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Early work in the bullpen before the gates open, just me, a catcher and the pitching coach with a camera. Thirty splitters, then video, then thirty more. The front side was drifting open in October and I could feel it before I saw it. Slow to fix. That is fine.

At the studio in Tokyo the day runs on layers. Someone is pulling proofs, someone is sanding a panel, and I move between tables saying yes or not yet. Visitors expect the finished thing. What is actually here is the middle of it, which I think is the more interesting part.

Spent most of today re-lighting the review desk. Same camera, same lens, and the footage still looked wrong until we moved one key light about eight inches. That is most of this job. The scripts get rewritten twice, the b-roll gets shot three times, and the thing viewers notice is whether the product reads clearly on screen.

Left Mumbai at four in the morning for a schedule in Bhopal. The unit is small this time, which I like. Between shots I sit with the light boys and drink tea and listen. Most of what I use later comes from those thirty minutes, not from the pages in my hand.

Back in the studio off Rue Oberkampf, working the same eight bars for three days. The bassline finally sat right at four in the morning. I keep a small analogue desk here because the mistakes it makes are more interesting than the ones I make on a screen. Two more tracks and the record is closed.

Went back to a boat noodle stall in Bangkok I had not visited in about six years. Same pot, same dark broth, portions still small enough that three bowls is normal. I filmed a little and mostly ate. Note for the crew: arrive before eleven or the pork sells out.

Back at the desk in Edmonds with a stack of marked up pages from this spring's research. Half the hotel listings changed, two of my favorite bus connections did not survive the timetable, and a neighborhood I wrote off years ago deserves another look. The next edition will say so.

Studio week in Ghent. Four tracks are close and one has been rebuilt three times because the kick kept sitting wrong against the bassline. The KNTXT release schedule shifts a little because of that. I would rather be late than put out the version I already dislike.

Back in New York after two days in Providence for a segment on Cape Verdean home cooking, most of it shot in a kitchen barely wider than the stove. We did the jag first because the pork needed the time, and the wine was measured by eye. I ate standing up, three times.

Two days in the simulator at Grove. Same corner, forty odd times, chasing something in the rear that only shows up on the second lap of a run. The engineers see it in the data before I can put words to it. We finished with one change worth trying. Quiet building this week.