1) Films are actually shot at 24fps, only 23.98 if shot on an HD format
2) DTS is NOT 96K, only the 24/96 variant of DTS.
3) SDDS is hardly ever used for any cinematic releases anymore, and 44.1 is actually more to do with music CDs
4) Dolby Digital is 48K 16-bit
5) 29.97 is mentioned in broadcast, but often rounded up to 30fps for simplification
I dont think SDDS is even done anymore- I am at Sony so I can ask around, but I would be surprised if it every goes out in release prints- I dont think they have made the processors in nearly a decade now. The firmat did sound awesome, and I know when we did U571 it just kicked ass- the thing that was cool was that we dedicate the outside L-R speakers to Music only, and used the inner L-C-R for our Dia and FX.... that film sounded pretty awesome. Its real weakness was that the strip really didnt hold up for crap- so unless you saw a print in the first week, you didnt hear it in SDDS.
There is also the new 7.1 format with the dual rear surround channels- But I think most films are being done in plain "old" Dolby Digital, and then Dolby EX, which is a matrixed rear center channel, and of course we have "regular" DTS and the High Rez DTS- though I thought that was really designed for DVD-A
Cinealta's got it. Hard to believe it took 45 posts. It had nothing to do with sound quality vs 44.1 or anything like that.
48 kHz is the only rate relevant for audio content destined for video. There's not a broadcaster in the country running anything but 48 kHz on any piece of gear.
For sound design you may wish to use something higher, but ultimately it needs to be 48k when you deliver for television. Thus, working professionals are all at 48 kHz--who has time for resampling all their work?
Double sample rates are only relevant for music, audiophile pet projects and archiving for posterity IMO.