Molecularex

help@molecularex.com
Molecularex logo

Meet the Minds Behind Molecularex

We're a small group of specialists who've spent years working on projects that demanded precision. Each person here brings something different to the table, and together we've built a workflow that actually makes sense.

There's no pretense here. Just people who care about the work and understand that good storytelling takes patience, technical skill, and a willingness to rethink an approach when something isn't quite right.

Vienna-based • Operating since 2019

The People Doing the Work

We don't have a large team. What we have are specialists who've been working together long enough to understand each other's strengths and quirks.

Henrik Lindqvist, Senior Editor at Molecularex

Henrik Lindqvist

Senior Editor

Henrik started cutting film reels in Stockholm before moving to digital workflows. He's the one who catches rhythm issues nobody else notices and has an uncanny ability to find the exact frame where a scene should breathe. His background in sound design means he approaches editing with ears as much as eyes.

Matteo Bianchi, Technical Director at Molecularex

Matteo Bianchi

Technical Director

Matteo handles the technical architecture that keeps our projects running smoothly. He came from broadcast engineering and brought an obsession with color accuracy and file integrity. When something breaks at 2am, he's the one figuring out why—and usually it's something obscure that saves us hours later.

Professional editing suite with multiple monitors displaying timeline sequences and color grading tools

How We Actually Work Together

Most projects start with a conversation about what isn't working. Maybe it's pacing, maybe it's structure. We've learned that fixing problems early saves time later, so we tend to ask uncomfortable questions upfront.

Our workspace in Vienna's 14th district isn't fancy, but it's set up exactly how we need it. Dual monitors everywhere, proper acoustics, and enough desk space to spread out notes and reference material. We keep regular hours because burnout makes terrible creative decisions.

Communication happens in short check-ins rather than long meetings. If someone needs focus time, they get it. When we review work, feedback is specific—not "make it better" but "this transition at 2:34 needs three more frames."

Close-up view of editing interface showing precise frame-by-frame adjustments and detailed waveform analysis

What Guides Our Approach

  • We treat every project like it matters, because to someone it really does. That sounds obvious, but it changes how you make decisions when you're three hours into fine-tuning transitions.
  • Technical precision isn't about being perfect—it's about consistency. When color grading matches across scenes or audio levels don't jump, viewers don't notice. That's the point.
  • Good editing serves the story, not the editor. If a clever technique draws attention to itself, it's probably wrong for that moment.
  • We've stopped chasing trends. Techniques come and go, but understanding narrative structure and visual language stays relevant.
  • Honest feedback internally means better results externally. We'd rather catch issues ourselves than have clients point them out.