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Originally posted by jay888:

The way it's usually done, though, is to start the music after the film is well on it's way to being done edited. The composer can match the "hits" no problem (if they know what they're doing).
(...)
Imagine being a composer and not sleeping for 4-5 days to finish a cue (on time) only to have the director say "you know what, I'm gonna re-edit that whole 7 min scene". Now none of your 7 minutes of music fits and you have to start over (assuming that the director already "ok'd' the music in the first place). Now imagine that happening with every scene in the film. That is a real possibility when working with a newer director that may have a hard time making up their mind as to what is working. It can easily turn into a real mess under those conditions. That is what the composer is trying to avoid.

Jay

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I know we're getting a bit off topic, but I decided to contribute to the on going discussion not anymore about pitch and EQ but something else now...

Throughout university years I've had the opportunity to discuss those questions with many sound editors that also edit video, and video editors who also edit sound. And, what I got from those conversations was that, usually, sound editors prefer to have the final version of the video to then compose over it (because that's their thing, where they can get creative and have fun), while video editors will answer exactly the other way around (using the music to set the pace for editing the video, which is what they are really into). So, basically it is, now that that part is done, totally out of the way, let me just focus on the most important part (video in case of the video editor or music in the case of the composer).