How Professional Video Editors Think About Sound Design

How do professional video editors approach sound in their workflow?

Professional video editors ask one key question for every shot: "What is the sound of this shot?" This simple approach transforms editing by treating sound design as equally important to visuals from the start of the project, not as an afterthought.

I think sound is more important than visuals when it comes to editing. At minimum, it's of equal importance. Let me convince you why this matters for your workflow.

Why Sound Matters More Than You Think

Consider The Blair Witch Project from 1999 — 78 minutes of shaky handheld footage that grossed over $240 million. At the time, this found footage aesthetic was groundbreaking. People embraced the low-quality visuals because everything else worked.

But flip the scenario: what if the footage was beautiful but the audio was scratchy, difficult to hear, dead, or uninteresting? Would audiences have sat through that? Would it have been a hit? I'd venture to say no.

Walter Murch proves this point perfectly. He's arguably one of the greatest film editors of all time — and one of the greatest sound designers. In 1997, he won an unprecedented double Oscar for film editing and sound editing for The English Patient.

Is it a coincidence that one of the most influential editors was also a sound mixer? I don't think so.

The Question That Changes Everything

Here's what transformed my editing early in my career: "What is the sound of the shot?"

When I started asking this question, my edits really started to come to life. Instead of thinking about sound as something you polish up at the end or pass to someone else, you make it a priority from the beginning.

Building Sound Into Your Workflow

You need a searchable sound effects library — I recommend joining a site like Artlist. As you begin an editing project, ask yourself what the sound of each shot is. Do a quick search and start building out your edit with sound effects right away.

Sometimes the sound will be obvious — shots that call for specific sound design to tell the story. But often the sound of the shot will be as simple as morning park birds, the sound of a city street, a transitional whoosh, or the sound of an empty room.

Don't forget: silence is a valid sound choice as well.

While I don't think all editors need to change careers and become sound designers, I do think all editors need to do some of their own sound design work — even if it's improved upon later by a sound team.

Get my free editing guide to build a complete professional workflow that includes sound design from day one.