Muppeteer headband microphones

[Johnny Fiamma]

gfarkwort: What I'll be doing is using my Sound Blaster Platinum setup to give each mic it's own, separate input. Then I'll be running each source into it's own track in either Adobe Premiere Pro, Pinnacle Studio Mediasuite, or Sony Vegas and mix the tracks there. (I use all three for different things since they each have their strong points. I mainly use Pinnacle, though, because it's really easy and gives me good results for small projects.) Then I can merge tracks as necessary for doing basic two-channel stereo mixing for streaming broadcasts, or mix for a full 5.1 surround for DVD or broadcast.

 

[Buck-Beaver]

Actually, you could input it into your DV camera, but you won't have the multitrack mixing capabilities because all of the mic inputs would be combined to just one digital audio track on your camera.

Not necessarily. You can buy mic mixers for DV cameras that work very, very well and allow multiple audio sources to be connected to almost any decent video camera. They're also handy because they all you to use XLR mics with any consumer-level (or better) camera.

 

[OverUnderAround]

I once made my own amateur headband with microphone.
I brought a sweatband for my head, cut a slit in it, opened up a wire coat hanger and positioned some of the wire inside the sweatband shaping the wire to conform to the shape of my head. The rest of the wire I bent toward my mouth and attached a wireless mike to it. Worked great and I had freedom to move about while I practiced puppeteering.

Fran Brill in an interview once said that the headband/microphone is no longer needed with the advances in microphone technology since the Muppet Show days and she personally would rather not use it. But I think they still use the headband although the design is different now with the lavalier mikes directly on the headband.

 

[Johnny Fiamma]

Buck Beaver: Since most DV cameras have one single audio track when they record, aren't you only going to have one single combined track, no matter how many audio sources you input? (I know that both of mine do, unless I missed something in the manual. And mine are as consumer-level as they get.) Or do these mixers do something to convert the incoming signals into their own individual tracks for editing?

OverUnderAround: I would imagine the headband mics now would be much like the mics they attach to stage actors' foreheads or temple with spirit gum so keep them concealed. Considering how well they pick up from where they place them for theatre, I would think that a headband location would be fine. (And it would probably be more comfortable than a headset, with the added advantage of keeping the sweat out of your eyes if you're working under hot studio lights, (which is important if you're like me and sweat like Meatloaf in the Sahara).

 

[Buck-Beaver]

Well, yes, if your camera only records mono or stereo any audio source you input is going to be ultimately in mono or stereo. I really don't understand the problem with that, although it's ideal to have each voice in a unique channel unless you are doing professional post mixing (which would be odd, if you're using a consumer-level camera) it's not really necessary. You could also split the output from the audio mix so that it's recording on the DV tape as well as on some kind of digital back-up.

Are you capturing video directly to your harddrive as well as audio? Or are you syncing the audio/video in post using timecode?

 

[Johnny Fiamma]

Buck Beaver: I'm following one of the latest concepts promoted by the great George Lucas (a personal hero of mine- go ahead and insert groans, gawks, and "Lucas raped my childhood by making the prequels/special editions" comments here): Shoot a television show using the latest consumer-grade gear for cheap. Sure, it's somewhat experimental, but it can be done. No offense, but don't knock equipment because it's "cheap" or not what the "professionals" use. I don't know how many fan films of different genres you've seen lately, but it's amazing what a lot of home film makers have been able to accomplish with limited resources and gear.

That said, I'm using off the shelf cameras, software, and home-made equipment to get the job done (as well as my own pocketbook). As far as video and sound, I'm planning on recording both to DVC and simultaneously to a hard drive. And since I will be rendering audio in full surround sound, it's extremely important to capture as much audio on individualized tracks as possible. And while I could worry about ADR later, it's always easier to try to get exactly what I need during the actual production process than spend twice as much time fixing it in post.

Yes, it'll all be a learning experience.... but what isn't?

 

[FISH'N'WOLFE]

gfarkwort: What I'll be doing is using my Sound Blaster Platinum setup to give each mic it's own, separate input. Then I'll be running each source into it's own track in either Adobe Premiere Pro, Pinnacle Studio Mediasuite, or Sony Vegas and mix the tracks there. (I use all three for different things since they each have their strong points. I mainly use Pinnacle, though, because it's really easy and gives me good results for small projects.) Then I can merge tracks as necessary for doing basic two-channel stereo mixing for streaming broadcasts, or mix for a full 5.1 surround for DVD or broadcast.

If you really want some good editing software, get a Mac and try iMovie and Final Cut Pro. They absolutely blow Pinnacle, Premiere, etc. away.

I'm following one of the latest concepts promoted by the great George Lucas (a personal hero of mine- go ahead and insert groans, gawks, and "Lucas raped my childhood by making the prequels/special editions" comments here): Shoot a television show using the latest consumer-grade gear for cheap. Sure, it's somewhat experimental, but it can be done. No offense, but don't knock equipment because it's "cheap" or not what the "professionals" use. I don't know how many fan films of different genres you've seen lately, but it's amazing what a lot of home film makers have been able to accomplish with limited resources and gear.

I don't believe Andrew was "knocking" the consumer grade equipment at all.

Anyways, as for the headband mics, they still use the cantilevered design in conjunction with the mic-taped-to-the-headband ones. They were still using the cantilevered mics when they taped the A&E Sesame Bio in 2000. Anyone can check it out. They were still using them on JHH too. Check out the Secrets Of The Muppets episode. I much prefer having the mic cantilevered, again it prevents anything rubbing against the mic, such as the bottom/shirt of the bigger puppets. Plus the mic can be positioned just right. The technology changing thing doesn't apply, the wireless lav mics they were using on FR, JHH, are going to be the same essentially as ones today. The ones on The Muppet Show being the only exception, those were most likely an older type of mic as I have said.

 

[Johnny Fiamma]

Fish'N'Wolfe: I've heard good things about Final Cut Pro. And, sure, if I had a fistful of free dollars laying around, or chose not to pay my mortgages or feed my kids, I'd gladly pick up a copy today. But, it's going to be guerilla-style filmmaking for me for now, and I'll make do with what I have.

And I'm not really getting on to Buck Beaver or anyone else for turning their noses up at non-professional-grade gear. However, that's all some of us have to work with for the time being, and I, for one, feel fortunate to have what I do have to work with, no matter how rudimentary it may be to some. However, I've seen what a lot of home filmmakers have done with consumer-grade products, and have been both amazed and inspired by what they've been able to achieve with what little they had to work with.

 

[Buck-Beaver]

When did I turn up my nose at consumer cameras? I shoot most things (unless there's a big budget involved) with a Canon ZR 200 so I think you're just making that up.

The point I was going to make was that if you're starting out and experimenting I'd spend less time focusing on technical details and just focus on producing something entertaining. I think you can shoot a great show these days with a webcam and iMovie (or Windows Moviemaker). The content is sooo much more important than how it's recorded.

 

[Melonpool]

Sorry for resurrecting an extremely old post, but I need to outfit myself with a good wireless mic set-up for puppet videos fast. I'd need a set up for 2-3 mics at a time (1 for each puppeteer and one for the interviewee). Also, set ups with battery packs would be ideal since convention floors rarely have wall sockets available for on-the-fly recording.

Kevin's system looks pretty good, but is there a better set up for my needs? I'm looking to mix them directly into the DV camera on the fly for some interviews. Model numbers or links would be great!

Steve