track and the frame line. The actual 6-channel audio (5.1) lives on a separate CD-ROM synced to the projector.
What you hear in this "Cinema DTS" rip is uncanny. It lacks the compression artifacts of the Dolby Stereo SR prints. But more critically, it preserves the theatrical mixing curve—specifically the LFE (Low Frequency Effect). Scene 3: The T
On modern home releases, the T-Rex footsteps have been rolled off to protect subwoofers. On the Cinema DTS track from 1993, the footsteps are a physical event. The "Boom... Boom... Boom" is distorted, clipping the mic preamps of the dubbing stage. It is raw. The glass break in the kitchen? It sounds like actual plate glass, not Foley art.
Scene 1: The Helicopter Landing
Scene 2: The Gallimimus Stampede
Scene 3: The T. rex Final Roar