The Nomad NY editor explains why watching Sabrina Carpenter on set transformed her approach to editing - and reveals which video looks like the inside of her brain.

Name: Ally Gondeck

Birthday: June 10. Gemini Szn.

Where did you grow up? Jacksonville, Florida (go Jags!)

Place of further education and course? Savannah College of Art and Design BFA in Film and Television

Where do you live now? New York City

Name a film, video, or other creative work that had a huge influence on your career choice?

Michael and Janet Jackson's Scream. I didn’t understand the cultural magnitude of this video at 10 years old, but I was obsessed. YouTube had just launched, and this was when I fell in love with music videos. The production design, VFX, high-contrast black and white…everything scratched my brain in a way I didn’t yet have language for. It felt larger than life.

I didn’t understand the cultural magnitude of this video at 10 years old, but I was obsessed.

What projects really stand out to you as big learning moments or turning points in getting a foothold in the industry?

One of my most memorable learning experiences was on the set of Sabrina Carpenter’s Feather, directed by Mia Barnes. I usually work from Nomad’s NY or LA offices, so I’m rarely working on set. But watching an artist on the verge of a major breakout perform in real time, instead of behind a camera, completely shifted how I think about shaping an edit.

Connecting with an artist personally is a game-changer. You can see the world they’re creating in front of you. I like to edit with an eye to how each cut contributes to an artist’s cinematic universe and to what is happening in pop culture, not just what feels rhythmically good.

Connecting with an artist personally is a game-changer. You can see the world they’re creating in front of you.

Favourite song/album/music artist in the past year? Tate Mcrae!!! All of it. I can’t get enough of her.

Favourite music video/videos in the past year? I loved Doechii’s releases this year. Denial Is A River was so so good. Anxiety as well. Honorable mention: Zara Larsson’s Midnight Sun video…aesthetically, that video was a direct window into what the inside of my brain looks like.

What was (or usually is) your favourite night out last year? Any night that begins with full glam in a bathroom mirror, blasting a really good “Getting Ready” playlist.

What are your favourite other (non-mv) projects of the past year or so? What’s the most surprising thing that’s happened last year?

I recently cut a spot starring Cynthia Erivo for Vogue World Hollywood and eBay. The piece followed Cynthia through three film styles, highlighting three fashion looks. It was a faux one-take, so timing and camera movement had to feel seamless across very different scenes within a strict runtime. We relied heavily on boardomatics in prep to make sure everything landed on set.

I also cut a spot for Adidas and Dick’s Sporting Goods directed by Pham, starring basketball star Anthony Edwards. I expected a lengthy revision process, but the first cut largely carried through to the final version. Working with a large creative team and multiple major clients on a project of that scale, and having it come together so smoothly, was incredibly rewarding.

In terms of the music video-related jobs of the past year or so, what were the most rewarding creatively, and why?

I love working on videos that define a new era and visual language for an artist. [Last autumn] I worked on 5 Seconds of Summer’s comeback single NOT OK, directed by Hannah Lux Davis. Working with her was so energizing. She has a deep understanding of editorial language, which lets us move past surface-level notes and focus on intention, shape, and creativity.

One of our biggest challenges was completely restructuring the narrative just a couple of days before delivery. After seeing an edit shaped a certain way for so long, it’s really challenging to step out of that mindset and make story changes that make sense, [but] this new structure ended up making the video way stronger.

I loved working with the band too. They approached notes with musical sensibilities rather than just visual ones, which always elevates the edit.

Another one was the official remake of Fergie’s London Bridge music video with Meg Stalter for Lena Dunham’s [Netflix series] Too Much, directed by Mia Barnes. Re-cutting something that culturally significant was insane. I grew up watching the original video, so being trusted to reinterpret it wasn’t something I took lightly. I knew going into it that my priority was to honor Mia’s directorial vision, the energy of the original, AND also be able to shape it through Lena’s iconic storytelling style.

Your top suggestion to change and improve how the music video industry works? What are you looking forward to for the coming year?

Editors who cut music videos are cutting purely out of passion for creativity or love for pop culture. It’s a lot of late late nights, and if done too often, can lead to creative burnout pretty quickly.

I want to see longer, less intense turnaround times so artists can create something meaningful rather than something rushed. The more time given to the early days of a first cut, the stronger the final product. Stepping away helps prevent creative blocks, which is crucial to making good work.

• Ally Gondeck is an editor at Nomad Edit in New York. Watch more of her work here