In the kinetic, high-stakes ecosystem of New York City’s film and television industry, the margin for error is microscopic. On a set where every second costs thousands of dollars, the Camera Department serves as the technical heartbeat of the production. While directors dream up the vision and cinematographers light the canvas, it is the First Assistant Camera (1st AC) who ensures that the image is actually captured with razor-sharp clarity. It is a role that demands a rare fusion of technical mastery, physical endurance, and psychological steel.
Enter Eway Mak.
With a resume that already boasts heavy-hitting clients like Shakira, Ralph Lauren, Nike, Rolex, and Supreme, Mak has bypassed the traditional industry hierarchy, moving directly into critical camera roles without the typical years spent climbing the ladder as a Production Assistant.
Eway Mak is an anomaly in the modern film world: a filmmaker who arrived in New York with aspirations of directing, only to fall in love with the high-pressure precision of focus pulling. He is one of the few young professionals whose primary career goal is not to transition into the role of Director of Photography, but to master the craft of the career 1st AC,the “invisible hand” that guides the audience’s eye.
We sat down with Eway at a studio in Brooklyn to discuss his rapid ascent, his work on global campaigns, and why he chose the technical rigor of the camera department over the director’s chair.
1. New York Art Life: Eway, thank you for joining us. Looking at your trajectory, you moved from Shanghai to New York to attend the School of Visual Arts. Can you tell us about that transition and what originally brought you to the world of cinema?
Eway Mak: Thank you for having me. My journey really began in Shanghai, where I was involved in the student film circuit, specifically the Shanghai Student Film Festival. I had some early success there, winning awards for thrillers and 8-hour film challenges back in 2018 and 2019 , which gave me the confidence to pursue this seriously.
I came to New York with a very specific idea of what I wanted to be. Like many students, I entered SVA thinking I would focus entirely on Editing and Directing. I had a background in post-production software like AVID and Premiere Pro, and I thought that was my path. But New York has a way of reshaping your expectations. Once I got on actual sets, the energy of the camera department pulled me in. It wasn’t just about telling the story; it was about the tangible, mechanical process of capturing it. The transition from Shanghai to NYC was intense, but it was the perfect environment to discover where my true skills lay.
2. NYAL: You mentioned starting with editing and directing, but you quickly pivoted to the Camera Department. That is a significant shift in mindset. What was the catalyst for that change?
Eway Mak: It was the discovery of “ACing”, Assistant Camera work. When you are directing, you are dealing with the abstract: performance, tone, and pacing. When you are editing, you are rewriting the film after the fact. But when you are a 1st AC, you are living entirely in the present moment.
I realized I enjoyed the technical responsibility. There is an adrenaline rush in focus pulling that is hard to explain to people outside the industry. You are responsible for the technical integrity of the shot. If the focus is soft, the shot is unusable, no matter how good the acting was. I found that I thrived under that specific kind of pressure. I realized that while I knew how to edit, which is actually incredibly helpful for an AC because I know exactly what the editor needs, my place was next to the lens, managing the gear and ensuring the cinematographer’s vision is technically viable.
3. NYAL: You have stated that you are one of the very few people whose goal is to be a “career 1st AC,” rather than using the role as a stepping stone to becoming a Director of Photography. Why is that distinction important to you?
Eway Mak: In this industry, the Camera Department is often viewed as a ladder. You start as a PA, move to 2nd AC, then to 1st AC, and eventually operate or become a DP. Because of that, many 1st ACs are constantly looking at the next rung. They are DPs in waiting.
I view the 1st AC role as a destination in itself, a specialized craft that requires total dedication. The best focus pullers in the world, the ones working on massive blockbusters or intricate indie films, are career ACs. They understand the nuance of lens breathing, the physics of distance, and the rhythm of an actor’s movement in a way that someone just passing through the role might not. By committing to being a career 1st AC, I can offer cinematographers a level of reliability and expertise that says, “I am not here to take your job; I am here to make sure your work looks perfect.”
4. NYAL: You graduated in May 2025, and here we are in February 2026. In less than a year, you have accrued credits that usually take years to build. You’ve mentioned you never had to climb the “hierarchy ladder” of being a PA. To what do you attribute this rapid acceleration?
Eway Mak: I have to be honest and say that I got extremely lucky. The timing of my entry into the professional world coincided with a massive demand for content in New York, but luck is only part of it. You have to be ready when the luck arrives.
Because I had spent my time at SVA immersing myself in the gear—working as a Film Equipment Prep Technician and an Editing Lab Assistant, I already knew the equipment inside and out before I graduated. I own my own kit, including SmallHD monitors and Teradek transmission systems, which signals to productions that I am serious. When I got my first few opportunities, I didn’t make mistakes. That’s the key. If you skip the PA phase, you don’t have the luxury of learning on the job. You have to perform immediately. I was able to work on all the projects in my CV in just seven months because one job led to another through word-of-mouth recommendations.
5. NYAL: Let’s talk about the gear. You are proficient with a massive range of systems, including ARRI, Sony, RED, Panasonic, and even 16mm and 35mm film. How does having expertise in both digital and celluloid affect your work?
Eway Mak: Digital and film require different disciplines. With cameras like the ARRI Alexa 35 or the Sony Venice, you have immediate feedback. We have our Teradek Bolt 6 sending video to my SmallHD Cine 13 monitor, and I can see exactly what is happening. It enables a workflow where you can push boundaries because you can instantly review the footage.
However, my expertise in 16mm and 35mm film is what I think sharpens my skills the most. With film, there is no playback. You cannot check the focus on a monitor after the take. You have to trust your tape measure and your eye. That anxiety keeps you sharp. Working on film productions forces you to be disciplined, and I bring that same discipline to digital sets. Even when I’m shooting on a RED or Blackmagic, I treat the focus pull with the same reverence as if we were burning expensive film stock.
6. NYAL: Your portfolio includes some massive musical acts. You were the 1st AC for the Shakira x Spotify Anniversary project. Working with an international icon like Shakira brings a unique set of pressures. What was that experience like?
Eway Mak: That was certainly a career highlight. The Shakira x Spotify project was celebrating the anniversary of her classic albums, so there was a lot of nostalgia and expectation attached to it. The press coverage for that was extensive; Billboard, Rolling Stone, everyone was watching.
On a shoot like that, efficiency is everything. High-profile talent has very limited time. As the 1st AC, I cannot be the reason we are waiting. My camera build has to be perfect, the wireless channels have to be clear, and the lenses have to be ready to swap instantly. It was a high-energy environment, and seeing the final result—and how well it was received by her fans globally- was incredibly validating. It proved to me that I could handle the pressure of A-list celebrity productions.
7. NYAL: You also worked on the “Somebody Loves Me” treatment for PartyNextDoor x Drake. Music videos often have a very different visual language compared to narrative work. How did you approach that project?
Eway Mak: The Drake and PartyNextDoor project was unique because of the sheer scale of the release; they dropped multiple videos, and the “Somebody Loves Me” treatment required a very specific, moody aesthetic. Music videos are often about style and vibe. The camera movement is more aggressive, and the lighting is often lower and more dynamic.
For a focus puller, low light is the enemy because it means a shallow depth of field. If the lens is wide open at T1.3 or T2, the plane of focus is razor-thin. If the artist leans forward two inches, they are out of focus. On that set, I had to be locked in with the operator. We had to move as one unit. It’s a dance. The press surrounding that release was crazy, especially with the crowdsourced elements, but being on the ground floor of creating that visual language was an amazing experience.
8. NYAL: Moving to the commercial side, you’ve worked with major brands like Ralph Lauren, Rolex, and Nike. How does the dynamic change when you are shooting for a luxury brand versus a music video?
Eway Mak: Commercials are all about precision and brand identity. For the Ralph Lauren “Designed in NY” shoot or the Rolex x Hodinkee project, the product is the star. The focus hasn’t just got to be sharp; it has to be “cosmetic.”
In a music video, a little bit of rawness is acceptable, sometimes even preferred. In a commercial for Nike or Hugo Boss, everything must be pristine. The client is right there at the monitor village, watching every pixel. If the logo on the watch or the texture of the fabric isn’t popping, we do it again. Commercial sets are often slower-paced but higher stress because the attention to detail is obsessive. I actually enjoy that environment because it allows me to really utilize my tools, like my lens control unit and cine monitors, to ensure perfection.
9. NYAL: You have also dipped your toes into television, working on The Kelly Clarkson Show and The Daily Show. How does the workflow of television differ from your commercial and film work?
Eway Mak: Television is a machine. It’s about volume and speed. On The Kelly Clarkson Show with Ben Barnes or The Daily Show, you are fitting into a pre-existing infrastructure. In narrative film, you are building the world from scratch. In TV, the world exists, and you have to step in and keep the conveyor belt moving.
It requires a different kind of focus. You aren’t usually doing twenty takes to get it right. You often have one or two chances to capture the moment live. It teaches you to be adaptable. You have to communicate clearly with the rest of the crew because everything is happening in real-time. It’s a great training ground for communication skills.
10. NYAL: Despite your success in commercials and music videos, you have maintained a strong presence in narrative filmmaking, including the feature film Juice Cleanse and numerous shorts like Struffoli in the City. Why is it important for you to keep doing narrative work?
Eway Mak: Narrative work is the soul of filmmaking. While commercials pay the bills and offer great technical toys, narrative films like Juice Cleanse or The Gherkin Day are where you get to help tell a story.
As a 1st AC on a narrative feature, you are on a marathon with the characters. You learn their movements. You start to predict what an actor will do before they do it. There is an emotional connection to the focus pulling in narrative work. You are deciding what the audience pays attention to, shifting focus from one character to another, which changes the meaning of the scene. That creative contribution is why I fell in love with cinema in the first place.
11. NYAL: You possess 5+ years of video editing expertise. How does your background in post-production influence your decisions on set as a member of the camera team?
Eway Mak: It is a massive advantage. Many people in the camera department don’t know what happens to the footage after the card is dumped. Because I know AVID, Premiere, and DaVinci Resolve, I understand the workflow. Most importantly, I understand coverage. If we are running behind schedule, I can look at a setup and think, “The editor isn’t going to use the tail end of this shot, so we don’t need to stress about the focus there.” It allows me to problem-solve in a way that protects the post-production pipeline. I’m not just thinking about the image on the monitor; I’m thinking about the timeline in the edit suite.
12. NYAL: Eway, you are still very early in your career, yet you have established a foothold in one of the toughest markets in the world. As we look at the rest of 2026, what are your goals, and what advice would you give to film students graduating this year who want to follow a similar path?
Eway Mak: My goal for 2026 is to continue cementing my reputation as a reliable, career-first AC. I want to work on longer-form narrative projects and continue building relationships with DPs who trust me implicitly. I want to keep working with top-tier brands—I’m proud of the work with Supreme and Whiteclaw, and I want to expand that portfolio.
For students graduating this year, my advice is: don’t wait for permission. Learn the gear. If you want to be in the camera department, you need to know the camera better than anyone else in the room. And don’t be afraid to aim for the specific role you want. You don’t always have to climb the ladder one rung at a time if you are willing to put in the work to prove you belong on the higher rungs. It’s about competence, attitude, and being technically undeniable from day one. If you can show a Director of Photography that you can handle the pressure of a Shakira shoot or a Nike commercial without blinking, they won’t care how old you are or how long you were a PA. They just care that the shot is sharp and the camera is ready.
The industry moves incredibly fast. If you are slow, you are left behind. But if you are precise, you are hired. I am grateful for the trust people have put in me, and I plan to honor that by keeping everything in focus—literally and figuratively.
13. NYAL: New York City is often described as a character in itself, but for a film professional, it is also a rigorous testing ground. How critical has being based in New York been to your rapid success, and how does the city’s unique energy influence the way you work behind the camera?
Eway Mak: New York is the ultimate accelerator. There is no other city that demands this level of adaptability. If you can handle the logistics of a shoot here—dealing with the shifting natural light in the canyons of Manhattan, the guerilla-style setups in the subway for a music video like the one for Busta Rhymes, or the tight, pre-war apartment spaces for a narrative short—you can work anywhere in the world.
The variety here is unmatched, and that is vital for a 1st AC. One day I might be on a highly controlled studio set for Rolex, where everything is clinically precise, and the next day I’m on the street for Supreme or Whiteclaw, fighting the elements and moving fast. That unpredictability sharpens your technical instincts. You cannot be precious about the conditions; you have to be efficient and protect the gear no matter what.
Beyond the technical side, the network here is incredibly dense. New York is a meritocracy. The proximity of talent—directors, DPs, and producers all working within the same few boroughs—means that word travels fast. If you execute a perfect focus pull on a difficult shot on Tuesday, you are often getting hired for Thursday by someone who saw you work or heard about it. Being in this city puts you in the room with the industry’s best creatives, and that proximity is essential. It pushes you to be better every single day because the standard here is simply higher.
Links:
Drake x PartyNextDoor: “Somebody Loves Me” https://www.rollingstone.com/music/music-news/drake-somebody-loves-me-music-video-kai-cenat-partynextdoor-1235416611/
Shakira x Spotify Anniversary Campaign https://newsroom.spotify.com/2025-10-22/shakira-albums-anniversary-spotify-ep-video/
Ghostface Killah: “Kingpin” Visuals https://www.thehypemagazine.com/2025/09/04/ghostface-killah-drops-rap-kingpin-visual-ahead-of-supreme-clientele-2-release/
