Browse content similar to 29/03/2012. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
On today's show, if you like Shaun the Sheep and Wallace and Gromit, | :00:14. | :00:19. | |
stay tuned as I bring you the secrets of Aardman's latest Pirate | :00:19. | :00:23. | |
Adventure film. This guy here, recognise something he might be | :00:23. | :00:27. | |
wearing there? This just got a whole lot cooler, didn't it? Find | :00:27. | :00:33. | |
out how to paint an amazing picture using light. It's a monkey on a | :00:33. | :00:37. | |
tree. And if you have ever wanted to beatbox like a professional, | :00:37. | :00:47. | |
:00:47. | :01:01. | ||
we'll show you how with tips from APPLAUSE | :01:01. | :01:06. | |
Hello and welcome to Blue Peter, we've got a jam-packed show for you. | :01:06. | :01:12. | |
We've got film, photography, music, there are loads of ways to be | :01:12. | :01:15. | |
creative. You send us such cool stuff, but you can also get | :01:15. | :01:18. | |
involved with the show as well. We are going to ask you a question and | :01:18. | :01:21. | |
I'll show you how to answer that question using my hands! This is | :01:21. | :01:25. | |
the question, summer is just around the corner, the sun's out, we are | :01:25. | :01:28. | |
getting excited, what are you looking forward to doing this | :01:28. | :01:35. | |
summer? Please get in touch. If you are watching on Thursday, we may | :01:35. | :01:39. | |
read your mail out later. Easter holidays are just around the | :01:39. | :01:42. | |
corner and there are some pretty big films hitting the cinema as | :01:42. | :01:48. | |
usual. One way to bring characters to life is by using a technique | :01:48. | :01:52. | |
called stop-motion. It was something that was used in the | :01:52. | :01:58. | |
Corpse Bride and Fantastic Mr Fox as well. The latest stop-motion | :01:58. | :02:04. | |
animation is The Pirates, by Aardman Animation. Look at his | :02:04. | :02:09. | |
little smile. He loved it! genuinely excited. They give me the | :02:10. | :02:14. | |
Hans to animate one of their characters by using their tricks of | :02:14. | :02:18. | |
the trade. Whether it makes it into the movie or not, I don't know, | :02:18. | :02:26. | |
time to have a look. The new stop- frame animation film from Oscar- | :02:26. | :02:30. | |
winning production company Aardman is about as swashbuckling as it | :02:30. | :02:35. | |
gets. I'm the Pirate Captain and I'm here for your gold. The film | :02:35. | :02:44. | |
follows the story of a Pirate Captain as he and his rag tag crew | :02:44. | :02:53. | |
try to get the much coveted pirate of the year award. This is | :02:53. | :02:57. | |
Aardman's first 3D stop-motion film and it's a massive undertaking. | :02:57. | :03:02. | |
With a crew of 525 people dedicating five years of their life | :03:02. | :03:05. | |
to making it! Today, I've been lucky enough to be | :03:05. | :03:09. | |
invited down to the studios in Bristol, get a behind-the-scenes | :03:09. | :03:16. | |
look and have a go at animating my very own secrets. | :03:16. | :03:20. | |
-- sequence. This massive warehouse has 40 individual film sets and | :03:20. | :03:24. | |
behind these curtains are the animators hard at work. Working on | :03:24. | :03:30. | |
a stop frame animating film is different from working on a movie | :03:30. | :03:35. | |
with real-life actors. If you are making a film starring Tom Cruise | :03:35. | :03:40. | |
say, you can only shoot one scene with him at a time. A stop-frame | :03:40. | :03:43. | |
animation movie can reproduce its lead character dozens of times. On | :03:43. | :03:47. | |
this film, there were up to 40 animators working at any one time | :03:47. | :03:50. | |
and they could shoot up to 20 scenes simultaneously with the | :03:50. | :03:57. | |
Pirate Captain in different parts of the studio. As well as the | :03:57. | :04:01. | |
Captain and the crew, one of the big stars of the movie is their | :04:01. | :04:06. | |
faithful ship. Now, that is what you call a pirate ship! This hand- | :04:06. | :04:12. | |
crafted beauty is made up of over 44,500 parts. It's around four-and- | :04:12. | :04:15. | |
a-half metres long and weighs a staggering 350 kilograms, that's | :04:16. | :04:21. | |
ten times as much as you! Look at this. I won't touch. See | :04:21. | :04:25. | |
this guy here, recognise something he might be wearing there? This | :04:25. | :04:29. | |
just got a whole lot cooler, didn't it?! | :04:29. | :04:33. | |
The crew already seem familiar with Blue Peter, but it's time for my | :04:33. | :04:37. | |
official introduction to them and their Captain, from one of the | :04:37. | :04:43. | |
film's chief animators, Jo Fenton. Which ship mates are we looking at | :04:43. | :04:50. | |
here? This is the main crew and this is the Pirate Captain. | :04:50. | :04:55. | |
main star is voiced by Hugh Grant. I'm not surprised by the level of | :04:55. | :04:58. | |
detail but I am taken aback by the size of them. I can't believe how | :04:58. | :05:02. | |
big they are. I thought they would be a lot smaller. Is there a reason | :05:02. | :05:08. | |
why they are this size? It makes it easier to animate. Any smaller, it | :05:08. | :05:11. | |
makes it fiddly with the little fingers and eyes. It's easier to | :05:11. | :05:17. | |
make them bigger. Even at this size, I'm certain animating these models | :05:17. | :05:21. | |
is a real labour of love and it's my turn to find out just how tricky | :05:21. | :05:25. | |
it is. I'm about to watch the director, Peter Lord, act out the | :05:25. | :05:28. | |
scene that he'd like me to animate on our Pirate Captain over here. | :05:28. | :05:35. | |
This is what I have to do. It's so quick, I have to watch it again. | :05:35. | :05:41. | |
It's not even a second, is it? frames, so just or two seconds. | :05:41. | :05:47. | |
second of a movie is made up of 24 frames. This clip is just two | :05:47. | :05:52. | |
seconds and 14 frames long. That normally would take you how long to | :05:52. | :05:59. | |
animate? Irbgs A day. How long have I got? Two hours. Better get | :05:59. | :06:03. | |
started then, hadn't I? Stop frame animation works by taking frame by | :06:03. | :06:07. | |
frame shots on a camera. Head turns a little bit... Between each shot, | :06:07. | :06:12. | |
the characters are repositioned a tiny amount. I'm happy with how | :06:12. | :06:15. | |
it's poised. When the shots are played continuously, it looks like | :06:15. | :06:19. | |
the characters are moving. Done, first frame. The key to this | :06:19. | :06:22. | |
process is patience and intense attention to detail. At the moment, | :06:22. | :06:26. | |
all I'm doing is making him crouch to turn around and chuck his sword | :06:26. | :06:31. | |
out, but when you crouch, your shoulders and head moves, your neck | :06:31. | :06:35. | |
turns, it gets incredibly hard. I'm hardly moving it at all and it's | :06:35. | :06:37. | |
impacting hugely on the screen. Creating a character is about more | :06:37. | :06:41. | |
than just moving their body. When I finally get the Pirate Captain | :06:41. | :06:47. | |
facing the camera, I have to think about his fairbt movements too. -- | :06:47. | :06:52. | |
facial movements too. I'm trying to keep his eyes down the lens of the | :06:52. | :06:58. | |
camera so it looks like he's looking at you. Very intricate. In | :06:58. | :07:02. | |
the past, the mouth was moulded into the correct shape, but for | :07:03. | :07:06. | |
this movie, the animators have the luxury of a range of mouths created | :07:06. | :07:11. | |
on a 3D printer. Just to change the mouth takes some doing. You have to | :07:11. | :07:16. | |
take his beard off first and slide the mouth off, so fiddly. 7,000 | :07:16. | :07:22. | |
mouths were printed in total with 1,400 for the Pirate Captain alone. | :07:22. | :07:26. | |
I've got 30 minutes left and I can already sense I don't have enough | :07:26. | :07:30. | |
time to get all the mouths in and take the pictures. Slightly over to | :07:30. | :07:36. | |
the left. With my two hours running out fast, and director Peter Lord | :07:36. | :07:39. | |
waiting in another room to watch my efforts, I start to panic just a | :07:39. | :07:43. | |
little. Put the wrong mouth on. Good. I'm going to improvise now | :07:43. | :07:48. | |
because I've completely messed this up. Peter's impressive movie | :07:48. | :07:53. | |
credentials include Chicken Run and Wallace and Gromit, so the pressure | :07:53. | :07:57. | |
is on to do well. As long as it has the right feel, | :07:57. | :08:01. | |
good performance and delivers what Pete is requesting, it's going to | :08:01. | :08:06. | |
be good. I've completely disregarded Pete's video, I'm not | :08:06. | :08:10. | |
even looking at it any more, I'm so sorry, director, Sir, I've gone | :08:10. | :08:16. | |
with what I think looks right and half decent. What will the animator | :08:16. | :08:22. | |
think of my humble efforts. How are you? Good to see you. Welcome. | :08:22. | :08:31. | |
Thank you very much. It's the moment of truth. I'm not sure I'm | :08:32. | :08:35. | |
going to offer you a job today. What you've done with the turn of | :08:35. | :08:39. | |
the body, I'm liking that. If you were doing it for real, I would say | :08:39. | :08:44. | |
bigger, a bigger, bigger gesture, a bigger ark. I would have gone back | :08:44. | :08:49. | |
and do a few things different will you, but I just knew I had to get | :08:50. | :08:56. | |
him face on. Did you put the eyes on? Yes. His left eye is slightly | :08:56. | :09:00. | |
bongier. I've really enjoyed it. Thank you very much. Thank you and | :09:00. | :09:05. | |
you've done a good job there. OK, so it wasn't quite the glowing | :09:05. | :09:09. | |
critique I was hoping for, but not bad for a first attempt. For now at | :09:10. | :09:14. | |
least, I'll be leaving it to the professionals. | :09:14. | :09:19. | |
It's pay day! I'm the Pirate Captain and I'm here for your | :09:19. | :09:25. | |
gold... Geography field trip. | :09:25. | :09:30. | |
Did you add the Blue Peter badge or was that there? That was there, | :09:30. | :09:33. | |
they were big fans when they were kids, they thought, it's a family | :09:33. | :09:39. | |
show, there's a boat, stick the logo on there. A touch of genius. I | :09:39. | :09:43. | |
had a fantastic day at Aardman there. Still to come today: | :09:43. | :09:48. | |
Find out how to paint with light and capture it on a photo. I know | :09:48. | :09:52. | |
this looks daft, but the picture I've got in my head is amazing. | :09:52. | :09:57. | |
Have you guessed what it is yet? And if you have ever wanted to | :09:57. | :10:01. | |
beatbox like an expert, we've got a beatboxing legend here in the | :10:01. | :10:08. | |
studio to show you how. We love hearing from you guys and | :10:08. | :10:13. | |
you never let us down. We get bags of post, letters, poems, somebody | :10:13. | :10:17. | |
sent me a scarf the other day and we really appreciate it, so thank | :10:17. | :10:21. | |
you very much for that. I like cake... You can't send cake in the | :10:21. | :10:27. | |
post... Yes you can. One thing we get asked often is, how do we get | :10:27. | :10:30. | |
our Blue Peter badge. The ones you can get immediately for getting | :10:30. | :10:33. | |
involved with the one in the middle, the ordinary one, and the one on | :10:33. | :10:38. | |
the far left hand side, the silver one. You can get those by sending | :10:38. | :10:48. | |
things in, like Livvie has done. A few weeks ago, Helen made a Brooch | :10:48. | :10:55. | |
for Mother's Day. This is Livvie with the Brooch she made for her | :10:55. | :11:00. | |
mum. Well done you. Charlotte in Fife sent us a picture of a | :11:00. | :11:03. | |
blackbird. Charlotte smiling away there. Thank you very much for your | :11:03. | :11:09. | |
drawing of a blackbird. She earns herself a silver badge. Here is | :11:09. | :11:13. | |
Matthew. He's cool! Got the cool look going on, but he knows how to | :11:13. | :11:19. | |
draw a bad guy. He's done a picture of the Daleks. He's written | :11:19. | :11:23. | |
exterminate down the side so we know what they do. Eve in Bedford | :11:23. | :11:28. | |
written a poem, she wrote a storm poem, so thank you very much for | :11:28. | :11:33. | |
that. She already has a blue badge, a silver badge and green badge. | :11:33. | :11:38. | |
Wowsers. Top of the class. Here is Lucy. She's already got a badge on, | :11:38. | :11:43. | |
so she's after another one to. Get it, she sent this, a picture of | :11:43. | :11:48. | |
Helen and myself as penguins. Because she don something very | :11:48. | :11:52. | |
different, she gets herself a silver badge. Helena in crew didn't | :11:52. | :11:59. | |
do a poem, letterer drawing but created a poster called Save Our | :11:59. | :12:03. | |
World. There is her poster. Because she did something that had a bit of | :12:03. | :12:08. | |
an environmental theme, she earned herself a green badge. Remember, we | :12:08. | :12:16. | |
have one more. This is a picture, it's me, Helen,km Shelley and | :12:16. | :12:22. | |
Barney. I met Freya when I was dressed like this for a charity | :12:22. | :12:27. | |
event. Thanks freya, brilliant. you have a Blue Peter badge, you | :12:28. | :12:32. | |
will get into over 200 attractions absolutely free, including a | :12:32. | :12:36. | |
special Blue Peter session of the Oxford literary festival which is | :12:36. | :12:46. | |
:12:46. | :12:49. | ||
happening this Sunday. The address I am putting together a photo | :12:49. | :12:53. | |
calendar for the year 2012. Every month has a different photo and | :12:53. | :12:57. | |
it's using a different photography technique. In January, Barney | :12:57. | :13:00. | |
introduced us to the macro technique and created that picture. | :13:00. | :13:06. | |
In February, he showed us pin hole and created that picture. In March, | :13:06. | :13:12. | |
no disrespect, but this is my favourite so far, Eve McLoughlin | :13:12. | :13:16. | |
won the competition to have her picture on the calendar and it's | :13:16. | :13:22. | |
her three Guinea pigs setting off on a race. The month of April, so a | :13:22. | :13:32. | |
new photo and technique which is quite literally enlightening. I | :13:32. | :13:36. | |
can't even begin to tell you how excited I am about tonight's shoot. | :13:36. | :13:39. | |
I'm doing so much more than just taking a photograph. Tonight, I'm | :13:39. | :13:44. | |
going to be learning how to create a unique piece of art. You may be | :13:44. | :13:48. | |
sat there wondering what that's got to do with a man waving around some | :13:48. | :13:57. | |
funny lights. Well, follow us over here. Let's have a look. | :13:57. | :14:02. | |
And there it is. That's what it's all about. This is light painting | :14:02. | :14:07. | |
and this is Michael. Michael BA San co is a light | :14:07. | :14:12. | |
painting artist who's transformed some of the best-known landmarks | :14:12. | :14:16. | |
into his own masterpieces by use ago light as his paint brush and | :14:16. | :14:20. | |
the whole world as his canvas. He's going to teach me how it's all done. | :14:20. | :14:25. | |
We are going to start with a quick photograph. It may sound obvious, | :14:25. | :14:28. | |
but there are two ingredients to create this kind of photo. It has | :14:28. | :14:32. | |
to be dark and you need a light source, whether that's a torch, | :14:32. | :14:36. | |
bike light or a specialist light like Michael's. For his first | :14:36. | :14:46. | |
:14:46. | :14:48. | ||
demonstration, he's drawing a Not a lot of time to draw anything | :14:48. | :14:52. | |
there really. InTed of drawing a leaf, all we've capture suicide a | :14:52. | :14:55. | |
dot of light and here's why. That click you hear when you take a | :14:55. | :14:59. | |
picture is the sound of the shutting opening and closing very | :14:59. | :15:03. | |
fast -- instead. The light goes through to the lens and that | :15:03. | :15:08. | |
records on the sensor and you have a regular photo. The more time the | :15:08. | :15:12. | |
light has to make an image, then you get something like Michael's | :15:12. | :15:16. | |
work. For the next one, we'll keep the shutter open longer to try to | :15:16. | :15:20. | |
turn this little spot into a complete picture. If I hold this | :15:20. | :15:24. | |
down for ages, 20 seconds, lets's see what you can do in 20 seconds. | :15:25. | :15:34. | |
:15:35. | :15:36. | ||
This is going to look good. Michael won't be seen in the final image | :15:36. | :15:40. | |
because he's wearing dark clothes and the camera will only pick up | :15:40. | :15:47. | |
the bright light. Time's up. Oh, yes. Michael, have a look at this! | :15:47. | :15:51. | |
That's loads better. The leaf on one side and the other, a bit of | :15:51. | :15:55. | |
reflection here. I guess we just need lots of time to draw lots of | :15:55. | :15:59. | |
detail. Exactly. Looks brilliant. Can I have a go? Of course you can, | :15:59. | :16:02. | |
man. I'm a keen photographer in my spare time but this is totally | :16:02. | :16:05. | |
different to any photo I've taken before and I'm itching to learn | :16:05. | :16:09. | |
from the expert. Do you have any tips? Keep your movements fast, | :16:09. | :16:15. | |
fluid. Fast fluid movements. Like painting with a brush? Yes. | :16:15. | :16:18. | |
Have the torch pointing towards the camera lens. Of course, otherwise | :16:18. | :16:22. | |
it won't see the picture you are painting. When you are done, turn | :16:23. | :16:29. | |
the torch off. Got it. OK, let's have a go at this. | :16:29. | :16:38. | |
Got a picture in my mind of what I'm going to do. Michael made this | :16:38. | :16:42. | |
look easy but I'm struggling to visualise the picture in my head. | :16:42. | :16:48. | |
Thing's it. Aye, it's a monkey on a tree! It's hard, when you draw the | :16:48. | :16:51. | |
body and arms, you have got to remember where you did it because | :16:51. | :16:56. | |
it's not like a paper where you see the pencil physically, you have got | :16:56. | :17:00. | |
to remember it. His head is floating off his body there, but | :17:00. | :17:04. | |
for a first go that'll kind of work. I want to play more. This is my | :17:04. | :17:08. | |
first attempt but I need to up my game if I want to get even close to | :17:08. | :17:11. | |
Michael's work. This means more colours, more than one object in | :17:11. | :17:17. | |
the picture and most importantly, detail. | :17:17. | :17:27. | |
:17:27. | :17:27. | ||
Watch me go! I know this looks daft, but honestly, the picture I've got | :17:27. | :17:31. | |
in my head is amazing. Have you guessed what it is yet. I think | :17:31. | :17:38. | |
this is going somewhere. Let's have a look. Not bad. Can you | :17:38. | :17:44. | |
tell what it is? No. Well, it's a robot in the middle there with | :17:44. | :17:48. | |
light up pants and I've got red eyes. What I'm doing is firing out | :17:48. | :17:53. | |
through my hand my laser beam and this is where I live in Roy bot | :17:53. | :17:57. | |
house -- robot house. Here is the control centre with the panels on | :17:57. | :18:02. | |
it. My second attempt is much better so I think I'm ready for my | :18:02. | :18:07. | |
final challenge. We are dog the Blue Peter calendar and I think we | :18:07. | :18:13. | |
should do something spectacular with light painting. We have to | :18:13. | :18:19. | |
plan it if it's going to be be be big. It's right that my photo has a | :18:19. | :18:22. | |
haunted theme. What do you reckon? Yes, good. It's going to take a lot | :18:22. | :18:25. | |
of effort though. I thought this might be the case. There's a lot of | :18:25. | :18:30. | |
detail there. It just so happens I've met a team of light painting | :18:30. | :18:35. | |
enthusiasts who're itching to get going. Shall we go meet them? | :18:35. | :18:38. | |
This crack squad of helpers are the hardest workers in town and they | :18:38. | :18:42. | |
need to be with what I've got planned for them. Take a look at | :18:42. | :18:47. | |
this, guys. Everyone gather round. Megan, you are going to do the face. | :18:47. | :18:52. | |
What kind of face? Scary. We all know what we are doing then? Yes. | :18:52. | :18:58. | |
After a crash course from expert Michael... We are primed for our | :18:58. | :19:08. | |
first attempt at the calendar photo. Ready, go. | :19:08. | :19:13. | |
You know what, it's getting there, guys. Michael, have a look at this, | :19:13. | :19:17. | |
see what you can think about it. We are so close to creating a | :19:17. | :19:23. | |
masterpiece. All it needs is a bit of fine tweaking. Thomas, your star | :19:23. | :19:27. | |
bursts, bring a few out here and hold the torch really still. Quite | :19:27. | :19:32. | |
low as well so it picks up anything on the ground. Everyone ready to do | :19:32. | :19:37. | |
another one? OK. That might look good if you were going against the | :19:37. | :19:41. | |
tree, it might reflect the light. After five attempts, we finally got | :19:41. | :19:46. | |
a photo worthy of a place on the Blue Peter calendar. Look at that! | :19:47. | :19:52. | |
Nailed it on the last take. Who wants to see it? Ready? Here we go. | :19:52. | :19:58. | |
I think that looks wicked. What do you reckon? Yes. Yes. Yes. Michael, | :19:58. | :20:06. | |
happy? Superb, yes, phenomenal. Well done you. We are artists! And | :20:07. | :20:12. | |
here is the photograph that will appear on the calendar for the | :20:12. | :20:16. | |
month of April. It looks absolutely brilliant. It's something you can | :20:16. | :20:21. | |
have a go at yourself isn't it? get a camera, a torch, get | :20:21. | :20:25. | |
somewhere dark and get paintings. Head over to the website if you | :20:25. | :20:32. | |
want the calendar. While you are there, keep a look out for Barney's | :20:32. | :20:36. | |
video. He's being humble but he's very good at photography. You have | :20:36. | :20:40. | |
done a video we detailing your top photography tips. This time, this | :20:40. | :20:45. | |
guy is so amazing, check him out, he's shlomo, a beatboxer, he's | :20:46. | :20:49. | |
performed everywhere, he's got awards, he's been to Glastonbury | :20:49. | :20:53. | |
and he's here in the studio to give you some top tips on how it's done. | :20:53. | :21:00. | |
A round of applause, please, for shlomo. | :21:00. | :21:06. | |
Hello. Hi. We should just point out, this is your vocal orchestra, not | :21:06. | :21:11. | |
just your friends. Let's talk about beatboxing, it's | :21:11. | :21:17. | |
making the noise of drums or rhythm with your mouth? Yes, making music | :21:17. | :21:22. | |
with your voice. Just like that! But there's no backing track or | :21:22. | :21:27. | |
anything, all the sounds come from your face? All the music is made | :21:27. | :21:33. | |
with your voice. It's traditionally done by individuals, yet you have | :21:33. | :21:38. | |
created an orchestra. Tell me about this? The vocal orchestra is a | :21:38. | :21:42. | |
stage show that we have pull together. We have created the show | :21:42. | :21:45. | |
and it will be running in London, opening next week. The idea is, | :21:45. | :21:50. | |
beatboxing works really well on your own, but if you bring together | :21:50. | :21:54. | |
multiple voices, every single one of us has an incredible voice so we | :21:54. | :21:57. | |
can create a real excitement, we get to travel back in time and play | :21:57. | :22:05. | |
all the songs from the '80s, '60s and '90s. If it's all about numbers, | :22:05. | :22:11. | |
two more wouldn't go amaze?. Can you show us? Have you ever | :22:11. | :22:16. | |
beatboxed before? A little bit. Never been allowed. | :22:16. | :22:24. | |
The basic sounds are P, K and K. So P will be like Prrrr... I feel like | :22:24. | :22:34. | |
:22:34. | :22:35. | ||
a horse! The high hat is the letter T, tttt... Try and make it short | :22:35. | :22:40. | |
and crisp. And the third is the snare, that's the letter K like | :22:40. | :22:50. | |
:22:50. | :22:52. | ||
this, Krrrrrrrrrr... Nice. Put them together. P, T, K. Try putting on | :22:52. | :23:02. | |
:23:02. | :23:03. | ||
the mic, wrap around your hand like this so you get a strong base sound. | :23:03. | :23:07. | |
We've got about 40 seconds left to get a performance, so if I join in | :23:07. | :23:17. | |
:23:17. | :23:21. | ||
as well. Barney, do your thing. What sort of rhythm? | :23:21. | :23:31. | |
:23:31. | :23:46. | ||
APPLAUSE Thank you so much. That was wicked. | :23:46. | :23:51. | |
I'll let you guys get ready for your actual performance while we | :23:51. | :23:54. | |
tell you what is coming up next week. We'll take you to the zoo. | :23:54. | :23:58. | |
With spring in the air, we give you a look at the new baby animals | :23:58. | :24:02. | |
being born at this time of year. We show you how to use a balloon to | :24:02. | :24:06. | |
create a unique Easter egg. If you can't wait until next week for that, | :24:06. | :24:10. | |
head over to the Blue Peter website for an exclusive sneak peak. You | :24:10. | :24:15. | |
can see how to make the eggs before we show you on the programme. Send | :24:15. | :24:19. | |
us in the pictures of your eggs if you make them and we might get to | :24:19. | :24:25. | |
show yours next week. So tasty! Earlier in the show... He | :24:25. | :24:29. | |
was like a kid, came back with chocolate all over his face. We | :24:29. | :24:33. | |
asked you to let us know what you are going to be doing this summer. | :24:33. | :24:37. | |
We thought you were feeling summery. One person is looking forward to | :24:37. | :24:42. | |
body boarding on the beach. Another person looking forward to chilling | :24:42. | :24:46. | |
in the garden with friends and looking forward to beating dad at | :24:46. | :24:52. | |
swing ball. A barn holiday staying with two dogs in Norfolk. Another | :24:52. | :24:57. | |
girl is going to run in the sea and have a water fight in Blackpool. | :24:57. | :25:01. | |
Florence is going to have a water fight and there are lots of school | :25:01. | :25:06. | |
holidays. We love to hear from you and we love your posts. Now it is | :25:06. | :25:16. | |
:25:16. | :25:16. | ||
Apology for the loss of subtitles for 48 seconds | :25:16. | :26:04. | |
time for an exclusive performance # Let's dance | :26:04. | :26:09. | |
# Put on your red shoes and dance the blues | :26:09. | :26:14. | |
# Let's dance # To the songs that are playing | :26:14. | :26:24. | |
:26:24. | :26:26. | ||
# I feel love # I feel love within my heart | :26:26. | :26:29. | |
# Within my soul # Win my mind | :26:29. | :26:32. | |
# I feel love # Said I feel love | :26:32. | :26:36. | |
# I feel # Said I feel love | :26:36. | :26:46. | |
:26:46. | :26:58. | ||
# One, two, three # My baby don't mess around cos she | :26:58. | :27:03. | |
loves me so # And this I know for sure | :27:03. | :27:09. | |
# But does she really want to stand to see me | :27:09. | :27:15. | |
# Walk out the door? # Don't try to fight the feeling | :27:15. | :27:19. | |
# Cos the thought alone is killing # Right now | :27:19. | :27:25. |