Remarkably I managed to get through the past week in Singapore while tricking my body that I was still in Europe.
It may seem strange that I was eating muesli at two in the afternoon, feeling ready for lunch at eight in the evening and finishing the day by sharing some grub with Martin Brundle at three in the morning but it felt oddly routine.
For a variety of reasons this has quickly become my favourite race of the season. I think it is largely because the drivers, press officers, production team and everyone else are a little wired - slightly giddy because of the time difference. That creates an atmosphere totally unique to the Singapore GP.
The Singapore Grand Prix portrays a beautiful picture under the beaming floodlights. Photo: Getty
This is my working day, Singapore-style...
11am
Sunlight is coming through the curtains, while Beach Road in downtown Singapore is alive with commuters and passers-by. I try to ignore it and carry on dozing.
2pm
Time to start the day. Mine usually begins with a call to my wife Harriet, or my parents. If there is time, my favourite pastime is Skyping my niece and nephew. On a Saturday we would be gearing up for our qualifying show.
I much prefer writing scripts in the morning, possibly because my brain feels a little more alive at that time. That could be because of 10 years delivering the Eastern Daily Press to the locals of Upper Stoke Holy Cross.
Anyway, I'll start scripting the show and, at this point, I start clock-watching, working out how many hours until I'll be delivering these lines to a few million people. Once I've written a few links and given myself keywords to prompt me during interviews, it's time to get myself sorted.
I go through the running order and think about the guests we should try to get. I have to think what the stories are and the people you guys would like to hear from - plus the locations where we will be for each link. Everything has to be planned because we need permission from the teams to be live in their garages and to tell them the precise time we will be there.
That doesn't mean my ideas are final - the Editor, Mark Wilkin will have his own opinions and might not like my ideas.
Once I've scripted, showered and shaved, it's time to iron my 'show shirt'. I like to do this myself as I hate creases in them. This weekend I even ended up doing fellow presenter Lee McKenzie's ironing - don't ask!
3.30pm
Departure time. In Singapore it was �2 to get a cab to the circuit, which is far more appealing than walking, otherwise you end up looking like you've had a shower with your clothes on due to the humidity.
On Saturday I jumped in a cab with Rebekah, our Production Manager. While we were busy gossiping our poor driver took a wrong turn and we ended up on the other side of Marina Bay, seemingly unable to get back across the water.
On Sunday, I was the fool as I left my shoes in the hotel lobby. To make it worse I was wearing bright white trainers, which isn't very BBC Sport. Production coordinator Louise Elliott went back in a cab for me. I'll say it again - thanks Louise, I am an idiot.
4pm
Myself, senior producer Richard Carr, assistant editor Steve Aldous and film editor Mark Wilkin share our thoughts on the script. Once we've decided which drivers, team bosses and garages we want to get involved with, it's up to Steve to sort things out. With gentle persuasion, the odd reminder of a favour we are owed and some occasional begging, he makes it look easy.
Some people ask why we never speak to certain drivers and if we are biased against them. Often our first-choice driver turns us down, so we have to make a sudden change of plan. Sometimes we ask three or four teams before we get a 'Yes' to one of our requests.
6pm
David Coulthard, Eddie Jordan and Martin Brundle rock up. DC makes tea the most, Martin is the most punctual and Eddie probably misses one in every three meetings for some reason - but we let him off.
We then watch the various video pieces. Sometimes we collectively decide to make a change to one of them but very rarely is a glaring error spotted.
Once I say, "Ted Kravitz reports...", we usually have to sprint three garages down the pit-lane, find our next interviewee and check they are ready to go live. Mark will update the three of us as to whether we are over or under time - or if there is any breaking news while Richard Carr directs the cameras and Louise lets us know how long is left on the video.
The fact we have already seen it means we can reference back to it, or simply keep the chat along the right lines.
7pm
Out to the paddock to do a tech check with the crew. On Saturday, we walked live into McLaren. One of the crew realised he was the wrong side of the camera and had to make a dash to safety. You can watch the moment on iPlayer and see the flash of white as he athletically sprints out of, or rather into, shot.
These guys arrive days before us, set up the office, the communication links with the paddock, plug in the kettle and make sure that, when us creative types come up with a ludicrous idea to push the boundaries, that it can be achieved.
It hasn't gone unnoticed and no other F1 coverage has ever got so close to the action. You won't find better, harder-working pros.
8pm
Live to the nation! The final few seconds before we are on air never fail to be exhilarating, petrifying and surreal in equal measure.
10.30pm
The show is over and, after pre-recording a chat for BBC News and the trail you may often see on the BBC later that night, it's back to the office to think about the following day's race programme. We always discuss what worked, what didn't and what we could have done differently or better.
Midnight
We go through the video packages for the following day. I love the creativity and madness of the people who create these. The music is an important part of the show and can come from anywhere. I was running the track on Thursday and the Black Eyed Peas song Get Ready For The Showdown was on my playlist. We have now done over 50 Grand Prix on the BBC and these guys certainly haven't run out of ideas - or music.
3am
We have decided on the running order for Sunday, drunk enough tea to refresh an army and, despite how strange it feels, it is actually time to leave the track and head out for dinner.
At this point I usually ring my parents as I still like to get their feedback on the show and find out what's happening in Norwich. Missing loved ones and home is the only real negative of this job.
An average Singapore Grand Prix day ends with the team heading somewhere to grab some noodles and a beer. I wouldn't usually admit to drinking at four in the morning before a Grand Prix, but that's the beauty of this race - in reality it's only nine in the evening.
There are many similarities with every Grand Prix but this one is slightly different. It is more exciting and electric than normal.
As we draw near to the end of another season, let me place on record my thanks to all the guys who have worked on the BBC F1 output this year. I can honestly say that, despite all the well-publicised distractions of the past few months, our team have been as hard-working, professional and perhaps even a little more driven and keen for success than ever.
Source: http://www.bbc.co.uk/blogs/jakehumphrey/2011/09/it_worked_remarkably_i_managed.html
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