For Michele Nagy, You Can’t Assemble a Puzzle Without Understanding the Pieces

Michele Nagy is a Brazilian editor and designer based in Los Angeles. As motion editor at Frame48, she brings a sharp eye and an instinctive sense of rhythm to the studio’s commercial campaigns, CGI spots, and 2D motion content. Her work seamlessly blends motion design and storytelling, leading Frame48’s editorial efforts across some of its most ambitious projects for brands like Lenovo and Sonos.

Michele got her start in Brazil, finishing for national broadcast channels like Canal Off and Bis, while also creating visuals for artists in Brazil’s vibrant music scene, including pop and funk artist Ludmilla.

She thrives in the controlled chaos of post-production, where colour-coded timelines and layered compositions feel like second nature. Outside of the studio, you’ll find her chasing the sun (and her dog, Tomasa) around Los Angeles.

Michele sat down with LBB recently to discuss her method for perfecting her craft, where her love of post-production began, and current editing trends…

LBB> The first cut is the deepest: how do you like to start an editing project?

Michele> The Virgo rising in me demands a clean desk, and an even cleaner project file. Organisation is everything to me.

After I review our creative with our CG team, I usually start with the music and a rough pass of sound design – it sets the tone we are trying to hit and gives me the rhythm I need to build everything else. Once the soundscape feels right, the rest of the elements start to fall into place.

LBB> Non-editors often think of editing just in technical terms but it’s integral to the emotion and mood of a film. How did you develop that side of your craft?

Michele> By consuming a little bit of everything – films, music videos, commercials, anime, art, even TikToks – you start to pick up on how emotion is shaped through rhythm, pacing, and sound. But more than anything, I’d say it’s about editing a lot.

The more you cut, the more you start to feel what works emotionally and what doesn’t – something no tutorial can really teach you. Sometimes it’s instinct, sometimes it’s trial and error. I think editing is one of those crafts where you learn by doing, over and over again.

LBB> How important is an understanding of story and the mechanics of story?

Michele> It’s everything. For me, the story is what guides every choice I make in the edit. When you really get the story, you know what to highlight, what to cut, and how to keep things flowing. Without a clear story, even great footage can end up feeling confusing. So, understanding the story on a deeper level helps me make decisions that actually feel intentional.

If I’m working on a product spot, for example, I’ll dive into how the product works to understand how it operates and what the features are, because that’s the story I need to tell – sometimes in under a minute or even in just a few seconds. You can’t build the puzzle if you don’t understand the pieces.

LBB> Rhythm and a sense of musicality seem to be intrinsic to good editing (even when it’s a film without actual music) – how do you think about the rhythm side of editing, how do you feel out the beats of a scene or a spot? And do you like to cut to music?

Michele> I’ve always loved cutting to music. When I was younger, I’d spend hours watching music videos before school. It became a ritual, and it’s where my love for post really began. Music videos taught me to feel pacing in an intuitive, emotional way.

Growing up in Rio, I had the chance to go to very different types of concerts: funk, sertanejo, brega, pop, pagode… and I’d always try to stand as close to the speakers as possible. That physical connection to rhythm and sound has stayed with me. Even when I’m not working with a track, I still edit like there’s an invisible beat underneath – something guiding the flow. Sometimes it’s the soundtrack, sometimes it’s silence, and sometimes it’s just the rhythm of the visuals. It’s not about rules; it’s about listening to what the footage wants to do.

LBB> Tell us about a recent editing project that involved some interesting creative challenges.

Michele> Our studio has partnered with Lenovo for quite some time, and I’ve encountered such a wide range of creative challenges. Each spot brings something new, whether it’s in the edit or in designing 2D assets. The ideas are always ambitious, but with our team, it somehow always feels possible.

That said, when everything is possible, the real challenge becomes grounding the concept and finding the right visual language to tell the story. It pushes me to think more like a designer than just an editor. I find myself contributing creatively before the shots are even built, which is where my love for both design and editorial really comes together.

LBB> What’s harder to cut around – too much material or not enough? (And why?)

Michele> I think it’s totally subjective. It really depends on the material you’re working with. I’ve been in situations where we barely had any footage, but the little we had was so strong that the cut came together beautifully. And other times, we’ve had hours of footage, but none of it quite landed. It’s not about the amount, but the quality and intention behind what’s there.

That said, when there isn’t enough footage, it can push you to get creative. Sometimes, I’ll mock up temp motion graphics or pitch small pickup ideas – a simple shot, a textural close-up moment, or a graphics treatment. Anything to help build the story out. You end up becoming part editor, part problem-solver. It can be challenging, but also really rewarding when you’re able to make something feel complete with less.

That’s also the biggest difference when cutting CG. You’re often building around shots that don’t even exist yet. It’s about seeing potential, visualising what could work, and making story decisions before anything’s been rendered. You’re cutting with ideas, not just footage.

LBB> Which commercial projects are you proudest of and why?

Michele> I’ve worked on a lot of projects I’m proud of, but a few really stand out.

The Lenovo campaigns are always creatively and technically challenging in the best way. They feel a bit like cutting a music video, but for a product (in this case, laptops). There’s a lot of fast pacing and motion graphics, so it pushes you to think rhythmically while still hitting all the product features.

At NantStudios, we shot a commercial spot that followed the story of moving LED walls, which was a fun one too. We got to visit its space in El Segundo and take a walkthrough of its virtual production setup, which gave great insight into the process and really helped align the creative vision before any CGI was created. That visit set the stage for close collaboration between editorial and CG. We were constantly trading assets and previews, so I could adjust timing in real time as the animations evolved. Balancing that cinematic feel with a commercial pace was super satisfying.

‘Shimano Gravity’ was another great mix. Here, we combined live-action with CGI, sourcing through raw footage and integrating it with animation, which made for a cool challenge. What I love most about working with CG is how collaborative it is. We’re constantly in touch with the animation team, testing ideas, playing with timing, and seeing what clicks. It’s super fluid: try something, get feedback and adjust. That kind of back-and-forth makes the process feel really alive, and by the end, it all came together in a way that felt cohesive and organic.

LBB> There are so many different platforms for film content now, and even in advertising something can last anything from a few seconds to a couple of hours. As an editor, are you seeing a change in the kind of projects you’re getting from brands and agencies?

Michele> Definitely. There’s a constant push to keep up with trends and how younger audiences, especially gen z and millennials, consume content. Everything is faster, shorter and more visual. And with technology evolving so quickly, the way we watch things and where we watch keeps shifting too. It all impacts how brands and agencies brief projects. We’re always trying to stay ahead of it, figuring out what’s next while still making things that actually connect.

Even in shorter formats like 15- or 30-second spots, we prioritise storytelling. Every visual choice, transition, and sound cue is intentional. It’s always a challenge to communicate product features and build a story in such a short time, but that’s what makes the work so interesting.

One piece I worked on was a 15-second spot for Lenovo where a character (a bunny) rapidly changes outfits while the laptop shifts modes. It was fun and playful, but it also had a clear purpose: to highlight the product’s versatility. We’re always thinking about how to approach each piece, not just based on who we’re speaking to, but also how to make it intentional, engaging, and genuinely fun to watch for the gen z audience

LBB> Who are your editing heroes and why? What films or spots epitomise good editing for you?

Michele> I’m really inspired by experimental artists who challenge conventional storytelling and open new ways of viewing the world. Barbara Hammer has been a big influence for me. Her film, ‘Nitrate Kisses’, is on top of my list. It uncovers hidden histories of 2SLGBTQ+ communities that have often been overlooked or erased. Being in the position to tell these stories through editing makes the role incredibly important. Editing is not just about assembling footage, but shaping how a story is experienced and felt. The choices we make as editors can amplify voices and bring attention to perspectives that might otherwise go unseen. That’s why I believe there’s real power in the way a story is told.

I also really admire the editors featured on Edit Girls, which is a platform that highlights career stories and supports women in post-production. In an industry where post is still largely male-dominated, spaces like that are so important for visibility, connection, and inspiration. Seeing other women thriving in spaces like this really motivates me to keep evolving.

A great editor can transport you, pulling you so deeply into the story that, for a moment, everything else fades away. You’re locked in and fully present in that world. I admire creatives and their edits that can do that to you.

LBB> How does editing in the commercial world differ from the film world and TV world?

Michele> They’re completely different disciplines, each with their own rhythm. Commercial editing moves fast – you’re often juggling multiple projects in different industries, tight turnarounds, and a wide range of deliverables and formats. There’s less time to live with the footage, so every frame has to communicate your message clearly and efficiently.

With film and TV, there’s more room to build character and story gradually. Both are creative in their own way, just shaped by very different timelines, goals, and audiences.

LBB> Have you noticed any trends or changes in commercial editing over recent years

Michele> Yes, definitely. A lot of it comes down to who's watching. Younger audiences consume content differently with shorter attention spans, so for some clients, we’re cutting faster, using more motion, and finding creative ways to keep their eyes on the screen, all while serving the story.

We’re also delivering across a wide range of formats and aspect ratios, like 16:9, 1:1, 9:16, 4:5, looping animations, and a wide variety of cutdowns, so every edit has to be flexible and translatable across platforms.

In addition to this, I’ve noticed commercials increasingly borrow from music videos and internet culture. There’s more room for play now – weird transitions, punchy cuts of mixed media footage, even intentionally awkward beats. You have to understand cultural relevance, move fast, and stay flexible. It’s not just about thinking outside the box anymore… the box no longer exists. And that’s exactly what makes this space so exciting.