This is my first posting in this forum, so go light on me.
We've been editing a digital project at 24fps, doing the sound mixes with the designer on a Protools system @ 24fps and things sync fine. The original plan was to do 24fps the entire way through the project. That included doing a 24fps final mix syncing to a quicktime file as we've always done with no problems. We do understand the legacy technique of using a tape-based sync lock at 29.97. However, our intention was to provide a 24fps media file and not do a frame rate conversion to 29.97 from our picture timeline.
Because final mix sessions usually occur at 29.97, the sound designer is concerned about issues of sync when we finally go to film. His contention is that the film should first be printed, telecined and that 29.97 telecined print be used for the final mix session. Printing digital files to film will take 2 weeks and will significantly delay our final mix date, plus the added expense of additional final telecine. For these reasons, the producers do not want this option.
We are wondering if it is at all necessary to do this extra last step to "insure" sync or if there is an alternative methodology.