When producing sound effects for various films, the sound editors and recordists don’t usually bother themselves with the accuracy of the various sounds that they present. The sound made when bullet enters a person from a very close distance couldn’t sound anything like a designed sound, but as there are very few persons who are attentive of how it originally sounds, the job of coming up with the effect is chiefly a question of producing a hypothetical sound which fulfills the audience's expectations.
A phased whooshing sound of a wounded person’s fall doesn’t have any analogue in a real life incident, but it is very emotionally immediate. If the sound editor utilizes sounds such as these in a touching climax, they could boost the excitement of any situation in a manner in which visuals cannot. If the same effect was to be replicated by a visual effects artist, it may look very melodramatic.
The principle of "Conjectural Sound" also applies to coincident sounds, like people walking or doorknobs turning. If the sound designer wishes to deliver a message that a driver is anxious to leave, he may add the sound of the tires squealing when a car accelerates from a stationary position. Even if the car is positioned on a mud road, the effect can be pulled off if the audience is significantly occupied. If a particular character is frightened of somebody on the opposite side of a door, the twisting of the doorknob could take more than a second or two, and the mechanism of the doorknob can have many clicking parts. A skilled Foley artist could even make somebody moving coolly across the screen appear frightened just by giving the character a different walk.