Archives for category: The Crunch

December 31, 2010. The stroke of midnight.

It’s been a 16-hour shoot, and I’ve just called for wrap. Everyone’s spirits, dampened by six hours of overrun spent shooting products against greenscreen in the studio, are now palpably higher. Bottles of beer, already having mysteriously appeared on the set in the past hour, are passed around as the hot film lights are struck off. It’s been three days of filming, and now that New Year’s Eve is a mere 12 hours away, everyone’s relaxed and upbeat, talking about their plans for the weekend. The grip is grinning from ear to ear. But of course he is; in a few hours’ time, he’ll be on a plane to Phuket.

At the loading/unloading bay we part. There’s no one else around. Home being a mere six stops away, I decide to catch the last bus. Walking in the light drizzle, I clutch the tote bag closer to me. Even in my slightly-buzzed state, I am mindful of its contents: a laptop, a hard disk and numerous memory cards containing three days’ worth of footage. Losing any one of them, at a cost of thousands of dollars per shoot day, would be instant career suicide.

On this shoot, I am also the data wrangler, the guy whose job is to ensure footage is safely transferred from the cameras and filed onto disk. Normally, the footage is transferred immediately once the memory card is filled and ejected from the camera. But it has been a long day. It’s understandable.

In the morning I wake and set about transferring the last of the footage, about 20 gigabytes, on two cards. 16 GBs down, I plug in the second one, a SanDisk Extreme IV 8 GB CompactFlash card, only to see its volume icon appear on the Mac OS X desktop briefly before disappearing just as quickly. My heart skips a beat, because I know exactly what’s going to happen next.

An error box pops up, right on cue: “The disk you inserted was not recognized by this computer. Initialize, ignore, or eject?”

Fuck. My balls hit the floor and roll off under the desk.

For some reason, the volume on the card has not been unmounted cleanly. Maybe it’s a loose USB cable connection. Maybe it’s failing hardware. Who can say for sure? But what I know for sure is this:

A memory card—any storage medium—needs a filesystem in order to have files written onto it. But, before that, a partition has to exist before a filesystem can be created to store files and subsequently accessed by a camera or a computer.

It’s common knowledge that you have to eject or unmount a memory card before you can pull it out of a card reader. When a card is not safely unmounted, when the operating system hasn’t had enough time to cleanly write to the card, resulting in a “dirty write,” it almost always corrupts the filesystem, rendering it in a unreadable state.

But the data is still in there. It’s just that the partition cannot be seen because it is now corrupted; quite simply, the operating system, a visitor in the middle of a street, cannot find the house that is the partition because its address plate is missing. The house and its occupants—the data, your precious data—is still there, plain as day.

Being no stranger to data loss, my instincts kick in, and I click the “Eject” button. Now, if you ever find yourself staring at this very error dialog box, never, NEVER EVER click “Initialize.” If you do, the operating system will format the card, which will stack the odds against you of successfully recovering your data.

I curse in six languages and begin the recovery process with a few recovery applications: Data Rescue II, Drive Genius, SanDisk Recovery Pro. The usual suspects. None works.

The problem is, most recovery applications are designed to recover data that has been accidentally overwritten or deleted from a card, and are clueless when it comes to a card with a corrupted filesystem. If the operating system cannot mount the card and make it available to the user, the user cannot tell the recovery application to recover the card.

Classic LPPL*.

Eight hours go by. Here I am, on New Year’s Eve, faced with the possible loss of four hours’ of footage shot on overtime costs. I do the math and wonder if it’s cheaper to reshoot or to send for data recovery, the cost of which I’m sure will be exorbitant.

Even as I’m ready to throw the towel in, and mentally bracing myself for the inevitable, the geek in me refuses to concede, because I KNOW the damned data is still in there intact. I give Google one last search. One particular listing in the search results reads like my personal 12-step program to data salvation.

TestDisk. Fixes, repairs or rebuilds FAT16, FAT32, HFS+ and NTFS partitions. Runs on DOS, Windows 9x, XP, NT, Vista, FreeBSD, Linux and Mac OS X. Open source software. Free.

I download and fire TestDisk up. It’s old-skool command-line based; Arrow up/down, Enter, “Y”/”N” keys, that sort of thing.

I pop in the corrupted card. It doesn’t mount, of course, but this shows up in TestDisk:

Disk /dev/rdisk0 - 7.6 GB / 7.0756 GiB

It’s The Partition Formerly Known As KNN**.

I give the instructions TestDisk advises a good once-over, select the partition and hit “Repair.”

It must have taken, by my unscientific guesstimate, only all of 15.383 seconds before the beloved “EOS_DIGITAL” volume icon pops up on the OS X desktop. My jaw drops correspondingly as fast.

You’ve never seen me do a CMD+A, CMD+C and CMD+V faster in my life. As I lean back into my chair and exhale, I become aware of the commotion in the living room. Something’s happening on TV.

Oh yeah, Happy New Fucking Year.

* For my non-Chinese friends, LPPL is loosely and politely translated as a Catch-22, a no-win situation. The actual translation has got something to do with testicles…
** … while KNN has something to do with one’s mother.


1,242 meters up somewhere on Bukit Larut in Taiping, shooting video and stills for the EPK (electronic press kit) of a feature film. We’ve been here since April 16, and we have 10 more days to go.

For television commercial shoots, camera equipment is always hired from a rental house. But as a director who would often operate the camera myself, I have a Canon XL-1s Mini DV camcorder, purchased six years ago, that I use extensively for smaller-scale shoots.

A major wave of change swept through the broadcast industry sometime in the second half of those six years. By 2007, High Definition has all but supplanted Standard Definition for broadcast productions. Along with the migration to HD, tapeless acquisition was fast becoming the norm; footage recorded to solid-state memory media as video files ready for editing, eliminating the time-consuming process of digitizing tapes. More and more, I found myself choosing to rent a HD camcorder rather than using my own SD camcorder even for the smaller shoots.

The first sign that my equipment line-up was in dire need of an upgrade was in September 2007, when my workhorse XL-1s finally gasped its last breath halfway through a shoot in Shanghai. I was faced with the unpleasant prospect of investing S$10,000 or so for a HD camcorder, in particular a Sony PMW-EX1.

But making the move to HD meant more than just buying a HD camcorder; the massive amount of HD data meant that I would have to upgrade my entire postproduction workflow. One new workstation here, plenty of high-speed storage there, and I was looking at another S$15,000 easily, a figure I was neither willing nor capable of spending at that point in time.

I held out. In the meanwhile, my stills digital SLR cameras were, likewise, quickly falling into obsolescence. Solid as they were, my two cameras—a Canon EOS 5D and a Canon EOS-1D Mark II—had already been surpassed by newer cameras sporting next-generation features I found increasingly difficult to ignore; features such as 14-bit A/D conversion, larger, higher-resolution and more viewable 3.0″ LCD screens, and Live View had become ubiquitous.

But, again, I held out. So, for a good whole year, there I was, a director in search of a decent broadcast-quality HD video camera, and a photographer in search of a replacement for his two previous-generation digital SLR cameras.

Then the impossible happened. What really convinced me that I could no longer hold back was the one game-changing feature—the second sign—offered by one of those next-generation digital SLR cameras:

Video recording.

Such a development is a watershed moment for someone like myself who has been shooting both videos and stills all his professional life. The significance of a video-recording digital SLR is in the leap in artistic expression I can now have.

These digital SLR cameras, with their large image sensors the same size as that of 35mm film, produce the shallow depth-of-field look synonymous with 35mm motion picture film cameras. Since depth of field increases as focal length decreases, typical camcorders, with their much smaller sensors, simply cannot produce that elusive, shallow DOF look that videographers yearn and go out of their way to achieve (read this article for the physics).

Years ago, to achieve the same look, I had to use a P+S Technik Mini35 lens adapter. It was expensive to rent (S$900/day with accompanying Zeiss Super Speed lenses, or S$12,500 to purchase, camera and lenses not included), and it was bulky; it was actually bigger than the XL-1s camcorder it mounted onto.

Now, the same, if not better, filmic look can be had with a digital SLR camera a third of both the cost and weight of the P+S Technik Mini35. What’s more, since I already own a small collection of quality EF lenses I can use on such a digital SLR camera, I now need to maintain only one camera system, as versus one video camera system and one stills camera system.

Last week, after a series of unfortunate events unfolded on a couple of ongoing jobs—which I took to be the third and final sign from the heavens above it’s time to finally upgrade—I took the plunge and bought an EOS 5D Mark II.

I know, I know… I said I would never get a 5D Mark II because it has the same AF system of the 5D which I find disappointing. In fact, I felt none of the excitement on the day I bought the 5D Mark II that I had felt previously when buying other cameras.

Having used the camera for a week, I still have deep misgivings at just how much better the AF system in the 5D Mark II will perform, as Canon claims it would. Also, I remain unconvinced that the form factor of a digital SLR is at all suitable for video acquisition.

Accustomed to operating 2/3″ Digital Betacam and DVCPRO camcorders, all of which are of the traditional form factor of the broadcast video camera—articulatable viewfinder, zoom grip, top handle, left-handside controls—I find myself constantly trying to press my eye to the viewfinder on the 5D Mark II while the camera is rolling.

Still, I am very heartened by the 35mm look the 5D Mark II achieves. But is The Look worth the various ergonomical and operational shortcomings of this camera? I have a strong suspicion this is going to be a love-hate relationship.

Time will tell.

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Studying the proofs of my first magazine spread, due out in July.

When my personal life is such a mess, it is all the more that I strive for perfection in each and every frame of this make-believe world that I have absolute power over.

With the last bottle of Muji milk tea under my arm, I shuffle down the pitch-black corridor, my head bowed, my eyes watering, and quietly whisper some words of encouragement for myself.

“Someday, this will be all worth it.”

Maybe this is what keeps me going.

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I have never taken it upon myself to canvass for work much, something I really should do because I know the worth of my work. So, with this letter, I hope for new opportunities, sights and rewards in the year ahead…

Considering that I don’t really feel any more in whatever I do for a living these days, I don’t really know why I’m writing about the shoot I did earlier today. Perhaps it is because the shoot went well, but, then again, it is only when a shoot has gone belly-up that I feel compelled to write about it.

But, yeah, the shoot went exceedingly well. Smooth. Butter smooth. So well that I called for wrap almost three hours ahead of schedule. The weather held up. There were familiar faces on the set; my girls, who I still see almost every day even though I’m no longer resident at the production company they’re at; the same make-up artist and the same camera assistant who had been on my last shoot. The agency creative director was easy to work with, which was a surprise considering how, when he had been on the shoot we had a month ago for the same client, I had thought otherwise.

On that shoot, my mentor—my former mentor, really—took the lead; I was on set to assist him as the tethering tech, the guy on the shoot who works the shots as they come in live from the camera tethered to a laptop (I make Lightroom fly, something my mentor the old guard struggles with). I got the feeling that the CD had left the shoot not completely satisfied, even if he had put up the “good-job-you’re-the-best” front, that facade and veneer of hollow professional friendliness and courtesy I could detect from miles out and that I, despite being guilty of practicing exactly that every once in a while, abhorred.

The thing about compliments, receiving or giving regardless, is this: just as there is a very fine line between looking cool and looking like a dickhead, the distinction that separates a sincere compliment and a copious amount of it, so much and so profuse that it borders on gushing, is razor-thin. Keep gushing about something, and throwing in superlatives while you’re at it, and my bullshit meter goes off the scales. As far as I am concerned, a sincere ‘thank you’ gets you a long way.

I was glad I did not get much of the bullshit after we had wrapped. But the bit about “you’re a solid photographer” was really unnecessary, especially when it is followed by “you really know what you’re talking about.” Of course I know what I’m talking about. That is why you hired me in the first place, isn’t it?

I’d much prefer if you showed me appreciation by way of a fatter cheque. Superlatives do not cash out.

Today marks the fourth time in two weeks that I had gone on for 36 hours without sleep.

During the two weeks, I had my laptop die (again) on me, had lost a friend in an utterly senseless way, and had the worst moment of my entire professional life on Monday morning, right after I had pulled an all-nighter hours ago and was mentally, psychologically and physically stretched.

This is insane. At this rate I’m going, I will collapse very, very soon. Tomorrow shall be an enforced off day. I really cannot take one more fuck-up.

I’m off to bed. I’ll probably sleep for a month.

It felt really good to be out and about, wheeling and dealing like a producer should.

Most times, I have a producer to weave all the loose bits of preproduction together, but when I take on a direct client, these tasks fall on me. My hat’s off to producers who can throw together a production two days after job notification and confirmation, both of which occuring on the same day! It takes a special breed to be producers; I am definitely not one of them.

There is a shortage of freelance crew in the market at the moment, and I almost had to push back the shoot by two days. Almost.

It was nice to have heard so many familiar voices in the span of one day. Felt like I’d been away for a long time.

I have not looked forward to any given day with enthusiasm for a long time.

But tomorrow is one such day.

Tomorrow, a new chapter begins.

The standard procedure for production crew intending to shoot overseas is that the production company has to apply for an ATA Carnet (pronounced kahr-ney, the origin of the word being French). The prep work involved in obtaining a carnet is to list all the serial and model numbers of every piece of equipment you will be carrying and then pay a deposit amounting to a percentage of the total cost of the equipment (50%, if I remember correctly). In Singapore, ATA Carnets are issued by the Singapore International Chamber of Commerce.

Essentially, the ATA Carnet is your equipment’s very own passport that grants you a license to temporarily export your equipment to other countries for trade purposes. I first learnt how to apply for a carnet when I had to do a Thailand-Vietnam-Malaysia-Indonesia shoot back in 2003. Since all of these countries are participants in the ATA Carnet System, I had no trouble with customs at any of these countries. Currently, the ATA Carnet System is enforced in 65 countries.

Including China. Except that it applies only for exhibition purposes.

So that makes it my problem??

* * * * * *

I explained all that to the customs officers at Pudong International but I might have well been explaining Shakespeare to monkeys.

When I finally arrived at Sammi & Eddie’s, Sammi set about calling up the Department of Foreign Affairs. But, after ten futile minutes on the phone with some department officer, it quickly became clear that 外事部 was more a 不关我的事部, when the officer insisted that, since I was not calling in the capacity as a production company and that I was there for a personal visit, it was not their problem. Ironically, that officer suggested that we arrange with customs to leave a deposit so that I could reclaim my equipment.

‘But airport customs said that wasn’t possible.’

‘Too bad. Can’t help you.’

We called airport customs. The fact that it was difficult to even get our call transferred to the right extension notwithstanding, airport customs categorically denied that a deposit arrangement could be made. It was  difficult as it was to even wrangle out the name of the officer on the other end of the line.

It was time for guanxi.

In the wake of the Cultural Revolution, backdoor arrangements were the only way one could get things done in that temporal void of order. I scratch your back, soon you’ll scratch mine, that sort of thing. Little has changed since, it would seem. Fortuitously, my hosts knew someone who knew someone who worked at some immigration department that oversaw airport customs. We lost the rest of the day just getting hold of that person. Somewhere in between, the helpful duty officer at the Singapore Embassy called us back and suggested that we should try getting hold of the PRC Embassy in Singapore, see if they could issue some kind of a formal letter. Violet got on the case immediately.

A half hour later, I checked in with Violet on her progress.

‘No one’s even picking up the fucking phone lor,’ she said in disgust.

At six in the evening, Eddie got a call from the friend who knew the unseen Very Important Person, who informed us that we could go down to the airpot the next day, find some so-and-so who’s some section head, leave a deposit of CNY10,000, and get my stuff out. My reaction upon hearing that was one of elation mixed with utter disgust.

You mean to tell me that this could’ve been done all along when every fucking officer said it couldn’t?

Eddie, Sammi and I could only nurse our drinks in bitter defeat.

The next day, we went back to the airport and got my luggage out. The process was relatively painless; we waited only, oh, 20 minutes or so for the section head to show up at the customs desk in the departure hall.

As our cab sped away from the airport, I turned to Sammi and announced my grand plan. Since I would be going back to Shanghai once again in late September, and that I would be arriving at the same time on the same flight, chances are I’ll run into the same bunch of customs officers. So here’s what I’m gonna do:

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Impound this, you bastards!

I had just written an entry titled ‘The allure of traveling’ in my Moleskine an hour ago while en route to Pudong International, Shanghai to shoot a video and some photographs meant for Sam & Eddie’s forthcoming wedding. I had relished the thought of getting out of the country for a while even if it was a quasi-work trip.

It was barely 6:40am when I reached the immigration lanes. SQ 816 was one of the few flights into Pudong at that hour of the day so passport control and baggage retrieval were with neither delay nor fuss.

Just as I’d walked around the X-ray machine, fully intending to see my luggage at the other end of it, the portly customs officer softly ‘tsk’ed and asked if the gray Lojel luggage case was mine.

‘Yes,’ I replied. ‘Is there a problem?’

‘Can you open it, please?’

I was not happy to. Intending to not weigh myself down, I had packed all 26 kgs of equipment into one big luggage case that I could easily wheel around; one shoulder-mount type of video camera, its accompanying lens, two stills cameras and four of their accompanying lens, and an assortment of chargers, cables, batteries, et. cetera. My luggage case could barely close shut without I having to kneel on its lid before I could latch it up. Opening it would have amounted to a small explosion of gadgets.

‘This is professional equipment,’ the officer said.

No shit, Sherlock.

I knew where this was going. I quickly replied that I was there for a friend’s wedding and not for work. Well, it was a gray area; yes, I was flown out to Shanghai by my friends, so that was technically work-for-hire. But since I would not be receiving payment, technically it was not a work arrangement.

The customs officer poked around the equipment, evidently seeing but not comprehending what he was looking at exactly. After some deliberation, he looked up in the direction of the customs desk a few feet away, where two of his fellow officers were, and did the Beckon of Death.

It was then that I knew my fate was sealed and that I would not be getting out of the airport any time soon.

The two officers joined us. Upon a quick assessment of my luggage, one of them concluded that I should have had an authorization letter from the Department of Foreign Affairs at the Ministry of Commerce of the People’s Republic of China (中人民共和国商部外事部) granting me a license to bring in professional equipment. In defense, I argued my case, that, firstly, I was not on a work trip and that, secondly, nobody at the PRC Embassy in Singapore was able to advise me on such a procedure.

To their credit, the customs officers behaved professionally and were, more importantly, polite. Given the experience I had the previous time I visited Shanghai, I was half expecting them to be rude. And I thought I detected an apologetic tone in the way they phrased their assessment of the situation to me, though I suspected it was attributable more to the fact that they were enforcing a rule they were not quite able to substantiate with any official document rather than that they were sympathetic. But I was no position to feel grateful; to have equipment impounded after a red-eye flight, when you’re all bleary-eyed from having being woken up at 3am for in-flight breakfast, is not something you’d want.

‘Can’t I just give you an inventory list of my equipment serial numbers and leave a deposit?

‘No. We don’t practice that any more.’

A quick call Eddie made on my behalf to the Singapore Embassy produced only befuddlement on the other end; the night duty officer has never heard of such an enforcement. And since it was two hours before office hours, he could follow up only later, after he has stepped into the office.

I argued some more with the immigration officers, politely at first in Mandarin and then, increasingly frustrated, in a barrage of English. It was pointless. Not even with Sammi explaining away in Shanghainese on the other end of the line helped. It was a stalemate. The only solution was to have my equipment impounded while I pay the Ministry a visit to get the fucking letter. ‘But,’ the female officer added, ‘in my experience, a case like yours, when you’re not an official member of the media, the Ministry will probably reject you.’

Yeah. That really helped.

There was nothing else I could do except to extract whatever I needed from my luggage so that I could clear customs. Not that I could have taken my clothes and other necessities, since all I had on me was a laptop bag on one shoulder, a Lowepro camera bag on the other shoulder, and a duty-free bag in hand.

‘I can’t even take one camera on me?!’ I asked. ‘A tourist can’t even have a camera on him?!’

Nope. Which was just plain ridiculous.

It was almost eight when I indignantly stomped past the arrival doors into the hall. At that point in time, all I had on me were a box of disposable contact lenses, my MacBook Pro, and a bridal magazine containing photographs of Sam & Eddie’s ROM ceremony as a gift for my hosts.

Oh, and 200 cigarettes.

Talk about traveling light for once, ay?

But I managed a wry smile as I stepped out of the terminal. In my duty-free bag was a box of five blank DV tapes I had quietly slipped out of my soon-to-be-impounded luggage case when the officers had their backs to me while they were busy writing up an inventory chit of my equipment. What they also did not know was that there was a palm-sized Sony Handycam tucked away safely at the bottom of my laptop bag they had somehow missed or had forgotten about.

Customs be damned; I was hell bent to have something to shoot with, and I would shoot the whole video with the fucking Handycam if that was what it took…

Under-appreciated. Underpaid. Forced to meet ridiculous deadlines. Been receiving mediocre television commercial scripts born of very questionable concepts; one of them so bad I simply had to say “I’ll pass.” None of this made better by the fact that I saw, just the other day, a television commercial airing on TV that I thought was mine to direct but was eventually given to someone else.

Been fighting a week of dreary weather, going to site again and again only to shoot relatively nothing. Client thinks all I have to do is to speed-dial god and arrange for sunny blue skies. Laptop screen is sporting three huge cracks across and is leaking a black patch smack in the middle; can hardly see anything. No money to get it replaced because I will be spending a lot of money for a new lens. Only because I have to and not because I want to or can afford to.

None of the jobs I have lined up is confirmed, which most likely means when they eventually are, it’ll be a cluster fuck next month, compounded by the fact that I’ll be away in Shanghai for two weeks and every client will be calling me non-stop asking me to do things I cannot do while I am overseas. Am already bracing myself for that. Bank account’s flatlining as I wait for them to get off their collective arse and green-light the commissions, and as I wait for overdue payments owed to me.

Losing weight, losing color on my face. Parents are divorcing. Relationships with just about every one at all time low. Down with a cold. Migraine every day. Have to look for a place to move out to in the near future.

So how has your August been?

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