You are *correct* that mixed 'upper' + 'lower' frame switching or editing in P domain results in some intra frame edits when converted (frame per field) from P to I.
Initially, IIRC, there was no way of the live converter identifying the correct 'upper' frame - so even if you did have vision mixer set to switch consistently on 'upper' frames you had a 50% chance of having intra frame interlaced cuts.
More recently, certainly the Sony switchers can do it - there's some flag in the signal that the convertors read. (Don't know if that also works when playing back from EVS/file server though? It would need to lock playback odd to sync reference odd frames? This is what you'd need if exporting 'upper' frame edited 50P that is interlaced as it airs. But TBH it's not likely to be being QCd if it's airing live...)
Exporting from Avid 50p to file 25i *is* consistent. There's two places you can change between 25/50 based editing. One forces the edits to 25fps (ie you can only edit every other 50p frame). The other switches between 25 and 50 FPS timecode (hence the different seperator for odd/even frames). You can still be editing on any frame but display 25fps timecode (I think that's default tbh).
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