INDIGO EYES
INDIGO EYES
Embedded Files
Role: 1st AC
Project Description ➧
1st ACing for a NYFA student thesis project from Director Rohan Aggarwal. I was reccomended this role by Hollywood CPR alumni Tyler Fuller. I was so blessed to get to work with AFI Cinematographer Julia Maixer. We immediately hit it off and I was really able to utilize all that I've learned thus far in order to lead the camera team and handle all of the technical aspects before anyone had to even think of them — freeing up Julia to focus on crafting the visuals and working hand-in-hand with the gaffer.
Key Takeaways ➧
As my first time working with a NYFA crew, I was able to add a whole host of new contacts to my ever-expanding network of connections.
Invited to the screening for NYFA thesis students and was able to be one the first to see how beautiful our project turned out and really gleam pride from my work while also collecting points of improvement while viewing on the big screen.
Worked with the Tribe7 Blackwing7 series of cinema lenses and built comfort with all of their unique characteristics.
IE_Call_Sheet_DAY 2.xlsx - Day 2 Sun 12 Apr.pdfCall Sheet
Evaluation
BEST INTERVIEW EVER
BEST INTERVIEW EVER
Role: 1st AC / Gaffer
Project Description ➧
Brought on to a talk show podcast shoot in order to run the A cam and 1st AC while also acting as Chief Lighting Technician. I was able to bring and utilize all of my equipment, both camera and lighting. I was able to have free reign with lighting the stage at the Upright Citizens Brigade theater and give the Producer's something they didn't even know how to articulate. It felt validating to have them put their trust in my vision and to deliver a result they were in love with.
Key Takeaways ➧
Was able to push the unaesthetically pleasing background wall into total darkness through a combination of angular overhead lighting, focal seperation, key staging choices and camera settings. Provided quick turnaround to extend and reconfigure the set for different guest needs as we shot 5 episodes in one day with little time in between.
Met new contacts outside of the traditional student film world and in the comedy and live event world, which are promising and will most likely be shortly fruitful.
The producers of the show are currently shopping it around to advertisers and digital networks and gave me a commitment to bring me on for regular, consistant, paid work when they get it sold.
BEST INTERVIEW EVER __ Call Sheet - Monday, April 13th.pdfCall Sheet
Ahern_Drew_Brandon_Jones_ Evaluation (Spring 2026) FLM PRD 901_911.pdfEvaluation
LOCKED IN
LOCKED IN
Photo from the Project
Role: 1st AC
Project Description ➧
My first experience shooting a vertical. I was brought onto this from my Producer friend Laura B Abellan via the trust I've built with her, and the belief she has in my skills and work ethic. Working on a vertical was a new experience, but despite all of the stigma and bad reputation; I am a big proponent of going into everything with a positive perspective and the outlook that I can learn something from any person or project, and I really enjoyed my experience. The quick setups and the rapid pace in which we had to work in order to get our shot list complete was actually something I thrived in.
Key Takeaways ➧
Developed experience and skills with building multiple cameras for vertical shooting, and rigging them to be compact and versatile for a quick turnaround.
Experience with setups and rolling multiple cameras, coverage for the same takes.
Built skills prepping and executing quick setups and company moves.
LockedIn_CallSheet.xlsx - 03_26_2026.pdfCall Sheet
DIM BIRYANI
DIM BIRYANI
Role: 1st AC
Project Description ➧
USC 'Stark Special' Student Thesis project that I was brought onto last minute under recommendation from my classmate and Hollywood CPR alumni Nam Tranh. I was brought on for a single day, the day before a 12 hour evening/overnight day at Echo Park to pull focus in challenging on location conditions. I ended up impressing the DP and Director so much they replaced the 1st they had scheduled for the next two days and invited me back to complete the rest of the shoot. I was able to come onto the crew last minute, in the middle of the shoot, and really take charge of the camera team and crank through all of the many location setups quickly and efficiently.
Key Takeaways ➧
Coming onto a project in the middle of shooting (day 3 of 6) can be a fragile maneuver, but I knew that going in and immediately got there and acquainted myself with the equipment and gear; and more importantly established a rapport communication and understanding with all of the crew I was joining, which proved to be crucial for a smooth shoot and transitioning into the role.
Projecting confidence when joining a new crew, especially when filling a role of semi-leadership as a 1st AC was something I was really aware of and put into practice to positive effect on this project.
Dim Biryani Call Sheet - Day 4 - Sheet1.pdfCall Sheet
Ahern_Patrick_Dim_Biriyani_Evaluation_Spring26.pdfEvaluation
ESQUINAS
ESQUINAS
Role: 1st AC
Project Description ➧
Last minute ISO role I was reccomended for by Laura Abellan. This was a UCLA MFA student thesis. I was lucky enough to work as 1st under the very talented Hannah Sam, who is a renowned 1st AC in her own right. I was very fortunate to establish a good relationship with her and allow her to guide me and give me many tips and gems of advice on being a successful 1st AC and sharp focus puller.
Key Takeaways ➧
Great opportuunity challenging myself in pulling focus, as we were going for a more dreamy look and often shot on fast lenses while wide open. Hannah definitely challenged me with tricky focus pulls but did not dumb them down for me, but instead gave me time and guidance enough to nail the focus.
ESQUINAS - CALL SHEET DAY 4.pdfCall Sheet
Ahern_Patrick_Esquinas_Evaluation_Spring2026.pdfEvaluation
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