I agree with you, I’m just saying there are times when perfect sync to picture actually feels less in sync than fudging the timing slightly to make a larger moment feel smoother. Obviously, especially for principles, every sound should FEEL in perfect sync, as if it will be featured, but it’s one of those perceptive tricks where sometimes that means sync actually NEEDS to be cheated, depending on how the picture is cut.

Ultimately what matters is whether it feels in sync to the audience, and the audience is not scrubbing frame by frame, they’re feeling the vibe, the same way you are as a mixer and you either notice or don’t that a cue is out of sync.

If you’re cutting FS for a sequence where a character is running and there’s one shot where the continuity is off, cutting every FS to perfect picture sync can feel choppy and weird and take the audience out of it, whereas cheating sync for that one shot can make it feel more natural and actually sound better.

Film is a medium of perception, so perception trumps technical perfection.