Why Kauai’s Intuitive Editing Style Makes Every Frame Count
Kauai, originally from Rio de Janeiro, Brazil, is a film and video editor based in Portland, OR. His experience spans a wide range of content, with a particular emphasis on commercials and documentary style branded content.
His talent has drawn collaborations with top brands like UGG, Amazon, FitBit, Meta, Lancôme and others, illustrating his knack for crafting dynamic and engaging narratives. A hallmark of Kauai's editing is his profound use of sound to enhance narrative flow, making each piece not only visually striking but also a rich auditory experience. This sensitivity towards sound, along with his keen aesthetic sense, innovative storytelling, and attention to cultural nuance, sets his work apart.
LBB>The first cut is the deepest: how do you like to start an editing project?
Kauai>That first phase of starting an edit is always a little confusing. Blank timeline, tons of footage — it can feel like a lot. Sometimes I work with an assistant editor to organize and prep, but a lot of the time I like to do that part myself. Going through the footage helps me connect to it. It’s less about looking for what’s usable and more about just sitting with it for a bit. I have to let myself be confused for a while. Once I’ve spent that time with it, I can start cutting from instinct. That first pass is never the one, but it gets things moving.
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?
Kauai>I just really love movies. Always have. I love when a movie makes me feel something real. So that’s what I try to do when I cut. I think I’ve always been sensitive to little things — looks, pauses, offhand moments — and I try to hold onto those when I edit. I watch a lot, and I pay attention to how things move me. That’s how I’ve learned what works.
LBB>How important is an understanding of story and the mechanics of story?
Kauai>It matters, but I try not to live inside the rules. I’m more instinct-based. If I think too much about story structure, it can make things feel stiff. So I keep the basics in the back of my mind, but I’m always chasing what feels alive in the cut, not what’s textbook correct.
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?
Kauai>Rhythm is everything. Even in spots with no music, the pacing has to feel like it breathes. I love cutting to music, especially weird or experimental stuff. Tracks with odd textures or unpredictable changes give me ideas — sometimes I use them just to find rhythm, even if they won’t end up in the final. It’s like scaffolding. If a scene cuts well with a weird track under it, chances are the rhythm is working.
LBB>Tell us about a recent editing project that involved some interesting creative challenges.
Kauai>I cut a Converse piece where they gave me a big drive with a ton of their old spots and asked me to make something cohesive out of it. The challenge was figuring out how to make all these separate campaigns feel like one unified piece. That meant finding moments across completely different edits that could speak to each other. I spent a lot of time looking for connections — images that could match visually, or sounds that could bridge the gaps. The goal was to make it feel like one seamless campaign, not a montage of past work. That was definitely the creative puzzle, and finding the right glue between all those different spots was the fun part.
LBB>In the US we know that editors are much more heavily involved across the post production process than in Europe - what’s your favourite part of that side of the job?
Kauai>I love when there’s space to bring something personal to the table. Sometimes you’re handed a tight storyboard and it feels like you’re just plugging in pieces. But the projects I enjoy most are the ones that leave room to bring my own perspective, take some creative detours, and build something collaboratively. I really value working with filmmakers and brands who are genuinely invested in the process and open to exploring. When everyone on the project is excited and curious, that energy makes its way into the cut. That kind of creative exchange — where you're building off each other rather than just executing — that’s what makes the work special.
LBB>What’s harder to cut around – too much material or not enough? (And why?)
Kauai>Not enough is way harder. I’d rather dig through a mess of footage than try to polish something where nothing was shot. With more material, there’s more to discover — little moments, patterns, match cuts. It’s like having a big box of Legos versus just three pieces.
LBB>Which commercial projects are you proudest of and why?
Kauai>One that really stands out is the UGG spot I edited with Andre Leon Talley. It was technically a sit-down interview, but the final piece is made entirely from the in-between moments — him refusing to answer questions, interrupting, reacting. Andre had such a big personality, and we knew from the pre-interview that he wasn’t going to play it straight. So on the day, we just let the camera roll. That was the key. The final spot is all unscripted. It’s built from the pieces between the questions, and it shows way more of who he really was. When we sent it to him and he said he loved it — that meant everything.
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?
Kauai>Yes. Everything’s shorter now. It used to be more common to do 2–3 minute branded films. Now it’s 6 seconds, 15 seconds, maybe 30. It’s all about cramming a feeling into a tiny space. The challenge is still fun, but I do miss the longer cuts where you could let things breathe a little.
LBB>Who are your editing heroes and why? What films or spots epitomise good editing for you?
Kauai>Andrew Theodore Balasia is someone I always think about. He works with found footage and archival material in a way that always feels emotional and cohesive. Even his Instagram edits — he’ll pull clips from all over the internet, and somehow it all makes sense. His stuff always feels strangely intentional, like he’s pulling order out of visual noise. It’s chaotic but grounded. He’s done music videos that are basically made from submitted footage and archival stuff, and they feel like a masterclass in rhythm and match cutting.
Another big influence is Yorgos Mavropsaridis, who edits all of Yorgos Lanthimos’ films. What I love about his work is that he doesn’t cut unless he has to. He lets a moment sit. It’s super restrained, which makes everything feel heavier and more meaningful. His edits feel like they trust the viewer to lean in, and that kind of restraint is really powerful.
LBB>How does editing in the commercial world differ from the film world and TV world?
Kauai>With film or TV, you’re thinking long-term — character arcs, emotional pacing over hours. With commercials, you’re doing it all in seconds. There’s no room to build slowly. You have to make people feel something fast. I’ve done some episodic and web series stuff, and the mindset is totally different. In long form, you need a wide lens. In commercial, you zoom in hard.
LBB>Have you noticed any trends or changes in commercial editing over recent years
Kauai>Definitely. Everything’s faster, cuttier, and more intense. I’m seeing tons of crazy rigs, wild transitions, visual tricks. People are pushing the tech side hard, and there’s some cool stuff coming out of that. But it does feel like holding on a quiet moment is getting rarer. The trend is: faster, flashier, weirder angles. It’s fun, but sometimes I miss the slower stuff too. I wouldn’t be surprised if the pendulum swings back in a couple years — so when something slower or more restrained comes along, it actually feels refreshing.
