NEW YORK CITY — Nomad (www.nomadedit.com), the creative editorial company with integrated VFX, design and color, has added editor Zoë Mountain to its team. The studio has locations in New York, Los Angeles, Austin, London and Tokyo.
Mountain’s music video work includes Gryffin and Tinashe’s Scandalous, as well as The Kid Laroi’s Love Again. She also cut Demi Lovato’s MTV VMA-nominated Swine video, which has garnered more than a million YouTube views to date.
Beyond her music video work, Mountain also contributed to notable commercial and editorial projects, ranging from Glamour Magazine’s “Woman of the Year” shoot, featuring poet Amanda Gorman, to campaigns for the likes of Calirosa Tequila.
“From the moment I met her, there was something undeniably infectious about Zoë, and knew I wanted her to be part of the team,” says senior EP, Alaina Zanotti. “There’s something so electric and compelling in her work, and I look forward to being a part of her flourishing career.”
Mounatin is self-taught in editing and shooting, with an interest in documentary film. She honed her craft over the years by steadily taking on any project, which allowed her to develop her own signature style. Before signing with Nomad, she built a successful freelance career and developed close industry relationships. This included mentor Chaz Smedley of Eddy Street Post, who she met in 2021, and helped kick start her work on higher-profile projects.
“Freelancing forced me to be mindful of the balance between my hustle and my purpose,” says Mountain. “Starting with no experience and no connections, I leaned on my community to get my first opportunities. The first half of those eight years were spent working with other dancers, artists, queer folks, friends and family.”
More than ever, Mountain recognizes the overlap between commercial projects and music videos.
“With each of these categories of video, you get a different brand of problem solving to deal with,” she explains, “so I really enjoy having a little bit of everything on my plate. The most noticeable difference is often in the bigger scheme of the production, and how the whole machine is functioning. I like having access to all these different worlds and the people that keep them running.”