Hello Michael,
We used this technique in early 2021, utilizing the "48048 F-Mode" sample rate on a Deva V and SD 688. The F-Mode stamp was important for the post house to allow their workflow to properly handle the draw down. My understanding is that ProTools or other software will attempt to re-sample the files if the Metadata reads something other than the 48000 the software is expecting. The FMode Metadata stops resampling from occurring by tricking the program into treating it as 48000.
As for the flicker, the DP we worked with mentioned specifically screens, phones and lighting which they cannot control (location specific) are the main places they have found this technique to provide better outcomes.
I re-visited this link to recall some specifics: https://www.trewaudio.com/articles/48048-khz/
This section was the most helpful when I originally started down this path:
"Generally speaking, the preferred sound delivery file format for post-production is Broadcast WAV Polyphonic, often shortened to BWF-P. These multi-track files are preferred over monophonic Broadcast WAV files because they are easier to handle (although some equipment may only deal with the mono variety, so be sure to check with the post house before delivering). While BWF-P files may be the best way to deliver to Pro Tools, the software cannot deal with them directly. Files must be converted to mono on import and it is this conversion process that makes –F mode so important. If these files are identified by Pro Tools as being 48.048 kHz, then they will be automatically sample rate converted to 48 kHz on the way in, negating the pull-down effect."
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