Behind the Scenes: Summer Notes from the Workshop
- Jesse Jacques
- 5 minutes ago
- 4 min read
Hey everyone,
It’s pretty much summertime already, and for me, that usually means filmmaking projects are back in motion. People’s schedules open up, the weather’s better just about everywhere, and it’s easier to pull off the things that require daylight and coordination. But I’ve also been working on some really exciting photo-based builds, including something I thought would be fun to share a little behind-the-scenes peek into.
There’s something about the summer air that makes it easier to get hands-on with projects like this. Less screen time, more tools in hand. And this one’s been one of the more detailed projects I’ve taken on. So, before I actually shoot it, I figured I’d talk a bit about what’s gone into it so far.
There’s a project I’ve been building quietly for a while now. It’s not quite ready to share in full, but I figured this was a good time to talk about what it’s been like putting it together, especially since it’s not just a shoot, it’s a full-on physical build. This time, the process wasn’t only about casting, lighting, or finding the right setting. I had to actually design and fabricate the object I’ll be photographing. Real components, panels, overlays, the whole deal.
What I can say is this: it’s probably the most intricate object I’ve ever designed and fabricated for a camera. It’ll be photographed, yes, but it will also show up in one of my filmmaking projects in development. So it had to be built with multiple formats and lighting environments in mind.
The concept ended up stretching across fifteen separate PDFs. Every one of them was packed with layout sketches, measurements, part references, or tiny pieces I had to source or invent if I couldn’t find them anywhere. I printed transparency overlays, designed etched-style label plates, tested spray paint, and spent at least one late night cross-checking spacing tolerances.
Some of the process was new for me, like working with layered sheet metal or trying to get a clean, straight cut through aluminum with tin snips without bending the entire edge. That part definitely tested my patience. On the other hand, getting a perfect hole with the hole saw felt surprisingly good. You don’t always get those kinds of wins with physical builds.
Even while building, I kept thinking like a photographer. I’d check how parts looked under diffused light just to make sure they’d translate on film. Some paints looked great in person but caught highlights weird on camera, so I’d sand them back and try again. Everything was treated like it would be facing the lens, even the screws.
And yes, I did go down a small rabbit hole about screw heads. Not kidding. There’s a whole aesthetic language to it. Hex bolts feel heavy. Flat heads feel industrial. Button caps feel minimal but a little too polite for what I needed. I had an entire PDF dedicated to deciding which screw heads would look best on camera. Sounds funny, but they actually say a lot. The wrong bolt throws the whole energy off.
Some of the pieces I used had to keep their history. A few things were “restored,” but not in a shiny way. More like I cleaned them up just enough to let them keep their edge. I didn’t want it looking fresh out of a factory. It needed to feel like something that had already been in use.
By now, I know this part pretty well, the long middle. The stretch of time before the camera comes out, where everything is half-built, half-working, and still changing. You test something. You repaint. You get it almost right, then change your mind. You try again. It’s messy, but that’s the rhythm. You just keep going. I’m still in it, by the way. Not done yet.
The object was built to hold up visually, but it’s also meant to do more than that. I wouldn’t call it a prop. It’s more like a node. An interface. Something that participates in what’s being made. Its first appearance will be on film, but it already has a place in the next phase of my cinematic work, too.
For those who are curious, I’ll be shooting the stills on medium and large format film. Mostly CineStill 800T and 400D, plus some Ilford Delta 100 in 8x10 black and white. There are still a few more cuts to make this week, some stenciling, and I need to bolt everything down with the right screw heads, which means a ton of small drill holes into the sheet metal. Still very much in progress.
Summer’s moving fast, and everyone’s out doing their thing, travelling or just taking a break, so I appreciate you reading. I’ll keep building over here and share more once things take final shape.
When you're ready to shape the unseen into image, the path opens. Let's begin.
