WEEKLY LOG

This section outlines the weekly progress and hands-on experiences I gained throughout my internship journey. Each week presented new challenges, learning opportunities, and valuable exposure to real-world production workflows. From assisting in pre-production planning to participating actively on set, every task strengthened my skills and deepened my understanding of the filmmaking process. This log reflects not only the technical work I contributed but also the personal and professional growth I underwent as an intern navigating the dynamic environment of the creative industry.

The internship resumed with a significant location shoot in the historic town of Taiping, Perak, for the drama series Seribu Tahun. Despite the series already airing weekly on Astro Ria, the production team was still hard at work completing remaining scenes—a reality that reminded me just how much of television happens behind the scenes, long after viewers have tuned in. Filming took place during the fasting month, which brought added physical and emotional challenges. Energy levels often ran low, especially during long outdoor shoots under the hot sun, but the momentum on set never faltered. The crew’s dedication was unwavering, and that spirit kept us all pushing forward.

My responsibilities during this shoot were centered on capturing behind-the-scenes (BTS) footage and raw emotional moments, particularly during the dramatic, melancholic sequences filmed at the iconic charcoal factory—a hauntingly beautiful location that added rich texture to the visual narrative. I focused not only on documenting the technical side of production but also on preserving the atmosphere, the unscripted moments, and the emotional weight carried by the cast and crew as we filmed heavy scenes. There was something humbling about watching seasoned actors channel deep grief or inner turmoil while the scent of charcoal and the earthy tones of the location added an almost poetic realism to their performances.

Following the Taiping shoot, production continued in Kuala Selangor. There, we filmed additional scenes in visually striking locations such as expansive paddy fields and a serene fishing jetty, both of which served as powerful backdrops that visually echoed the themes of resilience and longing within the drama. I was also entrusted with operating the DJI Mavic 3 Pro drone to capture sweeping aerial shots of these settings. These drone visuals not only elevated the production value but also gave me hands-on experience in cinematic framing and movement from the skies—an opportunity I deeply valued. This leg of the internship not only tested my endurance but also solidified my sense of purpose on set. I was not just a crew member; I was part of a collective vision, helping to tell a story that was already reaching audiences each week.

Production moved back to Kuala Lumpur, with the majority of scenes being shot in the lush, semi-rural setting of Hulu Langat. This shift in location brought about a fresh creative energy to the team, and I remained committed to documenting behind-the-scenes moments that would later serve both as a production archive and as promotional material. However, my role began to expand beyond passive documentation. I was now more deeply involved in content strategy, particularly in developing engaging promotional content for social media platforms.

I began proactively coordinating with the cast, often having to wait between takes or approach them during makeup and wardrobe changes to capture candid, lighthearted clips that could be used for TikTok and Instagram. These weren’t just random snippets—I intentionally crafted the content to reflect emotional beats of the storyline, teasing pivotal scenes and highlighting the chemistry between characters. It required a balance of timing, creativity, and understanding of both the narrative and what the online audience craved.

By this point in the series, viewers had become emotionally invested in the characters’ journeys. As a result, the content I curated—whether it was a humorous on-set moment, a tearful confession, or a playful exchange—began to resonate strongly with fans online. Several clips I uploaded started gaining thousands of views within hours, with one particular TikTok going viral and sparking online discussions about the storyline. It was rewarding to see how my work behind the camera was helping to generate buzz and emotional connection around the show. This experience not only sharpened my technical skills, but also gave me a deeper appreciation for the power of storytelling in digital marketing.

I officially joined the production set of Dia Bukan Syurga, a television drama directed by the renowned Rashid Sibir. Being part of this project was an honour, especially under the direction of someone known for his emotional and meaningful storytelling. My initial responsibilities involved capturing behind-the-scenes (BTS) content to document the filmmaking process and showcase the creative efforts of the cast and crew. Additionally, I was tasked with producing ROI (Return on Investment) footage specifically for one of the drama’s sponsored locations, REPICK Pickleball. This required me to highlight the brand’s presence naturally within the filming environment while ensuring it aligned with the aesthetic and narrative of the production.

Later in the week, I returned to the set of Seribu Tahun—a series that had gained significant traction and popularity during this time. My return to the project allowed me to continue documenting and producing content, especially during its peak public interest. Being involved in both sets within the same week was a valuable experience as it trained me to balance different tones, working styles, and content needs while still delivering high-quality visual storytelling for both projects.

My involvement in Dia Bukan Syurga grew significantly this week as I was entrusted with a more creative responsibility that required both technical skill and artistic sensitivity. I was assigned to shoot a series of portrait photographs featuring the lead characters, Tajul and Nuha. These portraits weren’t just for documentation purposes—they were specifically intended to be printed and incorporated into the set design as wedding photographs, functioning as symbolic props that add realism and emotional depth to the on-screen narrative. It was a task that required me to consider not only composition and lighting, but also the personality and relationship dynamics of the characters, so that the final images would feel authentic and meaningful within the context of the story.

Before the Hari Raya break, I was also called back to the set of Seribu Tahun, where I continued my work capturing behind-the-scenes moments. This time, my focus was on documenting intimate and emotional interactions between two fan-favorite characters, Syukri and Nor. Their chemistry on screen is a driving force of the show, and I made it a point to highlight their quiet gestures, lingering glances, and off-camera camaraderie. These BTS captures were not just for internal use, but potentially for social media content and promotional materials, adding value to how the series connects with its audience.

After the Hari Raya holiday break, I resumed my internship with renewed energy and immediately returned to the Seribu Tahun set in Shah Alam. My assignment that day was to document one of the most emotionally intense and visually poetic sequences in the drama — the tragic moment when Nor falls into the lotus lake. As the BTS photographer and production crew member, I had the privilege of witnessing and capturing the depth of emotion in this scene firsthand. The blend of haunting visuals and powerful performances made it one of the standout moments of the series, later becoming a nationwide phenomenon. Many viewers were moved to tears, and social media was flooded with praise and emotional reactions to the scene’s execution.

Following this, our production moved to Hulu Langat for another pivotal moment in the storyline — the dramatic revelation of Imaan’s long-hidden secret by the villagers. The atmosphere on set was tense and focused, as this scene culminated in Nor’s heartbreaking death, a major turning point in the narrative. Documenting these scenes gave me a deep appreciation for the amount of coordination, sensitivity, and artistry required to craft such impactful television. It was a week filled with emotional storytelling, high stakes, and creative fulfillment that reinforced my passion for working in film and drama production.

I remained deeply involved with the production of Seribu Tahun throughout the week, as it entered a particularly intense narrative arc. The highlight of this period was the emotional return of Nor’s ghost to Syukri’s home—a moment that not only marked a significant turning point in the storyline but also captured the attention of viewers across social media platforms. This was followed by the solemn and hauntingly beautiful burial scene, which was widely discussed online for its emotional weight and visual composition. I was entrusted with operating the drone to capture aerial shots for both of these key sequences, ensuring that the atmosphere and mood were elevated through sweeping cinematic visuals. On set, I also had the opportunity to step in as an extra, portraying one of the villagers attending Nor’s funeral. It was a humbling experience to be part of such a powerful and talked-about moment in the series, both behind and in front of the camera.

As the team raced against time to meet the tight airing schedule, the production was strategically divided into two separate units to maximize efficiency and coverage. I was entrusted with the role of Assistant Director for Team B, which was tasked with filming all the rural-based scenes, while Team A focused on the more controlled environment of the mansion set. My journey with Team B took us across various rustic and visually rich locations including Nilai, Kuang, and Kuala Selangor. Each day presented new logistical challenges—from coordinating cast and crew movements in remote areas to adjusting shot plans on the spot due to unpredictable weather or local disturbances. Despite the pace being exceptionally fast and demanding, this week proved to be one of the most rewarding in terms of hands-on experience. I learned the importance of adaptability, clear communication, and time management, especially when dealing with concurrent shoots. It also deepened my understanding of the Assistant Director’s role in balancing creative direction with production deadlines—all while maintaining team morale in a high-pressure setting.

For the final week of Seribu Tahun filming, the entire production team came together once again at a beautiful mansion in Nilai, which served as the backdrop for the final scenes of the series. There was a bittersweet atmosphere on set, as everyone gave their best to ensure the story concluded on a strong and emotional note. Being part of the wrap-up process felt deeply rewarding, as I had been involved from the early stages of production.

At the same time, another major project, Dia Bukan Syurga, was approaching its premiere on Astro Ria. With the broadcast date drawing near, the post-production and marketing team ramped up efforts to promote the series. I was entrusted with creating a range of promotional materials, including visually engaging character posters and teaser video clips designed specifically for social media platforms. These materials played a key role in building anticipation and sparking conversations among potential viewers. This dual responsibility—being present during the final filming of one series while simultaneously preparing for the launch of another—was a valuable experience that taught me the importance of balancing creativity with deadlines in a real production environment.

This week, I returned once again to the set of Dia Bukan Syurga, this time continuing my role as the BTS (Behind the Scenes) photographer and content creator. It felt rewarding to be trusted again with this responsibility, especially during one of the most emotionally charged scenes of the production—a confrontation between the characters Tajul and Nuha. The intensity and raw emotion displayed by the actors during this pivotal scene made it one of the most powerful sequences of the drama. I took the opportunity to capture not just the technical execution of the scene, but also the energy and emotion behind the camera—moments that often go unnoticed yet carry immense storytelling value.

With careful editing and sound design, I crafted a short BTS video of that confrontation and shared it on TikTok. To my surprise and gratitude, the clip went viral, gaining widespread attention and appreciation from fans of the show. The response reaffirmed my belief in the importance of good BTS content—not just for promotion, but for connecting the audience with the process behind their favorite scenes.

Later in the week, I had the opportunity to attend the finale promotion of Seribu Tahun on MELETOP, which took place at the Astro Bukit Jalil headquarters. It was a lively and energizing experience to witness the cast and production team being celebrated on such a prominent platform. Hosted by the charismatic duo, Nabil Ahmad and Hawa Rizwana, the event was a high-spirited affair filled with laughter, behind-the-scenes anecdotes, and fan engagement. Being part of both the creative and promotional journey of a show like Seribu Tahun gave me a broader understanding of the industry’s ecosystem—from set work to publicity. This week reminded me of how impactful visuals, both on and off camera, can be in elevating the value of a story and its reach to the audience.

I had the opportunity to reconnect with several classmates and collaborators to create a short film for the prestigious Film Festival Anak Muda hosted by Universiti Sains Malaysia in Penang. We saw this as a chance not only to test our creative synergy outside of university walls but also to challenge ourselves in terms of narrative depth and technical execution. I was entrusted with the role of director, which allowed me to step into a position of leadership, vision, and coordination throughout the entire production process. Our story was rooted in psychological themes, interwoven with speculative AI elements that reflect current societal anxieties about technology and identity.

Working with seasoned actors like Azhan Rani, Ezu Hashim, and Suraiya Ramlee was both humbling and inspiring. Their presence elevated the script with emotional weight and nuance, while also demanding that I refine my directing style to be clearer and more actor-focused. We faced several production hurdles, including a limited shooting schedule and complex VFX requirements, but the teamwork and dedication from everyone involved carried us through. The post-production stage, particularly editing, became one of our strongest assets—meticulously piecing together the story to maintain suspense and psychological intensity.

At the festival, the film was nominated across multiple categories, and to our joy, we brought home the award for Best Editing. Although we didn’t win Best Film, the experience was an emotional and professional milestone for me. It reminded me why I started this journey: to tell meaningful stories that connect people, challenge ideas, and stay with the audience long after the credits roll. The experience only deepened my drive to keep growing as a filmmaker, sharpening both my voice and craft with each new challenge.

In the same week, I had the opportunity to join the production team of Dia Bukan Syurga for an outstation shoot in Port Dickson. Although it was a one-day assignment, the experience was both valuable and insightful, giving me a glimpse into the logistics and time-sensitive nature of location shoots. Being on-site allowed me to witness how the crew efficiently managed the limited time available while maintaining the show’s quality and visual consistency. My tasks included assisting with on-set coordination and observing the director’s workflow closely, which added to my growing understanding of professional production dynamics.

Shortly after, I transitioned into a new project—an online platform’s short-form drama series titled Boyfriend Green Flag, directed by Kamal Husni. This was a 7-day shoot with a fast-paced schedule, reflecting the demands of digital content creation in today’s competitive media landscape. I was entrusted with capturing behind-the-scenes (BTS) moments and producing on-set content tailored for social media promotion. My responsibilities included photographing key moments, recording video snippets for reels, documenting candid interactions among the cast and crew, and creating aesthetically pleasing visual assets that could be used for marketing purposes. This experience helped sharpen my eye for detail, taught me to anticipate crucial moments, and reinforced the importance of storytelling even through BTS visuals. It was also a great opportunity to further expand my professional network and learn under the leadership of an experienced director like Kamal Husni.

Dia Bukan Syurga” recently took center stage on MELETOP, gaining national attention—and I was fortunate enough to be part of its promotional journey. I was entrusted with capturing exclusive behind-the-scenes moments during the show’s promotional shoot, a task that required both discretion and creativity. Being present during such a high-profile segment offered me a deeper appreciation for the coordination between production, talent, and media teams to ensure everything flowed seamlessly for public broadcast.

Later that week, I joined the crew on set in Hulu Langat, where one of the show’s most anticipated sequences was being filmed—a dramatic house fire scene. It was a technically demanding moment involving practical effects, emergency simulations, and heightened performances from the cast. I closely observed how the director, cinematographer, and safety team worked in perfect unison to choreograph every flame and reaction shot. I documented the entire process—carefully capturing the intensity, preparation, and professionalism behind the chaos.

With permission, I edited and shared this behind-the-scenes content online, providing audiences with a rare, unfiltered glimpse into the craftsmanship behind high-stakes scenes like this. The response was overwhelming, as many viewers appreciated seeing the artistry and risks involved in creating just a few minutes of screen time. This experience strengthened my admiration for the meticulous efforts poured into television production and reaffirmed my passion for being behind the lens, telling stories that go beyond what’s shown on screen

Filming for Dia Bukan Syurga officially wrapped, bringing a heartfelt close to a chapter that will stay with me for a long time. From the very beginning, this team stood out—not just for their professionalism and talent, but for the deep sense of camaraderie, support, and shared passion that ran through every shoot day. There was something rare about the chemistry on this set; everyone—from the cast to the crew—carried themselves with kindness, humility, and an eagerness to make something meaningful together.

Hulu Langat, where much of the production took place, became more than just a location. It became a shared space of growth, laughter, and learning. We faced long hours, unexpected weather, and the usual on-set chaos—but it never felt overwhelming, because we leaned on each other. I felt safe to contribute, to learn, and to connect.

As the final scene was called, the emotions were undeniable—relief, pride, a touch of sadness, and immense gratitude. We wrapped the shoot with a simple yet memorable wrap party. There were friendly games, shared meals, laughter echoing under the trees, and heartfelt goodbyes. It wasn’t just a celebration of work completed—it was a celebration of bonds formed, and a reminder of why I fell in love with this industry in the first place.

Looking back, Dia Bukan Syurga wasn’t just another title in my portfolio. It was a turning point—a project that reminded me that the people you work with shape the journey just as much as the story you tell. I’m walking away not just with experience, but with memories that I’ll carry forward, and friendships that I hope will last a lifetime.

A new chapter unfolded in my creative journey when I was offered a rare and exciting opportunity—to join the scriptwriting room for an upcoming 40-episode afternoon drama series, slated to air on Astro’s renowned Tiara slot. This invitation wasn’t just a foot in the door—it was an entry into the heart of longform storytelling for mainstream Malaysian television.

Over the following weeks, I found myself immersed in multiple rounds of story development meetings with Astro producers, script executives, and fellow writers. These sessions were intense, collaborative, and eye-opening. We explored themes, structures, and character arcs tailored specifically to the demands of daytime TV—a space that requires balancing compelling drama with emotional resonance that speaks to a wide audience.

At first, the process was daunting. The scale, expectations, and professional standards were higher than anything I had ever experienced before. But I embraced the challenge with both humility and hunger. I listened deeply. I learned quickly. I contributed boldly. Bit by bit, my ideas began to gain traction, and before long, I was entrusted with even greater responsibility: the role of Head Writer for the entire series.

The drama, now officially titled Setiaku Berdiri, would be directed by none other than Rashid Sibir, a name synonymous with emotionally-charged Malaysian dramas. To be placed at the helm of the writing process under his direction was both an honour and a significant career milestone for me. It signified a shift—not just from working on set to working in the story department—but from a student of film to a true storyteller trusted with a national platform.

This experience taught me that storytelling is not just about what happens on screen, but what happens behind it—how a team collaborates, how a voice is shaped, and how an idea is refined into something that touches lives. Setiaku Berdiri is more than a project; it’s the beginning of a new creative era for me, and one I carry with gratitude and renewed purpose.