General
Format: Matroska
Duration: 2 h 2 min
Bitrate: 88.7mb/s
Size: 75.9 GiB

Video
Format: HEVC (10 bits)
Resolution: 3 840 × 2 160
Aspect ratio: 16:9
Frame rate: 23.976 (24000/1001) FPS
Bit rate: 79.7mb/s
HDR format: SMPTE ST 2094 App 4, Version 1, HDR10+ Profile B compatible
Color primaries: BT.2020
Transfer characteristics: PQ

Audio
1.English English / DTS XLL X / 8ch / 6290kb/s / Immersive Upmix / DTS:X Master Audio / 7.1 + MDA Objects / 48 kHz / 6290 kbps / 24-bit
2.English English / DTS XLL / 5.1ch / 2044kb/s / Original 6-Track Digital Mix / DTS-HD Master Audio / 5.1 / 48 kHz / 2044 kbps / 16-bit
3.English English / AC-3 / 2.0ch / 224kb/s / Commentary by director James Mangold

Subtitles: English, Dutch, Catalan, Brazilian Portuguese, Japanese, Turkish, Spanish, German, French

Release notes:
Source #1: USA UHD Blu-ray (video, audio, commentary, subs)
Source #2: WEB-DL KUMiN (HDR10+ Profile B metadata)
Source #3: NLD Blu-ray (original audio, extra subs)
Source #4: JPN Blu-ray (extra subs)
Source #5: FraMeSToR Remux (GER) (extra subs, commentary subs)
Source #6: FRA Blu-ray (extra subs)
Source #7: ESP Blu-ray (extra subs)
Source #8: USA Blu-ray (extra subs)
Source #9: BRA Blu-ray (extra subs)
Source #10: NTSC DVD (named chapters)

VOD HDR10+ layer which had nearly 2400 total scenes of dynamic metadata was synced and injected to the UHD BD. Like Deepwater Horizon, the AMZN gamma was also slightly raised which mostly only affected the luminance mapping and to a lesser extent the bézier curves, otherwise being a good match. We repaired and verified this to correctly match the 2017 UHD BD's gamma (with aspect ratio properly output blanked) using an HDR10+ LLC certified content mapper. Dynamic scene location and quantity completely untouched preserving creative intent-- just gamma corrected so that the dynamic HDR presentation's metadata actually matches what it's intended for on the UHD Blu-ray. No bogus derived Dolby Vision or assuming dynamic metadata is fine for HDR assets that don't even match. Just the real thing.

For the best possible static HDR experience, the HDR10 metadata was also checked since we worked on the 10+. During the course of the frame by frame HDR analysis it was discovered, like Deepwater, that MaxCLL was once again artificially capped at 1000nit-- and MaxFALL also being off by a couple hundred nits. Both the dynamic and static HDR presentation's individual peak pixel level and RGB luminance values were NOT rolled off at 1000nit... they were just mastered on a 1000nit monitor using an enforced P3-D65 gamut. The corrected SMPTE 2086 metadata will allow your UHD HDR TV to display this using its native PQ HDR tonemapper it to its maximum capability without any arbitrary imposed limitation especially now as 1000nit+ OLEDs are becoming increasingly available. So the benefit of this hybrid is not just for those that can enjoy the HDR10+ layer but for posterity.

We also took the effort to include the PROPER original 2007 5.1 mix from the 2008 NLD release which was the best sounding and best transfer of the unmodified 2007 mix that we could find. The 2008 US and most region Blu-rays for home video Lionsgate elected to upmix the film to 7.1 and subsequently remix that down to Surround EX 5.1 (6.1 matrix) on the DVD and as an alternate Blu-ray track. While the PCM 7.1 remix was for the most part fairly well done, both new (at the time) matrix 6.1 and discrete 7.1 remixes had a significant flaw in that much of the music scoring sections were mixed louder in the surrounds than upfront where it belonged anchoring the screen channels and soundstage. This lead to a rather distracting and annoying effect regarding the balance of the "enhanced" home video mix. Luckily, a number of international region Blu-ray distros chose not to use this flawed upmix but the unchanged studio 6-track mix instead which we tracked down, compared and verified. 3:10 to Yuma was nominated for a technical sound mixing/effects Academy Award, notably for its theatrical digital 5.1 mix-- NOT Surround EX (6.1). The UHD Blu-ray's immersive DTS:X 12ch upmix is mostly well done, but like most DTS:X soundtracks, the downstream channel based MA 7.1 and 5.1 substreams for non-DTS:X systems don't sound quite as good as a native channel based surround presentation. A rather hush-hush flaw in the architecture of the consumer DTS:X codec where the 8ch/6ch presentations occasionally suffer from some phase distortion and excessive echo/reverb in substreams not present in the native. Xperi to their credit have made noteworthy improvements to this in subsequent updates to the DTS:X MDA rendering and authoring system as well as the introduction of DTS:X Pro which supports nearly 3x the channels that the original DTS:X standard called for. So unless you have an actual DTS:X system layout with point source heights, we recommend the original 2007 5.1 mix.

All extra subtitles BD sourced properly tonemapped including extras. UHD commentary track actually sounded a little better than the 640kbp/s JPN, likely due to newer encoder with superior perceptual coding and the JPN comm potentially just being artificially transcoded to 640kbp/s by that distro.
Named chapters also included from the NTSC DVD and synced to scene change/I-frames.