Can't speak for others but I edit at 48k always, just to make delivery that much easier, plus to save DSP... much of my FX recording and all of my foley is also done at that rate. I do however record at higher rates if I know that I'm going to be pitch shifting the effects... often I'll just bring them in at the lower rate without conversion to do this.
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I will try and work at 192 kHz for as long as possible, but when I think that I am happy or I have run out of time, I will save a session copy at 48 kHz and finish off from there. Basically I like to get all of the pitch correction and reverbs done at 192 kHz and everything else can be achieved at 48 kHz.
I edit at 48k but have specific design sessions at higher sample rates for processing/manipulation etc.... One reason I dont work at 192kHz and 96khz is due to the fact that ProTools truncates the timeline at higher sample rates - I need a 12 hour timeline in my edit session due to having six reels of a film (at 01.00.00.00, 02.00.00.00 etc) and when I come to conform I need to keep two copies of the reels - the original reels (at 07.00.00.00, 08.00.00.00 etc) and the newly conformed versions back at 01.00.00.00.... This is not possible at 96kHz (maximum 7 hour timeline) or 192kHz (maximum 3 hour timeline) and it sucks! I posted on the Avid IdeaScale thingy about this issue....
I own a crappy but trusty first generation Zoom H4 recorder, which generates an audible noise while accessing the SD card at all sample rates below 96k. At 96k the noise gets inaudible, so I always record at 96k, but it gets converted to 48k, because my sessions are always at 48k.
But I think I should try out the 96k sessions for pitch shifting.