When a composer scores a film, the visual timing is locked, and each moment of the film is forever linked to a specific moment of the music. This allows the composer to craft the score to flow purposefully with the visuals, sometimes synced very tightly to visual cues (Carl Stalling) or change harmonies on picture edits (John Williams) or more loosely set to picture. Bur regardless of the scoring aesthetic, this range of tight to loose scoring is purposeful and precise in the film world. In other words, it’s no accident. And if you want to hit a very specific frame with a music event it’s not only possible, it’s often expected.