By JC Cummings
We’ve always enjoyed productions with fun-loving puppet characters. Puppeteering is an art and one of the first forms of entertainment throughout the ages. When it comes to producing an entire series with puppets or even a commercial, there are some technics we need to follow.
Over the years I’ve produced several ‘puppets’ segments, full episodes, and shorts. I had an ongoing pleasure to work with Jim Henson who was a master at concealing the puppeteer. I remember one shoot we did when Jim was working “Gonzo,” a character he developed. Jim was on a conveyer belt in a massive laundry facility, so we piled sheets on him, built up a ‘sheet’ platform for ‘Gonzo,’ allowing Jim to be concealed.
Of course, to project the illusion of bringing some funny little characters to life, we’ll need to “cheat” the operator. Keeping the puppeteer out of the shot can be tricky with curtain camera positions. If you use pedestals, you’ll need to build up the camera platforms on ‘peds’ with at least two, six-inch camera risers. I’ve found over the years the most valuable camera gear is a jib arm. When you use an arm with a remote head, the camera allows the Director of Photography to easily achieve at least five camera positions without moving the camera base. You don’t need any expense or auto extending arm. A good six-foot reach is all you’ll need depending on the requirements of the script.
Second major item on a puppet set is the props. You’ll need to ‘hide’ the puppeteer. Whether behind a table, tree, wall, or an elaborate set, you’ll need to factor in construction or greens on your set design and budget. For example, if you use a table, the question to ask is if the puppeteer will be standing operating the character or sitting. If sitting, very low, beach-type chairs work great; low enough not to be seen (keep an eye on the tops of heads). If standing, you’ll need to make the props high enough the operator can comfortably raise the puppet above platform.
Important equipment behind the props will include a monitor for the puppeteer to watch how the character is positioned. Script hangers on props, so operators can ‘mouth’ characters’ words. Often a voice-over is laid on in addition, but the movement needs to be in sync. During your walk-through, make sure your studio or shooting area is large enough allowing the ops to move around freely around each other. No one wants to see the puppet take a dive.
These types of shoots can be a lot of fun to produce, budget a lot of rehearsals and script reading meetings so everyone is on board with the direction you’ll be going. Also, a lot depends on how skilled the puppeteer is bringing the character to “life”. Keep in mind editing will also be an important element to the final production. There are many tricks you can use during the shooting process. If the picture captures the character’s actions smoothly, you’ll be creating a magical illusion, and that’s The Reel Story. 
JC Cummings has become a sought-after Producer, Director, Showrunner, including a production logistics specialist in the film and television industries. Mr. Cummings continues to share his knowledge with over 40 years of “on set” production experience and storytelling as an independent producer. Beginning in radio for a short time, moving to film and broadcast TV, where his career led him to acquire rights and later producing a successful nationally syndicated children’s series. As success continued, Mr. Cummings was contracted to develop other television projects for broadcast networks and outside companies. www.motionpicturecompany.com
