When we talk about the magic of cinema or the glossy allure of high-end commercials, the conversation usually revolves around the Director or the Director of Photography. We talk about vision, lighting, and composition. But there is a technical backbone to every single frame captured on set, a role that requires a blend of surgical precision and calm temperament. This is the domain of the Camera Department, specifically the First Assistant Camera (1st AC).
It is a role where mistakes are not an option. If the shot is soft, the take is ruined. In the bustling production landscape of New York, a new generation of technicians is stepping up to these demands. Among them is Eway Mak, a camera expert who has carved out a surprisingly dense portfolio in less than a year since graduating.
Mak represents a shift in how young film professionals approach the industry. While many enter the field chasing the director’s chair or the cinematographer’s light meter, Mak has found his calling in the technical mastery of focus pulling and camera management.
The Role of the Focus Puller
For those outside the industry, the job of a 1st AC might seem mysterious. They are the ones standing next to the camera, hand on a wireless focus unit, eyes glued to a monitor. Their primary responsibility is keeping the subject in sharp focus while the camera or the talent moves. In the era of large-sensor digital cinema cameras like the ARRI Alexa or the Sony Venice, depth of field can be razor-thin. A movement of an inch can throw an actor out of focus.
But the job goes beyond just turning a wheel. The 1st AC manages the camera builds, swaps lenses, oversees the camera crew, and ensures the equipment functions flawlessly under pressure.
Eway Mak, who is currently based in New York, has embraced this high-pressure environment. A 2025 graduate of the School of Visual Arts (SVA) with a BFA in Film, Eway Mak’s journey into the camera department was not the original plan.
“I came to NY thinking of focusing on Editing and Directing,” Eway Mak explains. “But I quickly switched when I discovered ACing. I am one of the very few people whose goal is to be a career 1st AC.”
This distinction is important. In a city where people use the role of AC as a stepping stone, a technician who treats focus pulling as a craft is a valuable asset to any Director of Photography.
A Rapid Ascent in New York
The traditional path in the film industry usually involves a slow climb up a rigid ladder. One starts as a Production Assistant, eventually moves to Camera PA, then 2nd AC, and perhaps years later, steps up to pulling focus.
Mak’s trajectory has been different. Since graduating in May of 2025, he has bypassed much of the traditional hierarchy, moving directly into 1st AC roles on significant productions. He admits that fortune played a role in his timeline.
“I got extremely lucky to get to where I am right now, considering the amount of time I’ve ACed and my age,” Eway Mak says. “I never had to climb the hierarchy ladder of being a PA tothe camera team.”
However, luck in the film industry rarely lasts without the skill to back it up. In just seven months of professional work post-graduation, Eway Mak has accumulated a list of credits that rivals that of technicians with years of experience.
Technical Fluency and Gear
In 2026, a camera expert must be bilingual. They must speak the language of modern digital sensors and the mechanical language of celluloid film. Eway Mak has positioned himself as an asset in both arenas.
His expertise spans the industry-standard digital systems, including ARRI, Sony, RED, Panasonic, Blackmagic, and Canon. However, he also possesses film expertise in 16mm and 35mm formats. As productions increasingly return to analog film for music videos and high fashion spots to achieve a nostalgic aesthetic, having an AC who knows how to load a magazine and check the gate is vital.
Furthermore, Eway Mak has invested in his own toolkit, a sign of serious commitment to the trade. His gear list includes a SmallHD Cine13 monitor and two SmallHD Cine 7 monitors, ensuring he can see the image with critical clarity. He utilizes a Teradek Bolt 6lt 750 kit for wireless video and a Tilta Nucleus M system for wireless lens control.
This combination of owned equipment and operational knowledge allows him to step onto a set and immediately troubleshoot, whether the production is shooting a fast-paced music video or a narrative feature.
A Portfolio of Major Brands and Artists
The true test of a camera assistant is the caliber of work they are trusted with. A look at Eway Mak’s production credits from late 2025 and early 2026 shows a diverse range of high-profile projects.
In the world of Music Videos, Mak has served as 1st AC for top-tier talent. He worked on the Shakira x Spotify Anniversary project, a significant press event celebrating the Colombian superstar’s career. He was also involved in the Drake x PartyNextDoor “Somebody Loves Me” treatment and projects for rap legends like Busta Rhymes and Ghostface Killah.
These are environments where time is money and the energy is frantic. The ability to nail focus on a moving performer in a dimly lit club setting or a stylized studio shoot is what separates novices from professionals.
In the commercial sector, Eway Mak has secured credits with major global brands. His resume lists 1st AC work for Ralph Lauren’s “Designed in NY” campaign, a collaboration between ROLEX and Hodinkee, and spots for Nike, Supreme, and Whiteclaw. He also worked on a Hugo Boss campaign titled “Evil Twin,” which remains unreleased.
The breadth of this work highlights a versatility in style. A Ralph Lauren shoot requires a polished, elegant approach to camera work, while a Supreme or Nike spot often demands a grittier, more kinetic energy.
Narrative and Long Form Work
While commercials and music videos pay the bills and offer flash, narrative filmmaking provides the soul of the industry. It requires endurance. A 1st AC on a film set must maintain focus and discipline for twelve hours a day, often for weeks at a time.
Mak has already dipped his toes into the world of feature-length film with “Juice Cleanse,” directed by Shoshana Ehrenkranz, where he served as 1st AC. He has also worked on several narrative short films, including “Struffoli in the City” by Marvin Zana and “The Gherkin Day” by Henry Patterson.
These projects suggest that Mak is not just chasing the quick turnover of commercial work but is also invested in storytelling. The discipline learned during his editing days has made Eway Mak proficient in AVID, Premiere Pro, and Da Vinci Resolve, which likely informs his work on set. He understands that every frame he keeps in focus is a frame the editor can use later.
Looking Forward
As we move further into 2026, the demand for skilled camera departments in New York shows no sign of slowing down. Productions are becoming more complex, mixing digital formats with archival film stock, drone footage, and action cameras like GoPro and Insta 360, all formats Mak is familiar with.
For Eway Mak, the goal remains clear: to establish himself as a career 1st AC. It is a humble ambition in an industry full of egos, but it is an ambitious one. It requires a lifetime of learning as technology evolves.
From the halls of the Shanghai Community International School to the studios of the School of Visual Arts, and now to the sets of Shakira and Rolex, Mak has traveled a long way in a short time. He stands as a prime example of the new energy fueling the New York production scene, young, technically literate, and ready to keep the world in focus.