The reason this is going on is that most video equipment uses 48 KHz sampling. If you check out the specs on most Blu-ray movies, and even concerts, you'll see that 48/16 is run-of-the mill and 48/24 is used for blockbusters because of its greater potential dynamic range (or, conversely, smoother gradients within the same total dynamic range).
AIX is an exception to this trend in releasing Blu-rays actually shot at 5.1 96/24.
What Dolby appears to be doing is saying to the movie industry, here's how to use your current equipment to produce movies and concerts and then be able to market it as 96/24, by using our post-production equipment. If the audience accepts this uncritically by buying these "proof of concept" disks, Dolby will have established a new niche for themselves, and a marketing edge over DTS HD MA - though there's nothing stopping DTS from offering the same thing.
The loser is the audience, as the demand for 96/24 would be diverted from true 96/24 releases that could push the standard production equipment in that direction to upsampled disks made with no improvement to the production equipment.