I suppose this depends on your region. Folk in USA tend to shoot 24p and folk in the UK tend to shoot 25p because of the PAL system.
However, I know of a few guys in the UK that are considering shooting 24P now, simply because the USA market is bigger and that is the preferred format there.
UK folk shooting 24p will simply speed the footage up a tad to make a 25p UK version. Apparently this looks better than if you were to shoot in 25p then slow it down a tad for the USA market in 24p. Slowing down from 25 to 24 apparently gives a slight 'lag' to the programme.
Personally, all my F350 experience has been 25P, but I'm based in the UK. I have not personally done the above tests of trans-codeing (if that is the right word) from 25 to 24 or from 24 to 25 so can't really comment on the 'lag' or 'speed up' factors or how they look.
Not sure if this was the kind of answer you are looking for?
I have tested the 25p with my 330 but I did not like the result. I got a sligth strobe effect in picture mostly when I have moved the camera. It don't look like a field order problem. I use FCP and have tested different settings. Any tips?
Welcome to the world of 24P, You must slow down the movement of any camera moves to a snail's pace to avoid the jitters. Also if a automobile crosses the frame you will see this as a issue as well. If you take this 24p material and output to 60i then it looks horrible. But if it goes to DVD, progressive playback dvd all looks good.
The issues are mixing footage that were not shot in 24p, and shooting 24p materail with fast camera moves. Thou some will argue the 24P "look" vers the video look, the issue being a work flow and a shooting technigue that is seamless in 24p.
I am currently in the 24p world and discovering the challanges of it.