I like the idea of shaping an edit before writing its music. The pictures can establish where to linger and where to move; the score can respond to those choices.
A cut does not have to land on a beat. A note can continue across it, joining two shots, or stop before it, leaving a moment of quiet. The interesting question is what the sound asks us to notice.
One small experiment: keep a short sequence unchanged and try two scores. Let one closely follow the cuts; let the other carry a phrase across them. Watch which moments feel connected, and which suddenly feel separate.