My Life with Puppets - Changes and Developments

Since the last blog there have been changes made in the production of the documentary.


I am pleased to announce that FreamantleMedia, who own the characters and the Rainbow brand, have fully supported the project and given their permission to use archive material from Rainbow episodes broadcast between 1973 and 1992. This is a massive achievement and I am truly honoured that they have allowed this footage to be used.

The conditions for use are:

Place a sub-text reference, for example:

- The name of the episode - Rainbow - Sympathy

- Year it was broadcast - Broadcast: 1992

- Provider: Courtesy of FremantleMedia Kids & Family

In exchange for the footage I have given FreamantleMedia permission to use the documentary for their new YouTube channel which they will be launching very soon.


With Post-Production truly underway I am pleased to announce that I have locked a final cut which has been sent out to the new composer, Andrea Possee.

The cut that I have created has taken a few weeks to complete. To compress over five hours of interview footage, and a fifty year career, into a twenty minute film has been one of my biggest challenges. However, I have enjoyed every second of doing it.

From the beginning when I first approached Ronnie about the documentary, it was important to acknowledge that this documentary would be about his professional career and personal life rather than focussing exclusively on his time working on Rainbow and the character Zippy.

Although there is a limited duration I have been able to compress all the key facts about Ronnie’s life into three acts.

ACT 1 - A young boy traveling from Canada to the UK and being

inspired to become a puppeteer.

ACT 2 - Growing as a puppeteer, learning from John Wright and

getting the call to work on television.

ACT 3 - Later works and what defines Ronnie Le Drew?

The limited time available resulted in the personal story of Ronnie’s later life being only mentioned briefly.

I have shown the film to my tutors and a few friends outside University who have all given the documentary positive feedback. They have also given suggestions on how to improve areas of the film such as:

Improving the sound quality - Areas of the film such as the Archive material t seem to be rather low.

Changing the titles - Adjusting how the opening titles appear.

Making spelling corrections on references to archive sections.

EQ audio - Improving the depth of the voice overs.

Removing beeps, hand claps and hiss.

Adding an introduction video from two famous characters.

Hiring a sound mixer to help with any sound issues.

These are the areas I am currently improving and considering. I hope to have completed them within the next week.

I was unable to get in contact with the composer who had expressed an interest in the project. These preliminary talks, which dated back to last year, did not progress past discussing the initial idea of the documentary. Therefore, I began the search for a composer for the documentary. Andrea was selected from a list of over thirty composers who applied to be the composer for this film.

I decided to choose Andrea after listening to her showreel which resembled the type of music I wanted to use in the documentary. She has experience of working on major television productions such as Couples, Come Dine With Me, About a Boy (TV adaptation) and CatSkin.

Andrea has been provided with early draft cuts of the film and she kept me up to date on all the progress of the score, including early examples of the music that she is creating. We hope to have the score completed by the end of next week.

To conclude this blog, I would like to say that a great deal of work has taken place since my last blog entry with significant progress being made in all fields of the production.

So, until my next blog.

That’s a wrap.


DixonBaxi (2009) New logo: FremantleMedia Kids & Family. [Online image]. Available from: [Accessed 16 May 2017].

Possee, A (2017) CatSkin Theme. London. PRS [Sound recording: CD].

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