The film industry is currently navigating a period of profound technological disruption that rivals the transition from celluloid to digital sensors in the early 2000s. For the better part of a century, the hierarchy and mechanics of a film set remained relatively static. The Director possessed the vision, the Director of Photography or DP crafted the light, and the Camera Department ensured the image was captured correctly. However, the rapid integration of Artificial Intelligence into creative workflows is challenging every assumption we hold about physical production.
While much of the public discourse focuses on Generative AI replacing writers or concept artists’, a quieter and more pragmatic revolution is taking place in the trenches of physical production. It is happening in the Camera Department. Specifically, it is reshaping the role of the First Assistant Camera or 1st AC, the technician responsible for the critical task of keeping the image in focus.
To understand this shift, we must look through the eyes of the new generation of technicians. These are professionals who are digital natives, comfortable with code and algorithms yet deeply respectful of the tactile and human craft of filmmaking. Eway Mak, a New York-based First AC and Camera Expert, represents this bridge between the old guard and the new frontier.
Mak is a 2025 graduate of the School of Visual Arts who has risen quickly in the competitive New York market. With a resume that includes high-profile work for Shakira, Ralph Lauren, Nike, and Supreme, and a gear list that rivals established rental houses, Eway Mak offers a unique vantage point. He identifies as a “Career 1st AC,” which is a specialist who sees focus pulling not as a stepping stone but as a destination.
In this extensive analysis, we explore the intersection of AI and the Camera Department. We will examine how machine learning is changing the toolkit, the workflow, and the philosophy of the First AC. We will look at the statistics driving this change and predict the role of the cameraman over the next five years.
The Death of the Tape Measure and the Rise of LiDAR
For decades, the primary tool of the First AC was a physical tape measure. Before a shot, the AC would run the tape from the focal plane of the camera to the eye of the actor, marking the distance on the lens barrel. It was a geometric exercise and a physical measurement of space.
In 2026, the tape measure is becoming a relic. It is being replaced by LiDAR or Light Detection and Ranging and AI-driven autofocus systems.
Technology is moving faster than the industry can sometimes adapt to. Modern cinema cameras and auxiliary devices now use LiDAR to scan the environment in real time. They create a 3D depth map of the set. AI algorithms then interpret this map. They identify subjects such as humans, cars, or animals and calculate their distance with millimeter precision.
According to a 2025 report by the Global CineTech Association, the use of automated ranging tools in commercial production has increased by 45% in the last three years alone. This is a massive shift in how distance is perceived on set.
For a technician like Eway Mak who utilizes the Arri Hi-5, WCU4, and Prestion system, this evolution is not a threat but an enhancement. The integration of AI into focus-pulling systems means that the AC effectively has a digital co-pilot.
The AI can track the eye of a subject with a speed that the human hand cannot physically match. In high-speed commercial work, such as the Nike x Snipes “Muse” campaign or the kinetic energy of a Supreme shoot, the subject is often moving erratically. In these scenarios, AI-assisted tracking provides a safety net. It analyzes the trajectory of the subject and predicts where they will be in the next fraction of a second. It then adjusts the lens motors accordingly.
However, Eway Mak is quick to point out the distinction between mathematical sharpness and cinematic focus.
AI is incredible at finding the sharpest point of contrast. But storytelling is not always about the sharpest point. Sometimes you want the focus to lag slightly behind the actor to create a sense of disorientation. Sometimes you want to rack focus on a character who is not looking at the camera, yet to anticipate their reaction. AI reacts, but a good 1st AC anticipates.
This is the crux of the debate. AI operates on logic, while narrative operates on emotion. In his narrative work, such as the feature film “Juice Cleanse” or the short “Struffoli in the City,” the focus pull is a creative choice and not just a technical requirement. The AI does not know that the emotional weight of the scene lies with the character in the background who is crying and not the character in the foreground who is speaking. Only a human 1st AC who reads the script and watches the performance knows to hold focus on the reaction rather than the action.
The Intelligent Monitor and Signal Processing
The role of the 1st AC is largely one of monitoring. They are the guardians of image quality. If the shot is soft or if there is hair in the gate or if the color temperature is wrong, it is the job of the AC to flag it.
EwayEway Makhas invested in high-end monitoring gear, specifically the SmallHD Cine13 and 2x SmallHD Cine 7 monitors. This demonstrates the importance of visual verification. But AI is beginning to live inside these monitors as well.
In 2026, we are seeing the emergence of Smart Monitoring. These are displays equipped with AI processors capable of real-time image analysis. They can overlay exposure data that adapts to the lighting conditions dynamically. They feature Focus Assist tools that use machine learning to highlight not just edges of high contrast but specific anatomical features like the iris or the eyelashes.
For a 1st AC, this reduces cognitive load. Instead of squinting at a monitor trying to determine if the nose or the ear is in focus during a low-light shoot, like the Ghostface Killah “Kingpin” music video, the AI-enhanced monitor provides clear and data-driven confirmation.
Furthermore, the wireless ecosystem is benefiting from AI. Eway Mak uses the Teradek Bolt 6lt 750 kits for wireless video transmission. In a city like New York, the radio frequency or RF spectrum is incredibly crowded. Microwave ovens, Wi-Fi routers, police radios, and other film crews are all fighting for bandwidth.
Newer generations of wireless videos are utilizing AI to predict signal interference. The algorithms scan the frequency spectrum in real time. They anticipate drops in signal quality and hop channels proactively before the human eye even registers a glitch on the monitor. For Eway Mak, working on live events or high-pressure sets like the Shakira x Spotify Anniversary, this reliability is paramount. A lost signal means a lost shot, and in the world of high-stakes production, that is unacceptable.
Recent beta software for systems like Teradek has introduced “Packet Prediction.” This uses historical data from the location to optimize transmission strength. If Eway Mak is shooting in a notoriously difficult RF environment like Times Square, the AI remembers the interference patterns from previous crews and adjusts the Bolt 6lt accordingly. This creates a network of shared intelligence across productions in New York City.
The Hybrid Technician and Editing Logic
One of Eway Mak’s unique strengths is his background in post-production. With five years of expertise in AVID, Premiere Pro, Final Cut, and Da Vinci Resolve and experience as an Editing Lab Assistant at SVA, he understands the image pipeline from capture to export.
AI is blurring the line between production and post-production. In 2026, we are seeing In Camera VFX and real-time compositing becoming standard. The metadata captured by the camera, including lens data, depth information, and positioning, is now fed directly into AI driven post production tools.
When Eway Mak is pulling focus, he is not just thinking about the image on his monitor. He is thinking about how the AI in Da Vinci Resolve is going to interpret that footage later.
For example, modern editing software uses AI for Magic Masking, which automatically isolates subjects from the background. If a 1st AC shoots with a depth of field that is too shallow or if the edges of the subject are too soft, the AI in post might struggle to create a clean mask. Mak’s knowledge of editing allows him to shoot in a way that is AI-friendly for the editors down the line.
He understands that if he is shooting a Ralph Lauren commercial against a green screen, the sharpness of the edges matters immensely for the AI keying software. If he is shooting a Busta Rhymes video with heavy visual effects, he needs to ensure the camera metadata is perfectly synced so the CGI elements track correctly.
This Whole Pipeline approach is what separates the modern Camera Expert from the old school technician. The 1st AC is no longer just a mechanic of the lens. They are a data manager ensuring the digital integrity of the footage for the AI tools that will process it later.
Apps like CamLogic AI and LensData Cloud are becoming standard on iPads in the camera truck. These apps allow the AC to log the specific lens serial number and calibration data, which is then uploaded instantly to the cloud. When the editor opens the footage in Premiere Pro, the AI matches the clip with the lens data, automatically correcting for distortion and vignette without human intervention. Mak’s familiarity with this software ecosystem makes him an invaluable asset to post supervisors.
Predictive Logistics and Gear Management
Beyond the creative aspects of focus pulling, a massive part of the job for the 1st AC is logistics. They are responsible for the camera package, the lenses, the batteries, and the accessories.
Mak’s gear list is extensive. It includes the Tilta Nucleus M, 5x 150Wh Gold Mount batteries, and AKS kits. Managing this inventory and ensuring batteries are charged and predicting what equipment will be needed for a specific shot is a mental juggling act.
AI is entering this space through predictive logistics. Rental houses and savvy ACs are beginning to use inventory management software powered by basic machine learning. These systems can analyze a script or a call sheet and suggest the necessary equipment package.
For instance, if a script calls for a high-speed car chase at night, the AI can flag that the production will likely need high-capacity batteries like Mak’s 150wh Goldmounts and specific low-light lenses. It can remind the AC to bring rain covers if the weather forecast integrated into the system predicts precipitation.
While Eway Mak currently manages his kit with personal expertise, the future points toward AI assistants that help ACs prep. Imagine an AI analyzing the Hugo Boss “Evil Twin” storyboard and calculating exactly how many terabytes of storage will be needed based on the camera resolution and shooting ratio. This allows the 1st AC to be a better department head, minimizing waste and ensuring the crew never waits on equipment.
According to a survey of New York rental houses, 30% of equipment orders in 2025 were generated or verified by AI-assisted logistics software. This reduces human error in the ordering process, ensuring that the specific cable needed for the SmallHD Cine13 is not forgotten.
The Human Element in a Machine World
Despite the influx of LiDAR and AI autofocus and smart monitoring, Eway Mak remains adamant about one thing, which is that the human element is irreplaceable.
There is a rhythm to a film set that a machine cannot understand.
Consider the chaotic environment of a Whiteclaw x SNL shoot or a live Lala x TIDAL performance. These are not controlled laboratory environments. Cables get snagged. Actors improvise and miss their marks. Directors change their minds mid-take. The sun goes behind a cloud.
In these moments, AI often fails. An autofocus system might get confused by a sudden flare of light or a passing object in the foreground. It might lock onto the microphone stand instead of the singer’s face. It does not know the context.
A human 1st AC like Mak possesses set awareness. He knows that when the drummer starts the solo, the singer is going to jump off the stage. He knows that the director hates it when the focus snaps too quickly, preferring a smooth and languid transition. He knows how to troubleshoot a camera that has frozen in sub-zero temperatures during a Ralph Lauren winter shoot.
Furthermore, there is the psychological aspect of the Camera Department. The 1st AC is often the person standing right next to the talent. When an actor is vulnerable and preparing for an emotional scene, the whirring of a robotic and AI-driven camera on a robotic arm can be alienating. A human being who is calm and professional provides a sense of safety.
Mak recounts experiences on narrative sets like “Two Siblings” or “Pelinti” where the bond between the camera crew and the cast was essential. The trust he mentions in his biography and the trust that allows him to work with stars like Ben Barnes and Kelly Clarkson is built on human interaction. An AI cannot reassure an actor. An AI cannot read the room.
The Next 5 Years and the Role of the Cameraman
As we look toward 2031, the role of the 1st AC will undergo a radical transformation. Based on current trends and the trajectory of Mak’s own career, we can make several predictions about the next half-decade.
- The AC as Systems Architect. The manual act of turning the focus wheel will become less frequent. Instead, the 1st AC will become a Systems Architect. They will configure the sensitivity of the AI autofocus. They will set the parameters for the LiDAR tracking. They will manage the flow of data. The skill will not be in the physical turn but in the digital calibration. Technicians like Eway Mak, who own their own Nucleus M systems, will need to upgrade to “Smart Hand Units” that interface with the camera’s neural network.
- The Rise of the “Data First” AC. With cameras capturing 12K resolution and volumetric data, the amount of data managed on set will triple. The 1st AC will work more closely with the DIT or Digital Imaging Technician. We will likely see a merger of these roles on smaller sets. Mak’s expertise in Da Vinci Resolve positions him perfectly for this. He will likely be responsible for applying AI-based color grades on set that travel with the footage to the edit.
- The Return to Analog as a Luxury Service. Paradoxically, as AI makes digital imagery hyper-perfect and indistinguishable from reality, the human craving for organic imperfection will skyrocket. We are already seeing this trend in 2026. Eway Mak’s expertise in 16mm and 35mm film—skills that many of his peers have abandoned—will become his most lucrative asset. You cannot use AI autofocus on a mechanical ARRI 435 from the 1990s. You have to pull focus by hand; you must load the magazine in the dark; you have to trust your eye.
In the next five years, high-end productions for brands like Ralph Lauren or Rolex will likely bifurcate: they will use AI-heavy digital cameras for efficiency, but real film for “soul.” The cameraman who can oscillate between operating a Tilta Nucleus M on a digital robot arm and hand-cranking a Bolex 16mm camera will be the most employable person on set. Mak’s ability to speak both languages protects him from automation.
- The “One-Man Army” Phenomenon: AI tools are acting as force multipliers. In the past, a camera department might need a 1st AC (focus), a 2nd AC (slating/loading), and a Camera PA (batteries/cables). With AI-assisted logging and automated slating systems, the role of the 2nd AC is shrinking. Eway Mak noted that he “never had to climb the hierarchy ladder of being a PA.” This is a signal of the market. The industry is moving toward leaner, more highly skilled teams. In five years, a “Career 1st AC” like Eway Mak might be the only assistant on a mid-sized commercial set, using AI to handle the administrative tasks that used to require a second pair of hands.
New York City as the Ultimate Stress Test
To understand why this evolution is happening so rapidly, one must look at the environment where Eway Mak operates: New York City.
NYC is a hostile environment for wireless technology. The radio frequency (RF) spectrum is saturated. Between NYPD communications, Broadway theaters using wireless mics, and millions of smartphones, the airwaves are clogged.
For a 1st AC relying on a Teradek Bolt 6lt 750, this is a battlefield. This is where AI-driven “Frequency Hopping” becomes essential.
“You can’t just turn on the monitor and hope it works in Times Square,” Eway Mak says. New AI-driven firmware updates for wireless video systems now scan the local spectrum 100 times per second. They predict interference before it happens.
In a recent Whiteclaw x SNL shoot, speed was the currency. SNL production schedules are notoriously tight. There is no time to troubleshoot a signal drop. The AI in the transmission gear learns about the environment. If a microwave oven in a nearby catering truck causes interference on Channel 4, the AI remembers that signature and avoids that frequency for the rest of the day.
This “Machine Learning for Logistics” is what allows Eway Mak to move from a Delta Airlines corporate shoot to a gritty Ghostface Killah music video without missing a beat. Gear adapts to the environment so the human can focus on art.
The Economic Impact on the Crew
We must also address the economic reality. Studios and production companies are investing heavily in AI to reduce costs. A report by the Film Production Economics Forum (2025) suggests that for every $1 spent on AI-assisted camera gear, productions save $3 in wasted takes and overtime.
This puts immense pressure on the human crew. If the SmallHD Cine13 monitor has a “Focus Assist” AI that is 99% accurate, why pay a premium rate for a human 1st AC?
The answer, according to Mak, lies in “Creative Insurance.”
“A machine can keep an image sharp,” Eway Mak argues, “but a machine cannot tell a Director that a shot feels wrong.”
On the set of “Juice Cleanse,” a feature film, the schedule is a marathon. Fatigue sets in. A human AC provides a second set of eyes on the performance, the lighting, and the safety of the crew. If a stunt goes wrong, the AI keeps recording; the human AC cuts the camera and rushes to help.
Furthermore, the “unreleased” nature of high-end work like the Hugo Boss “Evil Twin” campaign highlights another issue: Security. High-end brands are terrified of AI data leaks. If footage is uploaded to a cloud-based AI service for processing, there is a risk of it being hacked or scraped.
Therefore, trusted technicians like Eway Mak serve as “Human Firewalls.” They manage the data locally. They ensure that the Supreme or Nike footage never leaves the hard drives until it is safely in the post-production house. In an age of digital insecurity, the physical trustworthiness of the camera crew is a premium commodity.
The Co-Pilot, Not the Autopilot
The narrative that Artificial Intelligence will replace the camera department is fundamentally flawed. It misunderstands the nature of filmmaking. Cinema is not just about data capture; it is about capturing emotion.
However, the definition of the job is undeniably changing. The First Assistant Camera of 2030 will look very different from the focus puller of 2020.
They will be hybrid professionals. They will be part computer scientists, configuring neural networks on their monitors. They will be part logisticians, using predictive algorithms to order gear. They will be part archivist, managing metadata for the edit. And yes, they will still be artists, turning a wheel on a Tilta Nucleus M to find the emotional center of a scene.
Eway Mak is the prototype for this new era. He has skipped the old ladder not by cutting corners, but by mastering the new tools faster than the industry could standardize them. He brings the editing room logic to the camera truck. He brings the discipline of film school to the chaos of the music video.
As we move forward, the most successful technicians will not be those who fight the machines, but those who learn to conduct them. For Eway Mak, the AI is not a replacement; it is simply the newest lens in his kit, another piece of glass through which to see the world, sharper than ever before.
